5 Minutes with… Sarah McGregor
For some people, the most important thing to remember is that in an ever-evolving industry, your creative strategies must also be evolving. In delving into her dynamic career, dentsu Creative Australia ECD Sarah McGregor paints the picture of a robust professional constantly learning and refining their craft.
In her current role at dentsu Creative, Sarah emphasises collaboration and harnesses the collective genius of diverse minds across a global network. At the same time, as a mentor for The Aunties, Sarah is laying the groundwork for the next generation of women in advertising.
Her remarkable journey from copywriter to executive creative director is strewn with insights on creativity, leadership, and the power of diverse perspectives in advertising. Sarah also reflects on her passion project for organ donation, and its heartwarming connection with the World Transplant Games.
LBB> In your current role as executive creative director at Dentsu Creative, what creative strategies or approaches are you implementing to navigate the evolving landscape of advertising and marketing?
Sarah> At Dentsu Creative, we are big on collaboration and the best part about the way the company works on a global scale is you have so much access to incredibly smart people working in spaces that are completely different from your own. So, on every project, I’ve been milking this brilliant set up for all it’s worth. Bringing in lots of different minds, lots of different disciplines. If we have an idea, we can tap into people both in our own office, but also across the network – and the best part is, everyone, without exception, is always happy to give their time and talent to help refine our thinking - no matter the time zone.
LBB> You've had an impressive career spanning both Melbourne and London, working with renowned agencies and brands. Can you share a project or campaign that stands out as a defining moment in your creative journey?
Sarah> We’re working on a project for organ donation at the moment that I’m really excited about. Without giving too much away, we teamed up with the World Transplant Games, held this year in Perth. The athletes who compete there are incredible – I challenge anyone to listen to their stories and not get emotional. This kind of work is what I live for and what I hope defines me as a creative – using communication and entertainment to change human behaviour for the better. It brought out the best of what I love about Dentsu – many talented people from different disciplines working together to create something truly special.
LBB> Your involvement with The Aunties, a mentoring and events program for women in the creative industry, is noteworthy. How do you see mentorship impacting the creative field, and what inspired you to become a founding member of this program?
Sarah> For me, it’s about giving this next generation of young women a better time than I had in the early days. Back then, I really didn’t have female mentors, and there were few women in leadership positions around me that I could talk to or watch and learn from. This became particularly pertinent once I’d had a child – one conversation could have changed so many of the apprehensions I had and made my entry back into the workforce so much easier. That’s the power of mentorship – everyone should have access to that.
LBB> You've received numerous awards and recognitions, including Creative of the Year at the B&T Women in Media Awards. Can you share the story behind this achievement and the importance of recognising women's contributions in the industry?
Sarah> Winning that award meant a lot to me. The awards were held in Sydney, and on the day in question, my usual backup caregivers (including my husband) were all interstate so I took my three-year-old son with me and while he slept in the hotel room with a babysitter, I went to the award show. It was special because it was proof that being a parent had actually made me better at what I do and helped me achieve so much more. That’s why shows like that are important – sometimes the road isn’t easy, and it’s important to show yourself and others that it’s not impossible.
LBB> As a leader in the creative industry, what advice do you have for aspiring creatives looking to make their mark and build successful careers in advertising and marketing?
Sarah> I think it’s so important to stay true to yourself and the unique things you bring to the table. Advertising is a much more fun place when it’s made up of diverse and interesting characters. And this impacts the work too – the campaigns I most admire are stamped with the personality of those who made them. That’s what makes them distinct and special – don’t be afraid to put yourself into your insights, your ideas and how you work with others.
LBB> Your career has taken you from copywriter roles to head of copy and eventually to executive creative director. What key skills or experiences have been most instrumental in your journey to creative leadership?
Sarah> Working in agencies that are open and collaborative helped a lot – that way, I was given great exposure to strategists, smart digital people and senior leaders, and sponge-like, use what I saw to help mould how I wanted to be. Being involved with AWARD School as a tutor and later a school head was also invaluable – that’s how you practise creative direction – giving feedback to others in that way teaches you about your own process and what makes an idea impactful and why.
LBB> You've served as the head of AWARD School, a renowned course for aspiring creatives. What challenges and rewards did you encounter in this role, and how do you believe education contributes to the growth of creative talent?
Sarah> It was incredibly rewarding seeing the growth of the students. Award School is gruelling, but it allows you to hit the ground running, especially if you work as hard afterwards as you did during the course. I’ve often seen students who may not have made it into the top ten become the most successful now they’re in the industry, perhaps because they had to work that bit harder once the course finished, and they kept that momentum. The biggest challenge of Award School is in attracting diverse students – gender parity in both successful applicants and those who finish in the top ten is excellent, but we would all love to see students from more diverse backgrounds applying to the course in the first place – however, that’s also a challenge for the industry as a whole.
LBB> Your work has been recognised at prestigious awards shows such as Cannes, The Clios, and The Effies. Can you share a brief behind-the-scenes story of one of these award-winning campaigns and what made it exceptional?
Sarah> One of the closest to my heart was the work we did for Marriage Equality. The country was incredibly divided, and it felt like the official campaign wasn’t tapping into the emotion behind the issue – so we decided to step in and do it ourselves. We had 12 days to produce the spot with zero budget and find a way to run it during The Bachelor finale – one of the most expensive slots of the year. With the help of Airbag Productions and the generous donation of a 60-second spot from Bachelor sponsor Wrigleys, we were able to make it happen.
Awards were an unexpected bonus – I think the reason it did well was because of the media placement but also because we used real footage (with such a short production time, we had to!), and you can’t fake that kind of sincerity. The addition of a beautiful cover of ‘Don’t Dream It’s Over’ lifted the film to something that people couldn’t ignore.
But the greatest reward was standing on the steps of Parliament House as they announced that the yes vote had triumphed – that is a moment I will never forget.
LBB> You've also been on the jury for various industry awards. How does the experience of judging creative work influence your perspective on creativity and the advertising industry as a whole?
Sarah> Judging award shows is always the most incredibly valuable experience. Not only do you get to see the very best work of the year, but you also listen for hours to smart, impassioned people on the jury argue for or against the top contenders. You get to hear directly what elements of an idea elevate it or hold it back. That kind of exposure and learning is invaluable.
LBB> Finally, you've been actively involved in the creative community through roles like The RMIT University Professional Advisory Committee and MADC. How do these involvements contribute to your personal growth and the betterment of the creative industry?
Sarah> I get so much out of both of them, in different ways. Being close to the students and those who guide them at RMIT is both humbling and exciting – it is a joy to see the enthusiasm and resourcefulness of the next generation and to potentially have a hand in shaping how they learn. MADC is a different kind of joy because it’s like a fantasy league of great Melbourne Ad people who I might not get to work with otherwise. My role is based around organising inspiring guest speakers for our MADC Presents series, so I get to beg the time off (and eventually meet) some true heroes. Plus, I see behind the scenes how arguably the world’s best advertising party is put together – again, lots of different disciplines working as one to create something brilliant and unforgettable.
