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Preserving the past • Capturing the present • Inspiring the future Annual Review 2023

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A year in as Chair of the largest advers-ing archive in the world and I’m pleased with the progress being made in a year of transion. We’ve launched new inia-ves that promote agency legacy and celebrate brand heritage and welcomed a new President and Trustees, whilst saying some fond farewells. I would like to thank Keith Weed who has rered as President together with long serving Trustees – James Best (Deputy Chair), Rosie Arnold, John Bille, Peter Buchanan, Simon Goode, Graham Hinton and John Tylee. All had served the maximum number of years spulat-ed by our governance and, as a mark of our gratude, respect and their standing in the industry they have all been induct-ed as Founding Patrons to launch our new Friends’ scheme. I’m delighted to say that we have been joined on the Board by a diverse group of praccing industry leaders. Nishma Patel Robb (formerly of Google) becomes Pres-ident – she is well connected and re-spected in markeng circles and is also President of HAT client, WACL (Women in Adversing and Communicaon Lead-ership) with whom we worked on their centenary celebraons last year. Our new Trustees represent leading agencies – Jo Arden (CSO of Ogilvy), Harjot Singh (Global CSO of McCann), Kate Stanners (Global chief creave officer of Saatchi & Saatchi) and Sabina Usher (Strategy Director, OMD). We are extremely grate-ful to all of them for agreeing to support HAT and for their belief in the im-portance of our work. 2023 was a year of transion at HAT and a chance to focus on new opportunies. While the cost-of-living crisis connues to have an impact, prudent financial con-trol and cash management enabled us to recover from the previous very tough year. With adversing budgets under pressure, the industry faces a challenging year as brands ghten their belts and agencies re-group. I’d like to take this opportunity to thank Board members old and new for their input and support and all our staff for their ability to adapt and for successfully achieving accreditaon renewal from The Naonal Archives. The judging panel said that HAT is “…ÊaÊveryÊeffecveÊandÊwellÊmanagedÊarchiveÊserviceÊwithÊanÊagileÊapproachÊtoÊserviceÊdevelopmentÊandÊdelivery.“ This makes me very proud and I look forward to an excing year! “2023ÊwasÊaÊyearÊofÊtransionÊatÊHATÊandÊaÊchanceÊtoÊfocusÊonÊnewÊopportunies.”Ê Tom Knox Chair 1 A Year of Transion 1 1991 Heinz Baked Beans

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2 2023 was a year of transion and we’ve been busy launching some new inia-ves: Brand Archaeology, a deep dive into a brand’s heritage to help agencies win pitches; we’ve given 100 hospitals free access to our demena resource, Ad-Memoire, thanks to funding from The Markeng Trust; and, with work almost complete on our new extension, we’ll have an addional 20% of archive space available. This will allow us to house the Ebiquity Collecon, giving access to every ad pro-duced in the UK from 1970 to 2000 and making us the most comprehensive ad-versing archive available to researchers, students, broadcasters and agencies. Brand Archaeology Through donaons we have helped agencies build their creave legacies, but now we are helping them win business when pitching through a deep dive into a brand’s adversing heritage (page 16). Archive Management Most clients entrust their materials to HAT to save money through downsizing or reducing the cost of energy and space. But we can also protect digital assets against deleon or cyber-aack. Brand heritage is celebrated and protected for years with collecons made to work harder through cataloguing, packaging, digisaon and cura-on, as evidenced by our on-going work for Butlin’s, Hovis, KraHeinz and Vimto. Last year accessions from Pladis (United Biscuits) grew in volume and we were delighted to welcome the iconic Ginsters brand as a new client (see Stories from the Archive pages 4-8). Broadcast Whether documentary or drama, the assets in our archive are increasingly used by broadcast producon compa-nies, creang an insight into social histo-ry. You can see a snapshot of how our archive is used later in this review (page 10). Friends’ Scheme In July, we launched a new Friends’ Scheme to enable anyone with an inter-est in supporng HAT to join and help our work engaging with educaon and our innovave demena care resource. We’re planning our inaugural annual dinner on 12 November in London (page 18). Partnerships We’re excited to announce our joint ven-ture with the Muesum of Brands, as we work on an exhibion celebrang 100 years of women in adversing. AdWomen will run in Nong Hill from November 2024 to March 2025 providing sponsorship opportunies for brands. It already has the support of the Advers-ing Associaon, IPA, ISBA and WACL (page 12). I’d love to start a conversaon about how you can join our movement and be part of the story in 2024. or “...we have helped agencies build their creave legacies, but now we are helping them win business... ” John Gordon-Saker Execuve Director 2001 Ginsters (GIN_2) Looking Ahead

