“There Is Nothing More Interesting Than a Human Story”
Having grown up in France’s capital city of Paris, before moving over to Serviceplan in 2005, Christoph Everke has always been a creative at heart. With his first love being graffiti – a hobby which was cut short by police intervention – his teacher showed him posters, silk screens and pop art, which proved to be much more successful.
He caught his first break as a graphic designer at a small studio in Munich as the go-to Photoshop guy and built up his portfolio and journey from there. Having worked at Serviceplan for over 18 years now, he’s been a part of many award-winning campaigns, including Penny’s ‘The Wish’, as well as releasing five musical albums of his own.
Delving deeper into the innovative minds of the German industry, this interview comes as part of production company REKORDER’s ongoing sponsorship of the German Edition with LBB. Each piece in the series will use a reflection from a REKORDER director as a springboard for the conversation. In this particular interview, our starting point comes from the insight of one of the production company’s talents.
Cyprien Clément-Delmas says,
“I'd love to see more branded content inspired by real stories, emotionally driven, committed to the world and pushing boundaries creatively."
Speaking to LBB’s Nisna Mahtani to delve deeper into this sentiment, Christoph shares his thoughts and more about his journey.
LBB> When it comes to advertising, how often is it that a real story makes its way into a campaign, and when it does, what are some of the trickiest aspects of making the story come together?
Christoph> I can’t speak for others, so I don’t know how often it happens in general, but we try to tell real stories as often as possible, since you know the old and undisputed truth: there is nothing more interesting than a human story or fate.
The tricky aspect is first to listen and then to understand and keep a culture of openness and trust within the team so people are encouraged to either find or even tell (their) personal, true and real stories, and then to trust these basic and first thoughts and develop campaigns out of them without losing the truth in their core.
LBB> In terms of building an emotional connection with the audience, how do real stories and experiences connect with viewers?
Christoph> In my experience, you can literally feel if something has a truth in it. And if it has this human truth, you will find something in your own life or own reality that links to it, and you can start to relate to it. This is important and it is not magical, it is rather biological – mirroring and empathising are the abilities that psychologically make us human.
[Penny - The Wish]
LBB> For clients, what kind of risks arise from crafting this kind of narrative and as an agency, what are some of the considerations that come up during the process?
Christoph> I would not say that there are certain risks. Rather, some watchouts. For example, never try to ‘shape’ and make it more beautiful or somehow try to make it more convenient. You have to stay honest. People will sense if you are being authentic or if it is just ‘tales from adland’ or ‘emotional brand washing’. If it doesn’t feel right for the occasion, the moment, or simply right for you, stay away from it. Find something else. Don’t do something just for the effect.
LBB> Taking things back a little, how did you first find out about adland and what were some of the formative campaigns which shaped your career?
Christoph> If you want to know, it all started with street art and graffiti. I really was into that in the early ‘90s and at some point, went out to try it on my own. But since the police stopped me on my first attempt to paint a message on a wall, I had to find a different technique. Luckily enough my art teacher showed me posters, silk screens and pop art, and that’s when I thought: ‘OK, there is a legal way to do it’. So I gave it a try…
Campaigns for Mercedes Benz (my first nominations at the ADC Germany), Bisley ‘Perfectly Organized’ (my first Gold in Cannes), the Austria Solar 'Annual Report’ (my first Grand Prix), the Auchan 'Sustainability Report’ (my second Grand Prix) and ‘The Wish’ (my third Grand Prix) were for sure the cornerstones, but I think what really shaped my career are the long-lasting relationships – be it with my first creative director in 1996 – Alex Schill, my team - which became more a family than colleagues - and big clients like Penny (12 years) and Hoffmann Mineral (18 years).
[Auchan - Sustainability Report]
LBB> How did you land your first role and what was the biggest lesson you learned during the process?
Christoph> I had my first internship as a graphic designer at a small agency in Munich. The owner gave me a chance and since I was more or less the only one who was able to work with Photoshop (we are talking about 1992), I could be somehow helpful and stand out.
Lesson number one: focus on a special skill to stick out.
