Chinese creative legend Tomaz Mok: ‘No relationship between awards and business growth’

With five decades of experience as a creative, Tomaz Mok is a prominent figure in the Chinese advertising industry. Mok, born in Macau, was among a pioneering group of Chinese creatives from outside the mainland to enter the market, earning him the colloquial title of one of China's four 'advertising godfathers'. In 2017, he stepped down from his roles as CEO and vice president of McCann Greater China to launch his own agency, Match.

Mok's distinguished career at McCann spanned 38 years, during which he served as creative head in Hong Kong, Singapore, New York, Seoul, Taipei, Beijing, and Shanghai. Throughout his career, Mok witnessed the rise and expansion of numerous international and local brands in the Chinese market, including Cadillac, Chevrolet, L'Oréal, Coca-Cola, Oppo, Vivo, Nestlé, UPS, Levi’s, Mastercard, Intel, and Microsoft.

Nearly a decade ago, at the end of 2016, Mok co-founded Match Communications alongside several young professionals he befriended during his time at McCann. As co-founder and CEO, he now leads this creative shop, consistently producing award-winning advertising campaigns that have become legendary in the industry.

Mok has served as a jury member for prestigious global awards, such as the Cannes Lions International Festival of Creativity, Clio, and New York Festival. As one of the four LongXi Chinese Advertising Awards co-founders, Mok serves as a jury member and advisor for various domestic and international advertising events. Over the decades, he has dedicated himself to mentoring and training within the advertising industry and at universities across China. 

Campaign Asia had an exclusive interview with Mok, delving into his insights on award-winning creative work in China, his extensive advertising career spanning over four decades, the industry's challenges, and his vision for breaking geographical and cultural boundaries by creating the Longxi Chinese Advertising Awards.

Campaign: Chinese creative entries have not achieved substantial recognition and have not even recorded a decline in the number of award submissions at international advertising festivals, such as the Cannes Lions, in recent years. What’s your take on this?

Mok: First and foremost, this ‘more’ and ‘less’ depends on your measurement criteria. If your conclusion is based on the population proportion, then it is certainly not much. However, every year, there are some award wins. Before Covid, there was a peak in both the number of entries and awards received, including several Grand Prix, across several categories. 

However, we must acknowledge that international awards do not directly correlate with success in the domestic market. This is a real-world issue and winning a gold award doesn't necessarily lead to promotions or attracting more clients. There's no relationship between creative awards and business growth. It's important not to fall into the trap of thinking, 'I won an award, so why hasn't my business grown?' While a small group of highly educated individuals with overseas backgrounds may appreciate outstanding creative work, the vast majority of consumers remain indifferent.

When entering international competitions, it is important to understand the standards of the judges. For instance, many Chinese copywriting pieces are beautifully crafted but struggle to overcome language barriers. Judges aren't biased but are limited by time and may not fully grasp the creative nuances within a few seconds. If judges can't quickly comprehend the core idea of the work during the judging process, it will naturally be challenging to achieve a high score or even make the shortlist.

Chinese advertising campaigns typically target local audiences. Content created for the Chinese market may resonate well with domestic judges, but it can be difficult for foreign judges to empathise with it. For example, the Dentsu Creative project 'Lost in Time' succeeded in winning both domestic and international awards because it addressed Alzheimer's patients, a group of global concern. Its universal appeal allowed it to impress both local and international judges across various cultures.

Do Chinese brands and agencies continue to pursue international awards?

To be honest, I don't think customers have a strong desire for international awards. We won some international awards, but clients did not seem particularly excited when they heard the news. For some, especially within the industry, awards hold significant value. They symbolise a company's prowess and voice, ensuring it doesn't fade into obscurity.

What are the contributions of the Longxi Award to the Chinese advertising industry?

The Longxi Advertising Awards were established to address the gap in international recognition for Chinese-language advertising. Although the Times Awards introduced a Chinese-language category for the Asia-Pacific region in the early 1990s, it was discontinued after just two years.