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3 Stories from the archive 1956 Nestles (HAT_20_2_219) 2023 has been a very busy year for the archive team, strongly evidenced by the fact that we took in an impressive 43 new accessions in total. Take a look at the selected gis and new arrivals secon below, to get a flavour of just a few of these excellent addions to the archive. As a consequence of the ever-increasing amount of material we connue to receive, we also began construcon of a seventh archive room, which is due for compleon in Spring 2024. Apart from accommodang new industry and client collecons, this much needed expansion will also provide the space to enable beer access to some of the larger collecons at HAT, such as the Ebiquity archive, which is a vast resource of 5 million items, with huge research potenal. This year has also seen a large amount of work carried out for our current archive clients. Projects have included, WACL’s centenary celebraon which required research and digisaon of material from the WACL archive. As well as collecon of early McVie’s historical material from the Naonal Archives of Scotland (NRS) to add to the Pladis/United Biscuits archive. To round it all off, in order to maintain our accredited status, we were required to submit a full re-applicaon to the Naonal Archives in March, which, I am delighted to say, was successful. Alistair Moir Deputy Director

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4 The History of Adversing Trust was pleased in 2023 to be asked to preserve the heritage of Ginsters. The collecon contains extensive adversing, packaging and corporate awards alongside numerous sports sponsorship items including suroards and even a Brish Touring Car bonnet! Ginsters was founded by Cornish dairy farmer Geoffrey Ginster with his two sons Gerald and Barry in 1967 when they started to buy in fresh pies and pases to sell from vans to local retail outlets. To sasfy the growing demand from across the country from holiday makers who had visited Cornwall and enjoyed a pasty, Ginster began baking in an almost derelict egg packing barn in the Cornish town of Callington from a "secret recipe" he obtained from a ship's cook. Producon slowly increased unl by 1970 a staff of 30 was producing 48,000 units a day. Inially, Ginsters pases were sold to pubs, cafés, corner shops and other small stores in Plymouth and nearby seaside towns, before expanding further to cover southern England. By 1977 Geoffrey Ginster wanted to rere so sold the business to the Samworth Brothers, leading to further growth, modernisaon and development. An adjoining factory was acquired, renovated and equipped with modern baking and packing facilies. It was renamed the Tamar Bakery, and was later extended with new, largely automated, machinery. In 1984, Ginsters was producing 1.5 million pases a week and had become the biggest employer in East Cornwall's private sector. In 1987, a new bakery, named Lynher Bakery aer the nearby River Lynher, was built alongside the Tamar Bakery. By 1989 the firm employed 900 people, turned out 2m products a week and had a £45m a year turnover. Ginsters featured prominently in the campaign for Cornish pases to gain protected geographical indicaon (PGI) status from the European Union in 2011. At present the Ginsters Original Cornish Pasty is the biggest selling product in the savoury pastry market, during a twenty-year period 450 million of them have been sold. Since the 1990s the product range in the ‘hand-held market’ of portable foodstuffs has been extended to include a variety of pases, savoury slices, sausage rolls, pork pies, hot pies, snacks, sandwiches, flatbreads, wraps and packaged salads. From 2019 onwards Ginsters has been producing vegan products, for example its Moroccan vegetable pasty. The Ginsters collecon contains many examples of adversing which links firmly to the brand’s Cornish heritage. For example, this adversement, one of a series using the Cornish landscape in conjuncon with an image of a Ginsters product emphasises the connecon with the slogan ‘Cornish Through and Through’. Another series of adversements using the same slogan once again drives home the strong associaon with Cornwall showing surfing, farming, baking and even the Beast of Bodmin Moor. Ginsters also oen use the fact that they source many of their ingredients from local farms such as Hay Farm heavily in their adversements. Reflecng on the ‘Real Honest Food’, 2007 campaign Larry File, Markeng Controller commented that ‘ever since we started, we’ve used good quality, honest, fresh ingredients. In this series of adversements tradional rural scenes are humorously linked to Ginsters current products. Ginsters 4 2001 Ginsters (GIN_2) Clare Smith Collecons Assistant