Since the agency was so small, I had contact with the owner more often than maybe usual for an intern. One day he said to me: “Mr. Everke, you look like a bum (which I did, to be honest), but you catch on incredibly quickly” and that was it – I was promoted to junior art director and allowed to work on my own campaigns.
Lesson number two: It doesn’t matter who you seem to be and what you look like – it’s all about who you are and what’s inside you. I’ve tried to never forget that since then, especially whenever I’ve had to hire someone.
[Austria Solar - Annual Report]
LBB> You’ve been at Serviceplan for many years now. What about the agency and its ethos initially attracted you, and what’s kept you there for over 18 years?
Christoph> 18 years – that seems almost unreal, especially in our branch. The answer is simple: reliability, freedom and ownership were and still are the core of this agency. The agency gave me the freedom to build and create a high-performing creative team. I think the entrepreneurial spirit of the founders and owners is and was the best driver for every managing partner.
LBB> Of the recent campaigns you’ve been involved in or seen, which are particularly memorable to you and why?
Christoph> I would like to mention three particular outstanding or exemplary campaigns, regardless of size and popularity, for very different reasons.
First and foremost for sure is ‘The Wish’. Basically, every piece of Penny work is memorable and important for me and the team since it led us to ‘The Wish’, but this piece is so special since it is the perfect answer to your first question. If you take a real story (or a combination of real stories), set up a highly empathic and dedicated team, and give it the freedom to develop into something special, you can reach people’s hearts and minds – as a storyteller and as a brand.
The second example would be our campaign for Hoffmann Mineral – a B2B client with a very niche product. We have had this account for over 20 years - I inherited it from my predecessor and had the chance to develop it further and further. Our last redesign was so on point, simple and outstanding – especially if you look at its competitors. It really makes me proud and shows what a long-lasting relationship and trust can make possible in our business.
Coming to our last campaign – ‘Lufthansa’. The honour goes to Till Diestel, the whole team and a very brave client. What we have started here in terms of strategy, execution, storytelling and reshaping of a truly global brand is very rare and absolutely special, and as I believe, is only possible with a team at the peak of its performance.
[Austria Solar - Annual Report]
LBB> Are there any new pieces of tech, or developments which you’re using or watching closely at the moment?
Christoph> It should not be a surprise, but of course, we are watching the development of AI and its effect on every single aspect of our work very closely. We as creatives implemented different tools in our workflow, and as a company with the self-image of being not just an advertising agency, but übercreative communicators, we are constantly developing our own tools and solutions to be able to give our clients answers, services and guidance.
LBB> What are some of the topics which people in the German market are discussing right now and how are those topics finding their way into the work?
Christoph> One word: ‘anxiety.’ German society is for sure irritated about the effects of globalisation, war and climate change. An uprising right wing drift and inflation are also making people insecure about their future.
These topics are finding their way into our work in different ways, always regarding the role and task we defined for the brands we are working for. I’ll give you three examples. With Bitburger we are developing an encouraging and optimistic campaign which will be released around the European Championship.
Penny defined and shaped its role as a social discount store, and we will talk about the proof points for this important role in every campaign.
And with Lufthansa, we send an optimistic and open-minded sign to the world – since every (real) story ever told started (and will start) with a ‘YES’.
[Bisley ‘Perfectly Organized’]
LBB> Creative people often have a long list of hobbies and interests which take up their free time. Is this the case for you and if so, can you share some of them with us?
Christoph> Simple answer: music. More precisely: my own music. After neglecting this part of my life for a long time, I took up songwriting and performing again a few years ago. I am very thankful for the people supporting me there – first and foremost my family since it takes even more time away from them than my job already does. But I am super proud of the five albums I have recorded since. Going on stage, sharing thoughts and music with the audience, spending time with them, and reaching their hearts and minds is a great gift.
LBB> What’s the most surprising thing you’ve learnt while building up your career?
Christoph> I don't know if there is one thing. Maybe it’s the people. If you stay open and try to understand them and their stories, the most beautiful and surprising things can happen.
