Justine Armour: flying the Aussie flag at W+K

Justine Armour has come a long way since departing Mojo Sydney in 2011 for a copywriter gig at Wieden + Kennedy, Portland, arguably the world’s hottest agency. Armour has since been promoted to a creative director role, one of only two female CDs at the agency apart from legendary ECD Susan Hoffman.

Was it a scary decision to leave the comfort of Mojo Sydney for Wieden + Kennedy back in 2011 to take up a copywriter role?

It was a little daunting to pack up my life and move to another country, but to be honest it was never “comfortable” in my four years at Mojo. It was tough there; we fought hard to make great work, and the work was world-class. So arriving here, people knew my work and they respected it. Coming to Portland was a different kind of pressure, but working for Micah at Mojo set me up pretty well for W+K.

Why Wieden + Kennedy?

I didn’t want to move to Portland. I wanted to go to New York or London or some big city with a lot of shit to do, and a Barney’s. But then I flew out here and met the people I would work with – people who had made some of my favorite ads, ever – and without exception, I genuinely liked everyone. I fell in love with the building I would come to work at every day, and I felt simultaneously energized and at ease in this weird town. By the end of the weekend, I’d gone from being in two minds about it to really hoping they wanted me.

Have you come across much sexism in your career? If so, has it held you back in terms of promotions?

In my first job, my boss sent me across town to deliver an envelope to a client. It turned out there was nothing inside, I was there so the guy could chat me up. The whole thing was so brazen; I could not believe it was happening. But I was 22, agency jobs were scarce, and I felt lucky to be employed. So I thought, well, I guess this is advertising. I buried the experience and tried to see my role as “cute young girl creative” as something positive. But that is no basis for a fulfilling career. And you get older and less cute, eventually. I wouldn’t say I’ve encountered tons of overt sexism since then, but experiences like that shape your view of what it takes to be of value if your agency doesn’t value its creative product. Certainly my gender plays a big role and always has. Yes, being a woman has held me back in terms of promotions, but mainly because there hasn’t been a female CD at the agencies I’ve worked at, until now. I had CD roles offered to me a number of times in Australia, but I didn’t feel ready until I worked at a place where I saw a woman leading the creative department.

There are still very few women worldwide in senior creative director roles. Any thoughts on how that can change?

A few thoughts! It’s no secret that senior women drop out of the industry or take a step back when they have babies, so maybe agencies could make working conditions conducive to also being a great parent. Limiting everyone’s work hours to when mums can participate, offering the same parental leave benefits to dads so that responsibilities at home are shared, and committing to equal pay for equal work would all be a start.

Is the US easier or harder than Australia to get ahead as a female creative?

I think in Australia we’re just culturally more hostile toward authority, so I never really wanted to put myself in that position at home. For better or worse, Agency culture is quite politically correct over here. What that means is fewer awkward moments where you’re looking at the floor or waiting for some innuendo to pass. Women are treated more like true equals here, and especially at W+K where race and gender diversity is a genuine focus, we are trying to make sure the opportunities don’t fall just to the white guys. Like it or not, women do have a different lens on ideas and they are more innately insightful when it comes to connecting with other women. And that’s a huge opportunity when you consider something like 85% of purchase decisions are made by women.

What advice would you give to young women creatives entering the industry?

Probably the same advice I would give to any young creative. Work the hardest. Look at non-advertising creative references. When you find people you work well with, make as much work together as possible. Work at agencies that show they care about the work and the people who make it. And a big one would be to always be writing comedy. Comedy is a muscle, if you do it every day you get great at it. Then, even if you have a dry spell in production, at least you’re laughing your butt off every day and everyone wants to work with you.

Have you missed Sydney, especially in the cold Portland winters? Any thoughts of returning?

I miss the city and my friends, but I love working over here. Working in a place where my work can affect culture is something I’m really enjoying. So, no current plans to move. Subject to change pending a Trump presidency, of course.

Who have been your major influencers in your career to date?

There have been so many, but here’s who I’m taking my big lessons from right now: Dan Wieden, because he’s the nicest, most genuine person and proves you never need to be an arsehole to be great at advertising. Micah, because he set a higher bar for my work, he’s insightful and makes you smarter just being around him. Nobby is charisma personified, and showed me that making great work comes from great relationships. And Susan Hoffman, because she’s my first female boss, she’s eccentric and unapologetic, and she’s just fucking awesome. She’s 30-something years in, and you get the sense she’s just getting started.