'Cops' won a Cannes Grand Prix, and is apparently the most-awarded print ad of all time.

'King Kong' won a Cannes Gold and a D&AD Pencil; it was the 3rd most-awarded print ad in the world that year.

Polo had always been about ‘protection’, the brief was simply to come up with a new spin on that strategy. My partner and I wrote these two on the same day. What did we have for breakfast that morning?

This won a Cannes Gold Lion and a D&AD Pencil.

The 'cycle' idea, which I originated, ran for several years, and won tons of awards.

The 'Hunting' film, at the bottom, was a separate campaign that was designed to cause a PR shitstorm. And that's exactly what happened. The CEO of Barnardo's did over 100 media interviews off the back of it, including an appearance on Britain's biggest breakfast TV show.

Wonderfully innovative tech idea from my time at Naked for Art Series Hotels.

A tiny hotel chain aimed at the cool crowd, with tiny budgets, their strategy was to cut through with PR stunts and tech innovations.

This involved tweaking their system to inform guests that if no one is checking into your room, you don't have to check out.

Won a Silver at Cannes, and Gold at the Spikes. 

Skoda had been in Australia for several years, but its marketing hadn’t created any character for the brand and its profile was negligible. I led the pitch that won this account for DDB Sydney in 2015, establishing a quirky tone of voice that has at last given the brand a personality.

The second film here, for the youth-focused Fabia, came about when I attended a research group and observed that the only thing young drivers cared about was whether they could plug their phone in. Which we dramatised by pranking test drivers that the car’s tech actually plugged into your body, turning you into a kind of cyborg…

Particuarly proud of this because I not only had the idea but sold it in and produced it too. The bus won a Bronze at Cannes.

Nominated for two Pencils at D&AD.

After a few years of fashion-based advertising, the ask was to create a brand campaign that took Levi’s back to its rebellious roots.

My insight was that the full name of the brand – Levi’s ‘originals’ – itself could express the concept of rebelliousness, since original people don’t conform to the norm.

In coming up with the execution, I channelled the reactions I got after I went to Camden market aged 17 and bought a pair of purple-checked baggy trousers and a bright red shirt with Communist propaganda graphics. Same emotion, just switching the setting from suburban London to the world of Levi’s.

Multi-award-winning, long-running campaign across multiple media, which I worked on for several years at DDB London.

The Guardian was aimed at ‘smart people’ and ‘the creative classes’, which led to a dream brief: advertise their content in a way that was as clever and creative as possible.
 

Before coming to Australia, I creative directed BBH’s biggest account – Vodafone.

So many things I could put up from that time, but I'll restrict it to two - an ad featuring Lewis Hamilton and Jenson Button which touted Vodafone's VIP booking service, and the launch ad for Vodafone Freebees, a rewards scheme for their Pay As You Go service. This big platform idea saw Vodafone-using bees appear on TV, posters, radio, online... everywhere.

I’ve worked quite a bit on the McDonald's account at DDB Sydney, including two years as creative director, making everything from TV ads to ambient pieces to TikToks.

The strategy was to position the Jetta as ‘less expensive than it looked.’ I wrote this campaign – about tradesmen raising their prices for Jetta owners – when I became convinced my builder had put his prices up because he’d decided I was rich. I really wasn’t!

How do you launch a TV channel for grown-up viewers (35-55s) in a way that doesn't make it seem dull?

I came up with the idea of 'adult entertainment', a big platform thought that worked across everything from TV ads to online to T-shirts.

My first book was published in May 2010 and was a bestseller... if you only count advertising books, that is.

It's called 'How To Make It As An Advertising Creative'. The publisher commissioned it after seeing a series of tips I was writing for young creatives on my blog, Scamp.

I do love training young creatives. I've also taught at Miami Ad School, and gave the opening lecture at Award School three years in a row.

My second book, 100 Ideas That Changed Advertising, came out in January 2015.

It forms part of a series by the same publisher, which includes 100 Ideas That Changed Art, 100 Ideas That Changed Fashion, etc.

Books don’t pay. Do not write books.

In 2015, I set up social media agency Hungry Beast, winning clients as diverse as fintech start-ups, digital ad agencies, data companies, and wine brands, providing social media strategy and content. At our peak, we reached 4 staffers.

Running my own business was a great experience, especially in the rapidly-changing world of social media, until I realised that running a company is not my strength haha.

I was asked by Australia's leading trade magazine Mumbrella to write a regular column on social media, and have become an in-demand speaker at conferences on the topic.

On the right, one of a series of content pieces I created to promote a social media analytics company. Published in the Sydney Morning Herald, AFR, The Age etc.

Below that, a story about a rebrand for a mobile/digital agency. We gave it a new name, AFK, that sums up where the world is heading - 'away from keyboard.'

I also named a meditation app (Serena), a provider of employee assistance programs (Benestar), and my friend Alex’s book about maths (Alex’s Adventures In Numberland).

More examples of Hungry Beast's work can be found at the company's website.

As Creative Director at BuzzFeed Sydney, I had sooooo much fun creating social videos, memes and all other types of content for brands like Samsung, American Express, LEGO and 20th Century Fox. I was also hiring/ building/ managing the team here, which is something I really enjoy.

Who says you can’t do good ads for a bank?

The brief was to announce Westpac’s sponsorship of a series of movies. What’s the connection between banks and movies? Well, I realised that movies would be pretty shit if they didn’t have banks to finance them. So we had a lot of fun making the shittest films we possibly could, which for legal reasons we named ‘TubTanic’, ‘Jurassic Garden’, and ‘Up Gun’.