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5 EAT MORE FRUIT Three Words Doubled England’s Fruit Imports Eve Read Archive Collecons Manager 2023ÊmarkedÊtheÊcentenaryÊofÊtheÊlaunchÊofÊtheÊcelebratedÊ‘EatÊMoreÊFruit’Êcampaign.ÊItsÊprogressÊcanÊbeÊtracedÊviaÊtradeÊjournalsÊofÊtheÊperiodÊandÊinÊtheÊarchivesÊofÊtheÊMatherÊ&ÊCrowtherÊagencyÊatÊHAT.ÊTheÊfruitÊadvocacyÊcampaignÊprovedÊtoÊbeÊaÊrunawayÊsuccessÊ–Ê‘ItsÊpromiseÊofÊeconomyÊandÊhealthÊappealedÊtoÊtheÊBrishÊappeteÊforÊboth;ÊitsÊsimpleÊinjuncon,ÊinÊeveryÊnewspaper,ÊonÊeveryÊhoarding,ÊinÊeveryÊgreengrocer’sÊshopÊenteredÊtheÊnaonalÊconversaon,ÊbecameÊaÊnaonalÊjoke.ÊOnÊsuchÊstuffÊareÊmadeÊtheÊdreamsÊofÊadversingÊmen’Ê(StanleyÊPiggo,Ê‘OBMÊ125ÊYears’).ÊTheÊOgilvyÊGroupÊcolleconÊatÊHAT,ÊwhichÊincludesÊtheÊMatherÊ&ÊCrowtherÊagency’sÊguardÊbooksÊofÊpressÊadversing,ÊhasÊbeenÊdescribedÊasÊtheÊgreatestÊUKÊprintÊadversingÊarchiveÊofÊtheÊ20thÊcentury.ÊHATÊhaveÊrecentlyÊcompletedÊaÊprojectÊwhichÊwillÊmakeÊavailableÊforÊtheÊfirstÊmeÊaÊfullÊcatalogueÊforÊtheÊOgilvyÊcolleconÊonÊHAT’sÊwebsite. In the autumn of 1923, the Mather & Crowther agency launched their ‘Eat More Fruit’ cam-paign for the Fruit Brokers’ Federaon and its stunning suc-cess prompted speakers at trade associaon meengs to demand that their own industries should consider ad-versing along the same lines. As a later arcle in AdversersÊWeekly, the industry trade journal, noted, ‘had there been no Eat More Fruit campaign it is highly unlikely that group adversing would have developed in this country on the scale it has assumed today’ (Adverser’sÊWeekly Special Supplement on Group Adversing, ‘Three Words Doubled England’s Fruit Imports’, 23 April 1936). The campaign was originally devised in response to the crisis of a fruit glut and trade dislocaon following the First World War. ‘Hundreds of thousands of acres had been planted with fruit aer the war and the potenal in-creased producon in sight was at least double the amount being consumed. By 1922 gluts of fruit had been experienced and severe losses sustained’. The Fruit Bro-kers’ Federaon of Great Britain realised that something needed to be done urgently to dramacally increase the consumpon of fresh fruit by the general populace. Enter an enterprising young man in his mid-twenes named Gor-don Boggon to direct the acon. Boggon, who was re-tained by the brokers as a publicity manager, took his idea of a co-operave adversing campaign for the fruit trade to the Mathers agency who bought the idea and hired the young man for themselves - ‘It was his remarkable achievement to rally in support of the scheme not only the brokers, but eventually the retailers by his indefagable enthusiasm and en-ergy’ (Adverser’sÊWeekly, 23 April 1936). The launch of the new scheme was previewed in an ar-cle in Adverser’sÊWeekly which noted that ‘for some me to come, the papers will carry forceful reminders to the public to “Eat more fruit and keep fit”. This slogan will be the dominang note in all the adversing issued on behalf of the trade. It will be seen in every Press announcement, in arresng and aracve showcards and window bills, and with slight vari-aons such as “Eat More Grapes”, “Eat More Apples”, “Eat More Oranges” etc., in close proximity to the actual fruit displayed on stalls and shop fronts throughout the land’. Once public curiosity and interest had been aroused then the ‘reason why’ copy was ready to help sasfy inquiring 1924 Eat More Fruit in 1924 (OM_1924 Fruit Trades Federaon)

