Katy Hopkins’ Quest for Crafting Ads That Delight and Inspire
When we think back to iconic moments in advertising, it’s the seamless balance of craft, culture, and connection that elevates these campaigns and captures the allure of art.
For Katy Hopkins, executive creative director at Iris London, memorable work begins with uncovering universal truths. Paired with a dedication to production quality and craftsmanship, this approach transforms advertising into something truly artistic.
In a conversation with LBB’s Olivia Atkins, Katy reflects on advertising’s multifaceted role in society – as a mirror of culture, a source of escapist inspiration, and a medium for aspirational, authentic, and fun storytelling that resonates with audiences.
This discussion draws inspiration from Rekorder directing duo Mathery, who recently shared their perspective on advertising as an art form: “For us, the ad world is a way to create art, but we sometimes struggle to find a curated, aspirational aesthetic that doesn't feel fake or forced. We’d love to see more work that combines the craft of creating a world that feels real and is beautiful to watch. Beyond that, when we watch an ad, we want to laugh and feel good – let’s move away from playing it safe and relatable, and bring back the fun!”
Building on Mathery’s insights, Olivia and Katy explore how creatives can blend real-world authenticity with aspirational aesthetics, rejecting ideas that are overly-predictable, polished, and too safe. Katy highlights the power of campaigns that entertain, feel genuine, and reflect our shared longing for a little more joy in life.
LBB> In an era where authenticity is valued but can feel manufactured, how do you approach creating ad campaigns with an aesthetic that feels genuinely aspirational rather than forced or overly polished?
Katy> It’s all about connecting with the communities we’re talking to and speaking in their visual language. Working with people who are part of those communities or have a total understanding of them also helps us to create work that feels authentic.
LBB> How important do you think it is for an ad to transport audiences into a different world, and what role does escapism play in making campaigns memorable?
Katy> Most importantly you want to entertain and engage people. Escapism is a powerful tool to do this, allowing you to be memorable and access areas that feel fresh and different for people. However, we shouldn’t overlook realism. Used correctly you can use this to shine a light on issues we tend to ignore, like Dove’s ‘Real Beauty’ campaign, which has always done this to perfection.
LBB> How much do you feel an ad's genre reflects popular culture or the current state of the world, and what do you think audiences are looking for on screen right now?
Katy> We all know the best way to make everyone feel better in awkward, difficult or sad situations is with a joke, a hug or a smile. Advertising is the same. When everyone needs a pick-me-up, we respond with a bit of cheer. When it’s business as usual, we often need a shock or a bit of realism to make us see what’s easy to ignore. It’s a bit like The Hemline Index, the theory that suggests the length of women's skirts correlates with the economy. Let’s call our version The Humour Index. Right now, I think everyone’s looking for some humour, some affection, or for someone to tell us it’s all going to be okay.
LBB> When developing a campaign, how do you balance the need for a cohesive big idea with the flexibility to adapt that idea across different channels and sub-audiences?
Katy> Truly big ideas are flexible – if they’re not, they’re probably not big enough. They should be able to grow into any medium and be as effective in earned as they are in paid media. You should also be able to drill down from that big idea to be relevant and interesting to a specific audience, sub-audience or individual.
LBB> How can humour or a feel-good factor be effective tools for moving away from safe advertising?
Katy> Humour can improve many situations in life, and in advertising. It can allow you to feel connected to a brand or a person you’d never connected with before. Make people laugh and they will enjoy their time with you and remember who you are.
LBB> How do you approach the challenge of maintaining craft and quality in a campaign while also ensuring it resonates universally, capturing a truth that audiences from all walks of life can relate to?
Katy> The big idea needs to start from a universal truth, something unarguable that everyone understands. For example, Snickers’ ‘You're Not You When You're Hungry’ is something everyone can relate to, whether you’re four or 94. If you have to explain too much, you lose people. Craft also supports your idea. It isn’t about making everything look as beautiful and shiny as possible. Craft is about working hard to make sure that every part of the work you’re creating sings the same tune. If you’re communicating humour, all aspects of the work should speak to that.
LBB> In your view, what makes a big idea timeless, and how do you envision these ideas evolving as technology and cultural trends shift?
Katy> A big idea that comes from a universal truth should be as timeless as the truth it’s based on. If it remains true, the idea should have longevity. It will then have the ability to break out of the constraints of advertising and enter the real world, and be able to embrace current technologies and cultural trends.
LBB> What is your process for finding a brand’s unique personality and point of view, and how do you ensure it remains consistent across all forms of media while staying relevant and exciting?
Katy> You have to immerse yourself and your team in the brand, keeping it simple and true to the brand. And, most importantly, make it FUN!
