The Book of Tom

I’ve held leadership roles at the creme-de-la-creme of companies in my field. My work blends creative excellence with real world effectiveness and I have won many international accolades to that end - I love work that works.

My combined experience of working both client and agency side has helped me develop a unique skillset and perspective, that blends an understanding of market, commercial and brand realities, with award winning creativity to connect with consumers on a global scale.

Flite is an Australian success story, growing rapidly from a 2017 startup to become the world’s biggest and most valuable electric hydrofoil brand, found on 75% of the world’s super yachts. I had done some freelance writing and conceptualising for Flite previously, before agreeing to join them permanently as a senior copywriter. But after only 9 months I was promoted the role of Creative Lead, where my remit was to oversee Flite’s entire creative output across two distinct brands - Fliteboard and FLITELab*. This included being responsible for all branding and marketing content across multiple platforms (Instagram, Facebook, Youtube, LinkedIn, web and digital media). I was also tasked with developing the strategic positioning of both brands as well as ideating multiple retail activations each year, in addition to defining the creative look & feel of each new product line.

Remember 2020? In the eye of the Covid storm? That was about the same time I swapped the UK for Australia, for the second time, only this time came with an eye-wateringly expensive flight and a 2 week stay in quarantine. Luckily they let me out to freelance for clients in Sydney, Melbourne, Brisbane and London, sometimes on site, sometimes WFH. I worked across multiple brands & agencies and highlights have included hero-ing the Aussie Ashes Cricket team (challenging for a Brit) launching the Audi Q5 and offering help to Carers who’d never ask for it, via the goverment’s Carer Gateway initiative.

After permalancing at McCann for a year and a half, they finally persuaded me to officially join the team. And what a team, probably my favourite place to work so far. Great people, great culture, great ads. I had a roving agency role, where I worked on pretty much everything as well as client facing roles CD’ing Mastercard, Dettol, Nurofen, Birds Eye and Shreddies. I was part of many winning pitch teams and also discovered my love of mentoring younger teams. Good times. Then, in the midst of lockdown we moved back to Australia to be closer to my wife’s family.

It was always a dream of mine to work at Abbott Mead, so I was stoked when they entrusted me to head up the £2M Bacardi portfolio. Working across Dewar’s Whisky, Bombay Sapphire and Bacardi Rum, I developed strong client relationships that culminated in launching the first brand work to come out of the account in 4 years (good things come to those who wait!!!).

Anomaly got me in for a couple of weeks to help with a few projects. We won some pitches together so I stayed for 5 months. Great company, great people.

After 5 years in Sydney, London was calling, via the Asian subcontinent. What a life affirming adventure. And amazingly it didn’t put my kids off travelling for good! Check out #spicertravels on Instagram if you’re interested.

In my time at Arnold Furnace I helped the agency win a host of awards for the first time in its history, including at the Webbys, New York Festivals, Award Awards and Spikes Asia.  After 18 months cutting my teeth as a Joint Creative Director for the first time, I was promoted to Executive Creative Director where I enjoyed successfully pitching for clients as diverse as Volvo, Sanofi and Jack Daniel's - the last campaign for which was judged the best piece of work in the entire Havas network that year. Not bad from an agency of just 25 people. I also saw the agency's creative ranking rise from among Australia's top 50 to inside the top ten - their highest ever position.  After leaving the agency I was ranked as the top freelance Creative Director in Australia.

Did some mega work here, won some mega awards and saw my career really take off. Me and my partner also came up with Sky’s endline - Believe in Better - which they still use today on all their ads, vans and collateral. It’s keeper for sure and still gives me a buzz whenever i see it.

Where it all started. We blew the bloody doors off, winning our first awards across multiple accounts and multiple awards shows. Starting on placement, leaving as one of the best creative teams in London.