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6 minds – ‘Medical reasons will be advanced and economical reasons. The lure of appete will be strengthened, and the appeal to the senses quick-ened, in fact every avenue by which the purse of the public can be reached for the purchase of fruit will be ex-plored scienfically and with unreming care’ (Adverser’sÊWeekly, 12 October 1923). A plethora of adversements were issued over the next decade and a half with slo-gans, ‘stressing the enjoy-ment and good health to be derived from eang fruit. Fortuitously, an influenza epidemic broke out, enabling the promoters to point out how fruit forfied the hu-man frame against illness. A diet of fruit, it appeared from the adversements, would make children spar-kling eyed, good-tempered, and even clean-kneed, and girls eupepc, graceful, and enchanng. The mixture of reasoning and ‘charm’ had grafying results, and the fruit trade were le in no doubt whether to repeat the campaign’ (E.S. Turner, TheÊShock-ingÊHistoryÊofÊAdversing). The original adversing scheme was funded by a levy of ½d. per package of fruit ‘coming under the hammer’, half payable by the broker and half by the shipper abroad. The fruit covered by the iniave – all im-ported - included oranges, apples, lemons, grapes and, later, grapefruits. The media used by the fruit brokers campaign was firstly the naonal and provincial press, women’s home journals, poster sites, vehicle sides and, naturally enough, retailer fruit displays. Pro-moonal material such as recipe books (’99 ways of enjoying fruit’) and calen-dars were released to support the campaign. Fruit painng compe-ons were also organised to help interest children in the adversing theme. The ‘Eat More Fruit Girl’ appeared as part of the Palace of Beauty at the Olympia Adversing Exhibion in 1927. One of the stand-out successes from the publicity effort was the ‘Eat More Fruit’ fox-trot song, broadcast by the BBC and sung at numerous pantomimes (e.g., Mother Goose at the London Hippodrome), which was chanted to a tune reminiscent of ‘Three Blind Mice’. More than a quarter of a million copies of the insanely catchy ‘Great Song Sensaon’ were sold. A novel feature of the cam-paign was the use of two brightly decorated ‘Eat More Fruit’ motor vans which travelled the length and breadth of the country distribung propaganda and becoming the centrepiece of many successful Fruit Weeks. The campaign also helped to accelerate the modernisaon of the mer-chandising and display operaon of the fruit trade as a whole for, ‘Without the vast increase in fruit sales there would have been lile money to spare for plate-glass, modern shopfronts and cash registers’ (Adverser’sÊÊÊWeekly, 23 April 1936). The achievement of the original ‘Eat More Fruit’ campaign in increasing public demand for the product encouraged groups of Dominion (self-governing naons of the Brish Empire) producers to commence their own adversing campaigns in Britain, ‘and the result is [a] complex struc-ture of independently financed campaigns, co-ordinated by Mr. Boggon, who acts as publicity director of them all. The Dominions and Colonies so far operang adversing schemes include Canada, Australia, New Zealand, South Africa and Palesne (Jaffa)’ (Adverser’sÊWeekly, 23 April 1936). It was also noted that Britain’s own fruit producers had benefied from the scheme with stascs showing that the figures for home-produced fruit supplies had in-creased during the same period. 1931 Eat More Fruit (HAT20_2_1_31_3_3) 1932 Eat More Fruit (OM_1_1_26_4)

