How the Story of an East-End ‘Boxer’s Boxer’ Shaped this London Creative Startup

With founding clients including PAPAYA Games and wagamama, and a model that eschews an hourly rate for a value-based way of charging, the agency looks set to live up to its name, which was a catch phrase of Dom’s grandfather Tiny Bostock (pictured above). To hear that family story and how it’s shaped the new venture, LBB’s Alex Reeves caught up with Dom. 

Dom> Tiny Bostock, a famous boxer from the 1930s, hailed from Leek, Staffordshire. After his father died in the war, Tiny had to leave school at the age of 14 to support his family. He sold firewood and fought for money. Initially a choir boy at the local church, Tiny was trained to box by the priests. He was considered the boxer’s boxer, who, despite having over 200 professional fights, never broke his nose. After defeating his opponents, he would entertain the crowds of 30,000 at Old Trafford in Manchester by singing that he was "The Goods." He was my grandfather.

During the peak of his success he beat Small Montana, the world champion, and lived in Bethnal Green at his famous promotor’s house Jack Solomon, the character we believe Tom Hardy’s character was based on in ‘Peaky Blinders’.

Tiny would run 20 miles before breakfast and fought almost every 10 days, with bouts lasting up to 15 rounds. It was relentless. He emphasised the importance of dedication and raised our family with a philosophy of doing things properly. Quality above all else. Hone your craft. Work hard. Train hard. Be the Goods.

Occasionally, he would honour family members by telling them "You're the Goods" if they demonstrated these important traits in their lives. 

Launched in London in 2024, our collective creative, strategic, and full production studio is built for modern times. We draw from a specialist senior talent pool focused entirely on stories, technology, and craft, delivering streamlined value and moving at the speed of the economy. Our purpose is to connect audiences to brands in powerful ways.

Our clients, our staff, our work—You’re the Goods.

Dom> While working on the Lucozade account and as a boxing fan, I suddenly realised that the incredible life story of Anthony Joshua, whom Lucozade Sport had sponsored for some time, had never been told. Proactively, I wrote a script that distilled his story and presented it to the client. I explained that this story might be told by some of the other sponsors supporting AJ. Although there was no dedicated budget, the client showed great support and enthusiasm, and I was asked to present the script to AJ himself to gain his permission.

AJ was on holiday in Dubai with his friends before heading into fight camp against Klitschko at Wembley, and I was about to interrupt this to read him his life story! Naturally, I was anxious about how unwelcome this intrusion might be. I couldn’t have been more wrong. AJ met me by the hotel pool with his manager, Freddie, and was incredibly warm and welcoming. He listened intently to the story. As my fears dissipated, it became clear he was fully behind the project and even started suggesting music tracks to accompany the film. 

The one thing he did say a little more sternly was that this was his life story, so don’t mess it up! With great responsibility, I reassured him that the next phase was about doing justice to the idea and pouring everything into the thousand decisions required to protect the craft. Everything up until this point had been logical. Now it was time to hone the craft and transform it from logic to magic.

After our meeting, AJ asked me what my plans were and if I wanted to join him and his friends at the waterpark. Stunned and excited, I agreed. Suddenly, I found myself sitting in a giant rubber ring about to plummet down a steep water slide, with 17-stone AJ sitting opposite me, clearly breaching the ride's weight restrictions. For the next 30 seconds, I remember screaming in a very high-pitched voice, which seemed to elicit the infamous belly laugh from the boxer. The fun didn’t stop there, as he generously invited me to join his crew for go-karting in the blistering Dubai heat. Thanks to my weight advantage, I managed to outpace all of them, shouting, "Who’s the champ now?" Realising I might have taken things too far, I simmered down over dinner and a burger.

From this point on, and with a limited budget, I poured my heart into this special project. AJ sent a video message while in fight camp after reviewing the finished work. He absolutely slated it. I literally collapsed to the floor, wanting so badly for him to love it. Five minutes later, he sent another message, cracking up laughing and saying, “Got you!” He was incredibly happy with it and was just messing with us as usual. He sure did get me. This project was something I felt a deep connection to, and I’d like to think Tiny would have said, “You’re the Goods, son. You’re the Goods.”

Dom> As I advanced in various creative departments, I increasingly found myself in the peculiar situation of being told I had exhausted the 10% time allocated for a particular project. Surprised, I would ask who decided on this 10%, pointing out that quality suffers if my time is diluted due to cost constraints. I felt clients weren't receiving the value they were promised, which left me increasingly dissatisfied. As a creative who passionately believes in the value of craft to elevate ideas, elicit emotions, and create impact for brands, I felt this compromise was unacceptable. 

At YTG we operate under a different model. A value-based model. Where senior experienced talent can dedicate proper time to a client’s business that isn’t based on an hourly rate. 

We believe that the rate-card model has devalued our industry's ability to build and transform brands effectively. We're working within a framework where risks and rewards are shared. Our approach involves top-level thinking and exceptional craft skills, with small senior teams actively engaged in the work. This hands-on involvement leads to more renowned and impactful outcomes.

Dom> The landscape of advertising has evolved from its once-cool status. As society and individuals have changed, we must adapt by offering new engagement and employment models that cater to the best talent, aligning with their lives and preferences.

Agency profit margins are now so tight that efficiency is the key to profitability. This often means relying on junior staff for extended periods to maximise tenure and justify contract lengths. Compensation is tied to effort, with rewards reflecting the performance of output.

Clients are eagerly embracing the opportunity to diversify their brand partnerships. They are moving away from traditional long-term exclusive arrangements in favour of assembling teams of specialised partners. These experts are frequently engaged on a project-by-project basis to collaborate on specific tasks.

Dom> Protecting the quality of thinking, craft, and effectiveness is crucial because it ensures that the creative output is not only innovative but also impactful and memorable. High-quality thinking drives insightful strategies, while exceptional craft brings these ideas to life in a way that resonates deeply with audiences. This combination leads to more effective branding and marketing efforts, ultimately achieving better results. Additionally, providing creative professionals with the freedom and satisfaction to delve deeply into their work fosters a more passionate and engaged workforce. This not only enhances the quality and depth of their thinking but also leads to more inspired and effective solutions, driving greater success for brands and a more fulfilling experience for the creatives involved.