Christie Cooper on Creativity, Campaigns and Adland’s Changing Face
For The Monkey's creative director Christie Cooper, being a member of the 2024 Cannes Lions Entertainment Jury is one of many accolades of her career.
From a creatively nurtured childhood to leading award-winning campaigns, creativity runs deep for Christie.
Speaking with LBB’s Tom Loudon, Christie discusses her childhood influences, emphasising the creativity encouraged by her parents. She highlights impactful projects like the Benee ‘Bagels’ campaign, which utilised scientific principles in collaboration with a pop star to address youth anxiety, and her successful advocacy against 'party pills,' leading to legislative change.
Christie also reflects on industry evolution, noting a faster pace and wider array of platforms while stressing the importance of crafting resonant experiences despite shorter timelines.
LBB> Have you always been creative, even as a child?
Christie> Yes, definitely - it was a big part of my childhood. My parents are creative, so nurturing our creativity was a priority at home. We spent countless hours drawing, painting, and writing stories.
LBB> Your work aims to spark conversation and drive change. Can you share a particular campaign or project that best exemplifies this mission?
Christie> The Benee ‘Bagels’ campaign our team at The Monkeys created is a great example. As part of ASB's sponsorship of Youthline, we teamed up with New Zealand’s biggest pop star, Benee, and scientists to create a pop song and music video designed using scientific principles and therapeutic tools aimed at reducing anxiety in young people.
The song's effectiveness was verified through the largest academic study of its kind, which led to a published white paper showcasing the song's capacity to reduce short-term anxiety more effectively than any other song tested. I’m super proud of the team for creating a valuable tool that has been used by millions of young people facing anxiety.
LBB> Your work has influenced legislation. Could you provide more details about one such project and its impact?
Christie> Back in the early 2000s, we had what was known as ‘party pills’ in New Zealand - legal synthetic ecstasy available in convenience stores. Following several related deaths, the government passed a law that they had to be tested on animals. Partnering with Paw Justice, our Online Animal Strike Campaign sparked a public uproar, gaining so much traction that the law was changed within weeks of its launch.
LBB> As a creative director at The Monkeys, how do you empower and nurture your team, and how has your leadership style evolved over the years?
Christie> At The Monkeys, we’ve shaped a culture where we champion bravery, care for each other, the work and the world, and have fun while we’re doing it. The industry can be high-pressure, so we aim to maintain a supportive, fear-free environment so our creatives can take risks and push boundaries with their work.
I’ve always strived to empower our team, giving them room to grow and experiment while being there to guide them and help the work reach its best potential. But over the years I think I’ve got a lot better at putting this into practice. It’s a hard thing at first going from being creative and doing all the work to becoming a creative director and learning to take a step back to guide the team rather than doing it all yourself.
LBB> What motivated you to move from DDB to The Monkeys, and how has your experience at The Monkeys differed from your previous roles?
Christie> I loved working at DDB, but after two stints, totalling 18 years, it was time for a change. Having worked with Damon Stapleton (The Monkeys co-founder and CCO) and Justin Mowday (country managing director, Accenture Aotearoa) for many years, following them to The Monkeys seemed like a no-brainer. It provided a fresh start and the unique opportunity to help shape the agency from the beginning, which has been a challenging and rewarding experience.
LBB> You've created many award-winning pieces. Is there a particular award or recognition that you cherish the most, and what do you think made that work stand out?
Christie> Winning our first-ever Cannes Lion was a pretty special moment. It was a Gold for a billboard for Fruit Burst. The win was unexpected and exciting - an experience that's hard to top.
LBB> You’re a member of the Entertainment Lions Jury at the 2024 Cannes Festival of Creativity (congratulations!). Has the focus of entertainment in advertising shifted in recent years?
Christie> Thank you! It’s an honour to be on the Cannes jury. Entertainment has undoubtedly become one of the most important aspects of advertising today. With consumers having access to such a wide array of entertainment options and demanding more authenticity from brands, we have to be able to create seamlessly integrated engaging experiences that rival mainstream entertainment to be able to capture their attention.
LBB> Having worked in the advertising industry for over two decades, what are some of the biggest changes you've observed, and how have they influenced your approach to creative work?
Christie> The pace is one of the biggest changes - everything moves faster, and there’s less time to craft each piece. But on the flip side, we have so many more spaces to play in. When I first started, we were mostly creating billboards, print, radio and TV ads. Now, I get to work on everything from events and digital tools to social change campaigns. So we focus more on creating experiences and interactions that resonate with audiences on a deeper level.
LBB> Looking ahead, what trends or innovations in advertising excite you the most, and how do you see them shaping the future of the industry?
Christie> I’m excited about the resurgence of comedy. In recent years, advertising has taken a very serious tone, but now there’s a shift back to humour. It’s refreshing and, frankly, much needed.