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7 A Hundred years Last year marked a major event in the world of adversing, the centenary of WACL (Women in Adversing and Communica-ons Leadership). To help mark this historic event the History of Adversing Trust (HAT) worked closely with members of the society on a project to update and celebrate their history. Amongst the records ulised were the earliest minute books dang back to the inaugural meeng of WACL on 3 September 1923. In the 1920s a growing number of women were beginning to work their way into roles within the UK adversing industry, primarily as saleswomen for adversing space and managers within agencies. A convenon of the Internaonal Adversing Associaon [IAA] was scheduled to be held in July 1924 at Wembley, London, and a significant number of the overseas (primarily American) delegates due to arrive were women. It was decided that a group was required to organise the official welcome for such women, and this prompted, in the lead up to the conference, the foundaon of the Women’s Adversing Club of London (later renamed Women in Adversing and Communicaons Leadership, WACL). From such a pragmac begin-ning the organisaon has grown, in size, influence and status over the last century. They have consistently been at the fore-front of progressive change to accelerate gender equality in the adversing and communicaons industries and count many high-profile women amongst their membership. Speak-ers at the Society’s events over the years have included pres-gious names from the worlds of polics, business, the arts, science, sport and of course adversing. The archives for this historic associaon were deposited with HAT for preservaon in 2012 in the lead up to WACL’s 90th anniversary and since then we have periodically received addi-onal material for the collecon as the society’s history has grown. Most recently this has included a leer from Bucking-ham Palace congratulang WACL on its 100th anniversary. Many in recent mes have been purely electronic files, such as images of the WACL100 Wisdom event hosted by WACL Presi-dent Rania Robinson in February 2023. As well as incorporang these addional items into the WACL archive, HAT has been working on the collecon as a whole, connuing the process of repackaging the records into archive standard folders and boxes, adding detail to the catalogue lisng and making the material more easily and widely search-able and accessible to researchers. This work proved invalua-ble as, in advance of the planned centenary celebraons, we were asked by WACL to provide extensive research assistance and high-quality copies of material from our collecons, which contributed to a range of acvies and events. This included commercials for a channel four documentary MadÊWomen:ÊTheÊstoryÊofÊpioneeringÊwomenÊmakingÊiconicÊTVÊadsÊthatÊchangedÊtheÊworld, such as Cinzano’s Airliner (1979) starring Joan Collins and Leonard Rossiter, Levi’s Launderee (1986) with Nick Kamen stripping down to his boxer shorts and Bath (1992) where the distracon of a Cadbury’s Flake leads to bathroom flooding; historic documents for a commemorave booklet championing a century of women in adversing and communicaons leadership entled WACLÊ100:ÊForÊwomen,ÊforÊ100Êyears, including a 1939 round robin leer to WACL members dis-cussing club acvies during warme and a telegram from Buckingham Palace marking WACL’s 30th anniver-sary; photographs for an updated online history and meline, such as portraits of early Presidents Marion J Lyon and Ethel M Wood and pioneer-ing members Jessie Reynolds and Margaret Havinden, which can be viewed on the WACL website ( Mark Pitchforth Assistant Archivist of Women in Advertising

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8 National Records Oce of Scotland collection The History of Adversing Trust was delighted in 2023 to be asked by pladis to bring together part of the company ar-chive that had previously been held at the Naonal Records Office of Scotland with their exisng archive at HAT. The collecon includes items that can shed light on product development and the introducon of new lines such as origi-nal recipe book and price lists. This colourfully illustrated list from 1932 shows the wide range of Scotch shortbreads, cakes, biscuits and wafers that were available from McVie & Price Ltd. for grocers to stock for the Christmas season. The collecon also contains objects which give an interesng insight into the contribuons made to the war efforts by the companies and their staff. For example, for Christmas 1914 McVie & Price Ltd. pro-duced a special Christmas present for troops at the Front which comprised of a n containing a 1lb English cake and a slab of Scosh shortbread conveniently ready packed. Also, during the 1939-45 conflict, employees of the McVies & Price Ltd. Harlesdon, London factory joined with staff from neigh-bouring factories to form the 60th Baalion of the Home Guard, as shown in this image from November 1942. Finally, one highlight of the fascinang items held within the collecon is the carbonated memo book of Robert McVie Junior. He used it to send messages and as an aide-memoire to himself during his fact-finding trip to the United States between April and May 1899 where he visited bakeries and businesses in New York, Philadelphia, Atlanc City, Washing-ton, Chicago and Niagara. McVie appears to have always been looking out for meth-ods that would improve current pracces within his own factories. On the 22nd and 24th of April he visited the Na-onal Biscuit Company and was much impressed by the de-sign and layout of the tables and racks that allowed dipping and drying of iced goods, making many hand-drawn dia-grams. He noted aer his visit to the Naonal Bakery Factory the method of steaming Coconut Macaroons to remove them from baking sheets reduced significantly the amount of wastage. Wring home to Alexander Grant at the beginning of his trip McVie reported that ‘it will be almost impossible for me to return home without many new and good ideas’, from read-ing the extensive enthusiasc notes he made that certainly would appear to have been the case. These examples represent just a few ‘gems’ from the NRS deposit which contains a wealth of rich resources from companies such as William Crawford & Sons Ltd., Macfar-lane Lang & Co. Ltd., McVie & Price Ltd and United Biscuits Ltd. dang from the late nine-teenth century unl the 1990s. Clare Smith Collecons Assistant 8 A Hundred years of Women in Advertising

