For other creatives, particularly those who have been around for a long time, he says to make the jump to client- side will require a certain degree of account service skills because in-house you have to have direct conversations, take feedback directly and do things an agency suit would.
“For some creatives, their worst nightmare is having to talk to the client everyday face- to-face. They would hate it,” he says. “Whereas I was always the person screwing up my face to the suit saying ‘can we just talk to them directly please? I don’t understand the feedback now it’s come through four people’.”
But when asked if creative talent coming into the industry now would see in-house as an option, he thinks yes.
For the younger people coming through it’s a perfectly viable option that might not have been there 10 years ago, he says.
And it might become a need, as Easterbrook sees the potential for there to be fewer agencies further down the track if in-housing continues.
Howl agrees. When looking at the future, he doesn’t see the “fat agencies that do everything”. They will be slimmed-down he says, to produce high-end, game-changing, more specialised work in a tighter, leaner and faster way.
And as agencies shed some weight, marketing teams will grow and make a home for the day-to-day commoditised work.
“It will be a 50:50 marketplace,” he predicts.
And for those organisations that do in-house, The Warehouse Group’s Berglund would like to see the work to not be talked about as a product of in-housing.
Like Stapleton suggests not getting hung up on labels, Berglund wants the reaction to the work to be the same.
“I would like to get to the point where in-house and out-house is not a conversation,” he says. “It’s just about the creative and not looked at as ‘oh it’s by an in-house, that’s a surprise’.”
“Because we can do it, without a doubt.”