Sinéad O’Connor, Guinness Surfer and Allan Fleming: The Work That Made Matt Hassell

Matt Hassell, founder of Ultralight Creative, believes great advertising doesn’t just sell—it resonates. As a chief creative officer, he’s built creative departments, shaped brands, and pushed ideas that matter.

His work—recognised by Cannes Lions, Webby Awards, One Show, and more—spans digital, design, film, and experiential. He’s led creative teams at OgilvyOne, KBS Canada, and Forsman & Bodenfors, always finding new ways to connect brands with culture.

He’s spoken at Google, DX3, and CMA, but prefers to let the work speak for itself. At his core, he believes great ideas come from curiosity, collaboration, and passion.

LBB> The ad/music video from my childhood that stays with me...

Matt> Without question, the video that has stayed with me since the very first time I saw it is Sinéad O’Connor’s cover of 'Nothing Compares 2 U'. It hit 15-year-old me pretty hard—especially given the landscape of music videos at the time.

Madonna was voguing. Paula Abdul was dancing with an animated wolf. MC Hammer had some pretty amazing pants. And then there was this: A single face, raw and unfiltered, stripped of everything but emotion. The simplicity of it, the authenticity of her tears, that voice. No tricks, no distractions - just feeling.

It was one of the first times I remember completely closing out the world and focusing on something so intensely. I wasn’t just watching—I was absorbing it. And I think that video planted an early lesson in me: When you have the right ingredients, stop adding anything extra.

LBB> The ad that made me want to get into the industry...

Matt> Easy - Guinness Surfer.

I first saw it in ad school, at a time when I was debating whether to stick with my BA or drop out and pursue culinary school. Having spent my entire working life in kitchens up to that point, I was leaning toward cooking. But this ad cracked something open for me.

It wasn’t just another ad. It felt different. It sat above all the other voiceovers and filmic approaches. It made Guinness feel like it was for smart, worldly, adventurous people who could tell stories.

It showed me that advertising could be something I hadn’t figured out yet—something worth chasing. And I still show it in brand workshops to this day.

LBB> The creative work that I keep revisiting...

Matt> How does anyone ever answer this question? There are so many. But if I had to choose, James Turrell’s light installations stand out.

I remember seeing his work at Beaux-Arts in Montreal and staying far longer than I’d expected. His pieces are both inviting and mysterious, natural and otherworldly. They don’t just ask to be seen. They seem to demand time. They’re sculptures without material, experiences rather than objects.

For me, they’re a reminder that not everything needs to be “figured out” or “solved.” Art doesn’t have to be a riddle or an inside joke. Sometimes, just being is enough.

LBB> My first professional project...

Matt> I was volunteered as a hand model for a beer poster that was going to be in liquor stores or something—I never actually saw it on shelves, to be honest. It was one of those “hey, let’s grab the intern” situations during my first week at Zeppelin Communications and Design in Toronto.

LBB> The piece of work that made me so angry that I vowed to never make anything like that...

Matt> Choosing a specific example is tough—so I’ll cop out and say anything where the actual target market was never even a consideration. Whether that be awards bait or trend-hopping to impress peers and not actually help the brand.

LBB> The piece of work that still makes me jealous...

Matt> Allan Fleming’s CN logo.

In 1960, he designed something that still looks modern over 60 years later. One single, continuous line/track forming CN—clean and bold. It’s a railway logo, sure, but it somehow captures movement itself.

At Ultralight, we talk a lot about creative essentialism—the idea that the best work isn’t about adding more, but about finding the core and making it undeniable. The CN logo is exactly that. No decoration, no filler. Just pure form and function in perfect balance.

I keep coming back to it because it’s a reminder of what great design—and great ideas—should be. Simple. Smart. Built to last.

LBB> The creative project that changed my career...

Matt> I’d say probably the Dove Photoshop Action digital activation from way back. It was one of the first projects where the client and agency seemed equally passionate.

That team mentality was new to me at the time, and it’s something I’ve sought out ever since. And it was also one of the first projects that my next employer cited as a reason they hired me... ha.

LBB> The work that I’m proudest of...

Matt> Launching Ultralight Creative.

It has completely changed my perspective on the industry and my appreciation for the clients, partners, and people in it.

LBB> I was involved in this, and it makes me cringe...

Matt> Nothing. I learned from all the bad stuff (and there was lots).

LBB> The recent project I was involved in that excited me the most...

Matt> That would have to be our new campaign for Seneca Polytechnic.