But, with the death of the 30-second TVC being proclaimed long and loud from every corner of the industry, does Parkinson think that Nike will ever create another spot to sit alongside 'Frozen Moments', 'Mars Blackmon' or - his own favourite - 'L'il Penny'? "While it is getting more challenging to capture something within those 30 seconds, there are certainly a lot more opportunities to try and do something," says Parkinson, who points to a new half-hour Nike video that chronicles the phenomenon of midnight footballers in Bangkok.
"Whenever we use traditional media, we are trying to use it in a non-traditional way. So, reach and frequency are outdated and archaic - it's more about having an advertising event within the context of traditional media."
Despite a background that includes Wieden & Kennedy and Ogilvy & Mather, Parkinson, it seems, does not retain much fondness for agencies. Described by one source as a good agency mentor, his no-nonsense approach is best exemplified by his decision last year to end a retainer agreement with Ogilvy RedCard in favour of a project-based approach with a variety of creative partners. It's a bit like reverse evolution, in that we're going hunting and gathering rather than commercial farming," says Parkinson. "We think that's the best way to have creativity brought into the brand."
The result has been some inspiring work for Nike by the likes of Phunk Studio and Team Manila. Parkinson wants Nike at the cutting edge of creativity; clearly, he does not necessarily think that agencies are the best way to get there.
"The agency structure is outdated and it's become a bit of a cliche but they are not doing anything about it," he points out. "(Awards) is now the currency that every creative person in the agency deals in - there are creative people at agencies but what are they pointing at? It's a little demoralising for clients, to think of the care and attention that goes into generating work to attain the currency of awards."
Not that Parkinson is any more effusive about the modern media agency, which he sees as too isolated. "I don't think they are attracting creative people; you're getting transactionally-focused people coming in, allegedly with ideas."
Parkinson's candour can veer towards the brutal, but is matched by an abiding affection for all things Nike, on which he has worked for seven years. A gentle observation that perhaps Nike is not the coolest brand in the world anymore is met with a comprehensive run-down of the brand's continuing vibrancy among key influencer audiences. Clearly, the famed Nike competitive spirit is far from dead.
"Nike was always the underdog. But now what we try and do is identify an enemy in the development of briefs," says Parkinson. "That enemy might not be a brand anymore - it might be complacency or defensive football."
Not so long ago, of course, that enemy was always adidas or Reebok - the two brands against which Nike continues its battle every day, in every market. Parkinson offers a rare glimpse of diplomacy when he offers adidas fulsome praise for some of its retail marketing strategies; it is equally easy to detect his satisfaction that Nike is now neck-and-neck with its bitter rival in the football category that Parkinson holds dear.
As for those great creative highlights, Parkinson points to 'Chamber of Fear' and 'Secret Tournament' as work of his own that he is particularly proud of. But he is already looking ahead, contemplating a day when Nike helps consumers make their own products. Without the Swoosh? "Maybe," he muses, "If that's how the consumer wants to relate to the brand."
