The agency's most awarded campaign. Picking up Grand Prix at the Clios and Eurobest, five pencils, four lions and golds at virtually every other show. Written by a team I hired and mentored. Oh, and it actually saved children's lives.

My M&CSaatchi highlights were writing these campaigns for Transport for London. Our Pigeon/Parrot poster picking up Campaign silver (beaten to gold by a scam ad grrrrr). But more rewardingly, the poster is still being talked about every year around Carnival time and being sold at the London Transport Museum.

After winning the Beko pitch (ironically, then against VML) with some hard working campaigns, we earned an opportunity to present a “Cannes worthy” idea. They bought it. And it delivered — picking up an Epica Grand Prix amongst other silverware.

As a long term client of JWT, my job was to keep the HSBC internal team happy, pushing them forward without my interference fucking it up. This multiple gold winning piece was the highlight.

I was the ECD of WT, but I was also fully billable. Being global creative lead of KitKat paid the bills. A crazy role that had to balance the global efficiency focus of Nestle with the creative expectations of an iconic brand from our own holding company. I somehow managed to achieve both. The global markets all ran the work — win. And the work won, big time. ‘Cursor’ picking up multiple golds and the PhoneBreak campaign — set from my campaign brief and sold to my clients — picking up a Cannes Grand Prix.

John Hegarty wandered into our office (his was the one next door), looked at this campaign on the wall and said it was the best creative articulation of Keep Walking he’d seen since they had the account. Boom. He also told us to keep the noise down.

I wrote a lot of work for Audi at BBH. These two pieces are my favourites. The poster picking a Campaign silver and the Quattro film making the Top 5 ads of the year. But better than both was the pride I took from being handed the keys to the agency’s flagship account in my final year there.

Whilst a CD at BBH, I asked the CEO at the time, Ben Fennel, what I needed to do to get to the next level. He was as clear as ever ‘Turn around Tesco’. It needed it. The account had eaten through four Creative Directors so far and created not a lot creatively to show for it. Four years later it was the most desired account to work on. Winning Campaign’s Brand of the Year and ‘winning a Christmas’ along the way.