Elle Bullen on Why Briefs Are like Bolognese
Elle is one of Australia’s most highly regarded creatives. She has been recognised for her work countless times, including being one of the only women to be awarded a Gold Siren Award for radio advertising.
She was recognised as the Australian Creative of the Year and B&T Women in Media Awards in the years 2016, 2020, and 2023.
Elle has worked with a number of clients including, 7-Eleven, Bonds, TAC, and Myer. She started her career as a copywriter at Leo Burnett Melbourne and, today, she finds herself as the executive creative director at the indie agency Bullfrog.
She has learnt what it takes to elevate and expand a brand's message, and is constantly looking for new ways to expand her creativity.
LBB’s Casey Martin spoke to Elle about the importance of words in advertising, and why the notes app on our phones can be a tool for greatness.
LBB> You started your career as a copywriter, why is the language that we use so integral to this industry? How does language make or break a brand?
Elle> Sometimes a few words are the only chance you get to connect with someone, so you have to make them count. Using language in ownable and unusual ways, like adopting a voice that isn’t usually used in the category you’re playing in, can be so powerful. When you treat a laundry detergent with the lens of a beer brand, or give a tampon commercial the voice of a fierce sports label, things get interesting.
LBB> When given a brief, what is your creative process? How do you break it down?
Elle> Briefs are like bolognese. If you don’t give it the proper time to cook and get some depth of flavour, your ideas will be basic at best, bland at worst.
The notes section of my phone is an incoherent journal of half thoughts that come to me when I have the time to let my brain wonder away from the brief. And that’s usually where the gold is.
LBB> You’ve been a judge on a few award juries in the past. In your opinion, what sets good work apart from the rest?
Elle> If you can’t help but drop an awed profanity, you know it’s good. Great work makes you feel something. Humbled or envious, usually. You can instantly see how it elicits a reaction from the people it’s designed for. The very, very best work can also magically silence all the nay-sayers that are so quick to judge and tell the world it’s been done before in an Argentinian print ad back in ‘92.
LBB> During your time working within this industry, how have you seen the industry change for better and for worse?
Elle> I’ve seen a shift for the better. Fewer late nights, more diversity, less ego. We’re not all the way there, but the industry seems aware that things need to change and it’s pushing towards better. It’s not just the work that’s valued anymore, there’s a focus on supporting the people that make it.
LBB> What is a piece of advice that has stayed with you during your career?
Elle> In my first week on the job the legendary Judy John told me that solving any problem with a simple print ad is a good place to start. Even if the brief calls for something totally different, the exercise will simplify your thinking. I haven’t made a whole lot of print ads lately, but the method definitely holds up.
LBB> What do you love most about the industry?
Elle> I love the energy that happens when more than one mind gets together to solve a problem. The solution is always wilder and more wonderful than a sole, lonely brain can fathom. Not having to dress like a functional adult is also a win.
LBB> As executive creative director, how do you hone and foster the creative talents of your teams?
Elle> By putting in time, investing in training, and learning by doing. And in this biz, everyone’s always learning. What I can share with our teams in creative experience, they give right back in figma 101.
Creating a space where everyone’s opinion is welcome and there’s no such thing as a dumb question makes that possible.
