David Bernstein: Creative Businessman

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 Paul Christopher Walton remembers working with one Adland’s Greats

 

I am proud to have been David Bernstein’s straight man.

I had joined The Creative Business in 1980 to set up a planning department and I was soon immersed in David’s unique credentials patter. Introducing our line up to senior clients in the Neal St boardroom, David would say “I’m Creative” and pointing to Laurence, his partner, “He’s Business” and then looking at me, “And oh, he’s Limited”. It always got a laugh and set the tone for some memorable new business meetings.

Working for David was never limited in any sense, but rather a wonderful mix of marketing and stand-up comedy; of smart management consultancy and improv; of high culture and low music hall.

David was the presenter’s presenter and his opening stich remains as fresh today as when I heard it for the first time:

“Hello, my name is David Bernstein, MA FRSA – that’s a funny way of spelling Bernstein. It gives me great pleasure [Pause] and no money to be with you this evening….”

But David was much more than a drole minister of pun. David knew everyone, including Ronnie Kirkwood who popped up in his anecdotes like a long-lost friend.

As one of Adland’s great Creative Directors (McCann, Ogilvy) he won all the glittering prizes and wrote some famous lines (The Esso sign means happy motoring) He was also one of the Outdoor industry’s biggest advocates, making a series of well-respected films and masterminding a notable conference in Nice.

As an entrepreneur, he was one of the great challengers of the industry and founded The Creative Business, whose media neutral philosophy was years ahead of its time. He was very proud of the Agency’s core belief that an understanding of the problem should dictate its solution.

But above all, David was a great writer who wrote with an elegance and wit that was always delivered with a fine command of rhythm and timing. Creative Advertising (Longman, 1974) remains one of the most readable texts on the art of business persuasion. Later in his career, David developed a fascination with corporate reputation and his book Corporate Image and Reality (Holt, Rinehart and Winston, 1984) became the essential primer of corporate communications. As usual, David had a great way with rhetorical hairpins:

“Product brands take minimum differences and set out to magnify them. It’s a shame that corporate brands too often take large differences and end up minifying them.”

As I can attest, David was a marvellous teacher and had a knack for making even the most difficult subjects accessible and fun. He loved mnemonics. In evaluating creative work, David said there were four things to look for:

  • Visibility
  • Identity
  • Promise
  • Simplicity

He called this his VIPS model, which he explained gave you SPIV when spelt backwards.

David Bernstein is one of the giants of British advertising and was awarded the Mackintosh medal in 1982. He last great service was as a tireless supporter and Trustee of the History of Advertising Trust.

The boy from Croydon who was as old as Mickey Mouse inspired a whole generation of business people to be more creative, and I’m so proud to be one of them.

His was and is a highly distinctive brand – which reminds me of one other classic Bernstein routine:

Looking at a rough ad, David would ask with just a hint of a wicked glint: “Is brand evident?”, and while the team were formulating a response, smiling, he would add: “Which is, as I’m sure you have worked out, an anagram of David Bernstein. Boom! Boom!”

 

Paul Christopher Walton

The Value Engineers

 

Planning Director and Straight Man

The Creative Business

1980-1986

 

Marketing of the beat and track #1

Learn the Art of Positioning from British History

Brands are notoriously difficult to summarise, but are dead royals any easier to data- reduce and distill? Thanks to Penguin Monarchs, a new series of books from Allen Lane, you can now learn about positioning whilst you’re studying our kings and queens. Breezily written by some of our best historians, this ever-growing series of slim volumes with characterful book jackets all sport a catchy proposition.

William IV was in more senses than one A King at Sea. We should really understand the significance of the reign of Henry VIII with all those failed relationships as The Quest for Fame. Henry V journeying From Playboy to Warrior King seems to be a great example of successful brand visioning. Sadly for the kingdom, his saintly boy, Henry VI was A good, simple and innocent man whose weakness precipitated the Wars of the Roses. But what exactly were the qualities that made Charles II The Star King? And is The Red King the best that William Rufus can offer us? Or is he just the King of Bland?Marketing IMG_4407