Design I Like: OUTSIDE CDP Curated by Janine Sykes

 

LCA Alumni Advertisment Exhibition

This exhibition covers a selection of Collett Dickenson Pearce (CDP) creative advertising work, created under Leeds College of Art alumnus, Colin Millward, Creative Director, CDP (1960-1979). Visitors are encouraged to ponder whether this art school environment could have influenced Millwards directorship style.
Millward is described by some as a tough taskmaster. He needed to be, as he managed some of the most talented and unruly creative people in 1960's - 1970's  advertising such as Ron Collins, who also studies here at Leeds College of Art.
In the publication 'Inside Collett Dickenson Pearce (2000)' John Salmon and John Ritchie assert that Millward, John Pearce and Ronnie Dickenson helped to form a distinctively creatively-led approach at CDP.
This exhibition considers the contextual influences upon the creative department of CDP, such as post-war British art exhibition and technological changes. In doing so, this exhibition, outside CDP culturally, created by the most awarded advertising agency of all time. 

Acknowledgements
History of Advertising Trust
National Art Education Archive

Vogue

Vogue knows belts are going to be tightened

This advertisement was acknowledgement that Vogue understands that their readers need to spend more wisely- but this shouldn't mean that their fashion choices should suffer. This is playing on the phrase 'tightening my belt' in relation to saving money and stop spending on luxury items.

Clarks

Red leather, yellow leather, green leather, brown leather, 1976

This advertisement shows the fun side of the Clarks and plays on the tongue twister 'red lorry, yellow lorry'

Fiat

Hand-build by Robots, 1979
At the time of filming the TV commercial for the campaign, the Italian factory workers in Turin were protesting about robots taking away their jobs. The campaign won gold D&AD

Wolf in Sheep's Clothing Fiat 132, 1977

This advert creatively communicates the message that the Fiat has deceivingly exceptional qualities. Whereas the campaign it thinks there's a permanent fuel Crisis, 1979 has a more focused message about the benefits of the product.

I really enjoyed this exhibition. As encouraged, I considered whether LCA and it's environment could have influenced Millwards directorship style. I personally feel that it did. Looking at the links and aspect recurrences throughout the work, they have all been greatly led by puns/phrases/tongue twisters.

 This is something which I also like to do within my own work, mixing professionalism with puns and lightheartedness.