WHERE ARE ALL THE WOMEN: In the creative departments of Asian advertising agencies, one crucial group is under-represented - women

David Johnson looks at why, and finds that the shortage is

surprisingly more pronounced in the region's developed advertising

markets of Hong Kong and Japan than it is in Taiwan or India.

The advertising industry as a whole has never really stood out as one

that favours either sex. Men and women appear to be pretty much in equal

supply across the board, and the gender balance appears politically and

practically correct.

But a closer look at creative departments within some of the larger,

regional agencies, reveals quite a different picture. In the majority of

cases, there are twice as many men as women.

At Grey Worldwide's offices in Asia, women constitute between 25 and 56

per cent of all creative departments, with Japan (25 per cent), Hong

Kong (29 per cent) and Thailand (30 per cent) having a lower ratio

compared to Malaysia (56 per cent), Australia (52 per cent) and Taiwan

(51 per cent). At Leo Burnett, out of a total creative workforce of 305

as of July this year, 215 were male and only 90 female. In the West,

this often causes an uproar from "women who are really into the victim

thing", observes one of the female stars in Burnett's creative camp,

Malaysia ECD Yasmin Ahmad. The situation is no different in European

capitals such as London and Madrid.

However, Burnett regional head of creative Linda Locke argues that

there's nothing sinister going on in Asia. "If you look at our creative

departments across the region, they differ in their composition. At one

point in Singapore it was 50:50."

One of the main reasons given for the overall disproportionate number of

men in creative is simply the nature of the job.

Locke says: "It is a very tough business and it is quite aggressive. It

is highly stressful and you need to keep a positive attitude because you

are constantly getting knocked down. Creative women tend to be more

interested in fashion or journalism. I don't think that there is a glass

ceiling situation. There's nothing mysterious. You're either good or

you're not."

The typical scenario in most countries is that women look for a creative

outlet and frequently choose commercial art. But there is a tendency to

drift away as marriage and children enter the picture. The result is

that many do return to the creative world, but in a freelance capacity,

which in turn allows them to juggle family and professional commitments.

Locke says: "Women have more pressure than men do that pulls them away.

I have to believe that because of the amount of portfolios I

receive."

Recruitment consultants in Hong Kong echo her comments, citing a

considerable lack of female interest in creative positions in

advertising agencies.

In a straw poll conducted by media among leading advertising agencies,

the ratio of women employed at creative departments was lowest in Hong

Kong.

"Female applicants are far less than male for creative positions. The

reasons are cultural," says Gemma Sze, who handles creative hiring at

TMP Worldwide. "When women are educated in Hong Kong they are not

introduced to creative fields in the same way, but more towards service

professions, such as being a nurse, secretary or working for an

airline."

TMP Worldwide recently conducted an informal survey of ECDs in Hong Kong

and gained some interesting insights. It found that ECDs did not want to

have female staff, based on a belief that women need to finish the day

on time because of family responsibilities. There was also the matter of

maternity leave and the topics that women choose to talk about in the

office.

"This still happens and it is wrong. Women are very career-minded and

want to face up to the challenge. They are not dumb blondes. They are

concerned as much about their appearance, family and children as they

are about their career," says Sze. "Creatives are detail-minded, cool,

non-emotional and think out of the box. This is fine for women. The

problem is to change the male perception."

Michele Crew, who heads recruitment agency The Crew Partnership,

agrees.

"It's not a women's issue, it is a male ECDs' issue. The onus is on

them. It's a matter of opening up.Women are not generally found in

management positions, and that needs to be addressed. There are even

interviewing procedures that ask a woman if she plans to have a

family."

As far as Hong Kong's female creatives are concerned, there are barriers

to entry and advancement as a result of what one described as an "old

boys network".

Crew says: "There is an inherent sexism and many women in Hong Kong feel

excluded. It is not a question of women not being able to cope. All

research points to the fact that women are far better at multi-tasking

than men.

"The situation couldn't be more different in Taiwan. There, the ratio of

men to women is equal. Not only that, many of the senior creative

positions are held by women. "In Taiwan, there are many female creative

directors because women are outstanding in Taiwan," says Violet Wang,

ECD at Burnett.

"I guess it is because women need to do a lot of things without men.

They need to be able to rely on themselves and not on men, so they are

well educated. They need to be a daughter, mother and wife, and a good

boss. So there's a lot of pressure."

Wang has worked in advertising for 13 years and was formerly ECD at

Ogilvy & Mather Taiwan for eight years. Another top female ECD in Taiwan

is Ideology's Shuenn-Ing Hsu. "Taiwan is a society which gives equal

rights for both sexes," says Wang.

She adds that women in Taiwan study harder and possess tenacity,

stamina, care and sensitivity that "give them an advantage in the

advertising field".

Wang adds: "There were some 'quotas' for women in some fields in Taiwan.

But with more and more women making themselves conspicuous, we may need

to set quotas for men instead. The challenges we face are from cultural

differences, worldwide campaigns, and the changing market. It's not from

our sex."

Even Kuala Lumpur appears to offer a more fertile ground for female

creatives to flourish. Many of the senior creative positions are held by

women.

"In the UK, women are fighting for equal opportunities, but in Malaysia

there are no such problems because Malaysia is a matriarchal society. At

some point women just got better. In fact we need more men," says

Ahmad.

Leo Burnett Malaysia handles the Procter & Gamble account and was asked

by the US to localise a version of its campaign for Rejoice shampoo. The

US campaign emphasised the empowerment of women.

"It just didn't gel for Malaysia," says Ahmad. "In Asia a woman caring

for her body and the softness of her skin is a strength, not a weakness.

I don't know who is right, but there's a difference."

To a large extent, the progress of women creatives in Asia remains a

mixed one. In some markets, they helm departments; in others they're

rising stars. Ogilvy & Mather regional head of creative, Tham Khai Meng,

said that the strength of women in India was leading to a marked

increase in the numbers of women in O&M creative departments.

In Thailand, Tham cited Jureeporn Thaidumrong, creative director of

O&M's fully-owned subsidiary, Results Advertising, as "one of the stars

of the network". Under Jureeporn's leadership, Results has taken home a

slew of international creative awards, including a Gold Lion at Cannes

last year for the Tabasco print ad, "Cigarette", the most prestigious

award ever won by a Thai agency.

Jureeporn's success in a market where female creatives are a rare breed

has been an inspiration to many.

But while it is easy to wave banners and search for deep-rooted

discriminatory factors, the fact remains that markets are different in

Asia. They are at different stages of development and they have very

different cultural and religious values.

Which makes it difficult to paint the regional industry with the same

brush. Even a review on a country-by-country basis can throw up

exceptions.

But those exceptions are usually examples of outstanding drive and

talent, as is the case of Jureeporn in Bangkok.

Just what does it take for a woman to thrive and succeed as a

creative?

O&M Singapore art director, Ng Pei Pei, puts it down to a hunger to do

so. "When I decided to pursue a career in art, it was either advertising

or painting on easels on the street to sell postcards," she says of the

choices available to her in the Lion City.

Ng, who has been with O&M for eight years, adds: "I'm single so I have

no problem with late nights and relationships. But this for me is not

the issue at all. If you're hungry enough for it, you just do it."

"I've never been concerned with gender issues. If you really want

something, you just go for it. It all comes down to building

relationships and creating good work. I choose art direction, and it is

tough, but it totally excites me."