Publicis China CCOs on creativity in a hyper-speed market

"Will the kind of work that works in China work at Cannes?" This is the million-dollar question facing Kelly Pon, chief creative officer of BBH and Publicis Communications Shanghai, and indeed the entire Chinese creative industry.

In a market characterised by lightning-fast trends and a growing confidence in its own unique approach – as Tian It Ng, chief creative officer of Publicis Communications Beijing, puts it, China is now "confident in doing things our own way" – the question of global recognition looms large.

Pon, whose career, from battling for equal pay to challenging gender stereotypes in advertising, mirrors the dynamism of the Chinese creative landscape, and Ng sat down with Campaign Asia-Pacific to discuss the challenges and opportunities of this rapidly evolving market. In a year predicted to be full of changes and challenges, they explore the delicate balance between long-term brand building and the demands of a dynamic market, their ambitions for not just surviving but thriving in 2025, and the potential for Chinese creativity to shine on the global stage. From maximising the potential of AI to celebrating "slowness" in a speed-obsessed culture, their insights offer a fascinating glimpse into the future of creativity in China.

Take a read. 

Q) Campaign: Talk about your early days in advertising. How and why did you enter the industry, and what drove you to lead an agency?

Ng: I kind of stumbled into advertising. I wasn't a great student in Singapore, except for art. So, I went to art college in Los Angeles, hoping to work for Disney or Marvel. That didn't pan out, so I ended up at an ad agency doing illustrations. Luckily, it was a top agency, which gave me a great start and taught me the ropes.

Pon: I studied music in Boston, but realised I couldn't compete with the child prodigies and wasn't cut out to be a concert pianist. So, I switched to communications and interned at DDB Needham in Paris. I also took night classes in economics (in French!). When I went back to Singapore, I landed a job at Ogilvy, then BBH, and eventually helped launch BBH China. Music is still my passion, and it actually informs my creative work.

Q) Talk about your favourite work and explain why its creatively satisfying.

Pon: Last year's Heineken H*AI campaign was a big one for us. It was all about promoting gender equality in football as we geared up for the UEFA Champions League, but it took a fascinating twist.  What's special about this campaign is that in China, the gender equality conversation isn't about female athletes—they’re actually more celebrated than their male counterparts, but female fans are often dismissed as fake. 

So, ten days before the first match, we launched the “world's first football AI.” It seemed like AI, but the answers were from real female fans. It was a bold move for Heineken, especially in China, where these topics aren't often discussed. We sparked conversations and challenged stereotypes, proving that football passion is for everyone.

Ng: I am proud of our work for Audi, especially the latest starring Andy Lau. In a country that is always in a rush, we landed on the countercultural idea of celebrating slowness, patience, and “wasting time” in the correct way. The film features a skilled brush painter, Lin Yusi, to show the value in taking your time––just like Audi takes its time perfecting its designs. The positive response has been fantastic.

Q) Having moved from Singapore to China, what's the biggest difference between the two markets?

Pon: The speed of change in China is mind-boggling. Generational shifts happen every five years, not 10-15 like in the West. Technology, AI, and cultural trends evolve at warp speed. When you live in China, you have to be constantly on the tip of your toes because of how dynamic it is. When I first moved from Singapore to China, I found myself really having to re-learn everything. I'm still re-learning everything every year because of the speed of change here.  

Ng: I've made the move twice. I first came to China in 2007; China was more eager to chase global trends. But now that I have come back, I think it's the other way around: there is a sense of confidence in the market to forge its own path. 

Q) Is it challenging for creative agencies to survive and thrive in China? What's your take on the prevalence of short-term creative work?

Pon: As creative agencies, we must learn to adapt to these changes. We need to integrate new technologies and upskill our teams to remain competitive.

I was talking to a client of mine about how many agents they are working with right now. They said 12. Obviously, the budgets are stretched at a time when clients are also very cautious with their spending and have higher expectations of the work. Agencies need to prove their effectiveness and demonstrate a very clear ROI.

Publicis Groupe has made some very practical decisions to embed data, tech, and AI into our creative practice. We started this shift a few years ago, and while it was tough at first, it’s paying off now.

We also need to tackle the trend of short-term thinking in creative work. Quick wins can be tempting, but they often don’t lead to sustainable growth or meaningful audience connections. Work that meets immediate needs while also building long-term brand value is essential. It’s all about balancing agility with a strategic vision for the future.

Ng: For me, sometimes I wish we could slow down and adopt a more long-term view towards building brands. Conversely, this country is moving so fast. Agencies must balance long-term branding with more tactical campaigns. Otherwise, our clients might face grave challenges because they can't keep up with competitors.

Q) Talk about your most unforgettable experience serving on the jury for international creative awards.

Pon: I had the honour of judging Cannes Entertainment in 2024. It was quite an eye-opener in terms of how people fought to support their preferred campaigns, how to be persuaded, and how to negotiate. The Grand Prix experience was the easiest because of the jury's unanimous decision. Everyone knew what that great work was. There was no need to fight or negotiate or a need to clear any misunderstandings. Regardless of how many different cultures were represented there in the room, it was unanimous.

Ng: My most recent jury experience was Spikes Asia in Singapore, where I judged the print and publishing category. I enjoy judging because it's so good to be a student again. The experience reaffirms why you are in the business in the first place. It makes you love the advertising all over again with like-minded people around you. That's what I really enjoy about judging.

Q) What goals do you have for 2025? Predictions suggest it will be another challenging year.

Ng: My big hope for the year is for China to win an international award, like a Cannes Lion, to prove the naysayers wrong. And on the personal front, I want to stay healthy!