Founded by David Sun, Jimmy Lam, Peter Soh, and myself, the Longxi Advertising Awards feature a judging panel composed of Chinese experts from various regions, ensuring diverse and representative criteria. Despite the proliferation of awards today, we have consistently upheld the Longxi Awards' cross-regional and borderless nature. Our goal is to break down geographical and cultural barriers. Our slogan, ‘Conquer the world with Chinese’, reflects our mission to promote Chinese advertising creativity globally.

Is the agency model currently encountering challenges in China? What prompted you to establish your own company following your retirement from McCann?

Even though I've moved on from International 4A, I can't stand hearing people talk them down. Overseas markets tend to be more transparent, whereas domestic competition often revolves around price wars, leading to significant cost pressures. International 4A companies inherently have higher costs due to their influx of professionals. However, to truly establish an international brand, one must align with global market standards and have a global perspective and communication skills.

However, the domestic advertising market primarily caters to local consumers, and the presence or absence of international 4As does not significantly impact the market structure. To thrive in the Chinese market, one must understand local regulations, adapt to customer needs, and possess the ability to respond swiftly. Price and flexibility are also crucial factors.

I didn't launch the company out of commercial ambition, but rather to collaborate with like-minded partners, find joy in creativity, and enjoy the freedom to innovate. There are currently many outstanding local advertising companies, and I won't list them all.

What factors ultimately influenced your decision to stay in Shanghai, living and working here for many years after various relocations?

Reflecting on my career, I spent the first decade working in the advertising industry in Hong Kong, learning and building a solid foundation. The following ten years involved working across Southeast Asia, in cities like Singapore, Kuala Lumpur, and Bangkok. I was then transferred to the New York headquarters for two years before returning to Asia to develop McCann branches in Taipei and Seoul.

In the third decade, I moved to mainland China. At that time, the Chinese market was flourishing, with major international brands establishing their presence. However, local brands were relatively few, and spreading brand concepts and advertising ideas was challenging.

Although I didn't initiate the idea of introducing the Cannes Lions Festival into China, I played a crucial role in promoting international awards, such as Cannes, Clio, and the New York Festivals in China. I wrote articles and actively participated in seminars to educate the industry on true advertising creativity, filling a significant gap at the time.

By the mid-2000s, as the automotive industry was booming, I was relocated from Beijing to Shanghai. We started a new branch in Shanghai specialised in automotive branding. At its peak, the team served just one brand with 100 people, focusing solely on the above-the-line business. 

Over the past 30 years in mainland China, I witnessed the Chinese automotive industry surpass the US to become the world's largest production and sales market. At the end of 2016, we founded Match, which is now in its ninth year. I have always believed that entrepreneurship requires strength and passion and that everyone's dreams are different.

From chairman of an international 4A agency to the owner of an independent creative hot shop, this role change has brought me a completely different work rhythm and set of challenges.

What prompted your exit from McCann?

I spent 36 years at McCann, and by the time I left, the group office had grown to hundreds of people, many of whom I no longer knew.

The advertising industry is inherently unpredictable, particularly within large multinational agencies where change is inevitable. I didn't want to passively wait for a letter from headquarters or HR to unexpectedly inform me of my exit. This prompted me to consider my future direction, especially for the team members I had worked with.

The idea to start a new business originated from my team partners, and I was eager to embrace a new challenge. After 36 years with one company, I finally took the step. After that, I had a consultancy contract with McCann in the first two years of my entrepreneurial journey, bringing my total service to 38 years. 

What brings you the greatest joy in advertising?

As a creative professional, I thrive on the process of bringing ideas to life. There's nothing quite like the sense of accomplishment when a project finally hits the market successfully.

From brainstorming and revisions to finalising the details, every step is filled with challenges and excitement. Even though the journey often involves multiple rejections, each adjustment and improvement make it incredibly rewarding to see the work ultimately embraced by the client.

What advice would you give young people starting in advertising today?

Awards are important, but they aren't the sole measure of your success. Don't fall into the trap of relying on them to validate your existence. True growth comes from professionalism, responsibility, passion, and perseverance in creativity.