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'Everyone has talent. What is rare is the courage to follow the talent to the dark places where it leads.' It's not often that you'll find Erica Jong quoted in the pages of Campaign, but her words seem particularly appropriate for the current debate on sourcing the best creative people.
In a recent issue of Campaign Rory Sutherland, OgilvyOne's vice-chairman and the head of the IPA's creative forum, argued that the ad industry is being too narrow and conservative in the way it hires creative talent.
If only Jong had added something about looking in those dark places to discover that talent, then she'd have pretty much summed up Sutherland's sentiments.
The dark places, in ad terms, could be media agencies, account handling departments, client companies, benefit offices, the post-room - anywhere where people are passionate about advertising and may also have as much creative muscle as a raw recruit who's gone through the traditional art course system.
Those art colleges, Sutherland argues, are churning out people with the same ideas, the same way of doing things; there is no impetus to challenge conventions, to find new approaches or come up with fresh ideas. The result is a creative industry that has become too homogenised, too predictably samey.
I think most people would agree with Sutherland that the industry has become too risk-averse in its hiring policy. As Helen Limbley, currently on a placement at Clemmow Hornby Inge, says on page 23 this week, art school graduates come equipped with all the skills necessary to slip straight into the creative working environment; giving someone from, say, the research department who has no formal creative training a chance to make it in the brutal world of the creative department is a luxury that few agencies could afford today. It's not surprising, then, that so many people on Tony Cullingham's course at West Herts already work in advertising, love the business and want to shift into the creative ...