Joris Philippart’s Love of the Point-of-View Perspective
Reading, playing with LEGO sets and building skyscrapers in his mind, the dreamer in Joris Philippart was perhaps an indication that he’d one day be a creative. The creative director at TBWA/NEBOKO initially had ambitions of being a furniture designer, but swapping the hands-on for the more conceptual, found his way into the industry.
With a love of point-of-view driven work, there are many campaigns created by agencies and brave brands which have inspired him, including Miller’s ‘High Life’ spot from Errol Morris, Droga5’s New York Times campaigns and various other work from his TBWA colleagues. With these in mind, as well as his experience across several agencies, Joris always prioritised finding his own ways to create, methodologies which suit his personal working style. At TBWA/NEBOKO, he’s embracing the all-important disruption the agency champions.
To hear more about what inspires him, how he found his personal working style and why he believes in doing “your own thing”, Joris speaks to LBB’s Nisna Mahtani.
LBB> In your younger years, were there any indications that you’d wind up as a creative?
Joris> I was a bit of a dreamer. I enjoyed reading and playing with LEGOs. Nothing particularly unique. I have quite strong dyslexia, which was discovered early on. I feel that many people with dyslexia somehow end up in the creative industry, so maybe there is a connection there.
LBB> What was your first introduction to the advertising industry and how did you know it was the right fit for you?
Joris> I originally wanted to be a furniture designer, but the part where you make things with your hands I didn’t enjoy. Then I studied graphic design but wanted to be more conceptual, so figured out advertising would be cool. I built my portfolio by looking at the websites of agencies and trying to figure out what work I liked and why I liked it.
Eventually, I got lucky and met the Stone Twins who took over the graphic design department at Design Academy Eindhoven. They were working at Wieden at the time and made introductions. Also, the CEO at Saatchi in Amsterdam, Arjan Kapteijns, saw my book and kindly introduced me to a lot of their offices around the world. That was pretty amazing. So, I ended up booking an around-the-world ticket and visiting all the agencies I liked, eventually landing at Mother.
LBB> Are there any formative pieces of work which inspired you to create your own?
Joris> There’s a lot. I always like point-of-view-driven work. The old Honda work from Wieden+Kennedy London was pretty mind-blowing. I love the Miller ‘High Life’ spots from Errol Morris despite most of it being un-runnable today, most of the New York Times work from Droga5, and I thought the adidas ‘Breast Gallery’ was brave. I also find it impressive what TBWA\ Media Arts Lab does when it comes to super imaginative product demos for Apple. Then there are agencies like Mischief and Uncommon who are challenging the industry, which of course, I love too.
LBB> You’ve worked across several different agencies, including Mother, VCCP and Wieden+Kennedy. What has your experience across them taught you about the industry and your personal, creative process?
Joris> Every agency has its own methodology, and it is great to try as many as you can. You can see what works for you and what doesn’t. But in the end, I never like being forced to work a specific way. It does happen when you think this ‘way of working is not for me’, but then the moment you leave you start working like that. For me, each agency had something to add. Mother was super creative and my crash course into advertising, VCCP is an impressive business, and at Wieden, I learned point-of-view driven work. TBWA has disruption, which works well for me. It is open enough to bring in a lot from my previous experiences, but at the same time, it is always focused on doing something different, breaking a market convention. I like that.
LBB> In 2010 you made the move to Amsterdam. What prompted the change and what is the advertising industry in the Netherlands like?
Joris> First there was Brexit, London was pretty down. Then a combination of life and wanting to change things up. I was thinking of having kids and thought Amsterdam would be a better place to do that. At that time, I had been at Wieden for over five years, which was amazing, but I didn’t want to end up only being able to work one way. That being said, I also looked at moving to the Amsterdam office, but they told me I had to wait as they were full.
So, then I picked up the phone of the editor-in-chief of the Dutch equivalent of Campaign called Adformatie and said I was looking to move. He then introduced me to Indie who needed a CD. That became me.
I feel the Amsterdam industry has changed a lot since I have been here, it has become more and more international. Brands and creatives from all over the world seem to come here. At TBWA there is a real melting pot of different people and cultures. I find that very inspiring. It feels like I am in the right place at the right time.
LBB> You recently worked on a spot for ING. Can you tell us a little bit about that campaign and the process behind it?
Joris> How do you convince the brightest people, who want to change the world, to do that at ING? Even if they never considered working at a bank. You start with what matters to them. Whether it is the environment, money laundering, fraud or inclusion. At ING you have a chance to impact the things you care about.
A recruitment campaign says a lot about who you are as a company and where you want to go. Luckily our clients felt the same way, so we were always united in the creation of the spots.
LBB> What were the most challenging and most rewarding parts of creating that campaign in particular?
Joris> The most challenging was that a lot of the people in the films and print are actual ING employees and it was shot at their offices during work hours. So, imagine the logistics! Luckily, we had an amazing team and client. It was a first for me, but it made the work a lot better.
Also, it is nice to see that the people we made the ads for are sharing them and that through all the layers at ING, it makes the employees very proud of the place they work. That’s pretty cool.
LBB> Can you share another piece of work that you believe was formative in your career?
Joris> ‘Endangered Emojis’. It was a proactive piece of work; we found the client [WWF] and he dared to make the project not fully knowing whether it was going to work. Then a lot of famous people started participating. In the end, the donations that came in covered more than the cost of building it.
LBB> What’s the best piece of advice you’ve ever received?
Joris> Two actually:
Figure out the point you want to make. Write down all the arguments. Put them in the most compelling order and only then turn it into a piece of writing.
The moment you stop caring what others think is the moment you start becoming useful.
LBB> People find their personal inspiration through various means, from hobbies to people and other work they have seen. Where do you find yours?
Joris> From my partner who works in fashion. That always gives a unique perspective.
And from a lot of people, I work with. Everyone has their own unique way of looking at things. Trying to understand why they like what they like, opens me up to things I would have never found on my own.
LBB> Aside from work, how do you spend your free time?
Joris> Outdoor swimming all year round, spending time with my kids, cooking, running, photography. I have a side hustle with my partner where we shoot abstract still life with flowers.
LBB> Is there anything else you’d like to share?
Joris> Firstly, a quick shout-out to Inna, Hampus, Robert, Tiffany, Sanne, Bea, Xavi, Geerten, Bruut Amsterdam and our great clients at ING. The amazing team behind the ‘make it your job’ campaign I was a small part of.
Secondly, please don’t listen to me and do your own thing.