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9 This year at HAT Ads for broadcast Meet our new board members Selected gifts and new arrivals 1936 Ford V-8 (HAT20_2_14) Page 13-14 AdWomen, the exhibition Page 12 Page 11 Page 10

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10 Produced by Ricochet Ltd for Channel 5. Ricochet describes this series as ’...a team of expert restorers work their magic on much-loved teddies, dolls and other precious childhood toys and games'. We supplied a selecon of ads for fondly remembered childhood products. Ads for broadcast We have a vast collecon of TV commercials that we draw upon when asked by producon companies and TV/film studios for archival commercials. These ads have a wide variety of uses and help to give authenc historical and social context in any number of producons and sengs. The collecons are always growing and we are connually digising the commercials and making them available to view on our online catalogue for free. This is an invaluable resource for researchers, students and anyone interested in a bit of a nostalgia hit. All enquiries sent to will be replied to as quickly as possible. Some examples of projects we worked on during 2023 include: Toy Hospital Produced by Moonshine Features for Gold. A 1981 ad for TheÊPickÊofÊBillyÊConnollyÊalbum was supplied for BillyÊConnollyÊDoes...Êwhich is described by Gold as ‘...this series is all jokes and shaggy dog tales as Billy mixes his unique wisdom with classic stand up. A wonderful reminder of why we all love the Big Yin.’ Billy Connolly Does... Rivals Produced by Studio Crook for Channel 5. We supplied a 1995 Surf ad featuring Pauline Quirke and Linda Robson for this affeconate look back at the well loved comedy series BirdsÊofÊaÊFeather. Birds of a Feather: 30 Years of Laughter Black Mirror 1983 Raleigh BMX Burner 1981 The Pick of Billy Connolly 1984 Cadburys Dairy Milk - Poster 1995 Surf - MarketÊResearcher 1977 Campari - LutonÊAirport Produced by ITV Venturer Ltd for Disney+ Rivals is an adaptaon of the 1988 Jilly Cooper novel of the same name and is being made for Disney+, we provided a selecon of food commercials from the 1980s. Produced by Broke and Bones Drama Producons 2 Ltd for Nelix. We supplied the famous Smash Marans commercial for DemonÊ79,Ê the fih and final episode of the sixth series of BlackÊMirror. Mad Women Produced by South Shore for Channel 4. We supplied a wide range of ads for this documentary which was med to coincide with the 100th anniversary of WACL, (Women in Adversing and Communicaons Leadership) MadÊWomenÊexplored the role women have played in adversing across the past century. The 1970s Supermarkets Produced by Objecve Media for Channel 5. Objecve Media asked for a selecon of ads for this nostalgic look back at the rise of supermarkets in the 1970s and the food trends of the me. 1973 Cadbury’s Smash - Marans

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11 Meet our new board members NISHMA PATEL ROBB As HAT’s new President, Nishma is known to be one of the UK’s top markeng leaders and a great champion for representaon and inclusion. She is a visionary, a storyteller and a pioneering creave thinker and all round geek! Through her work as Google’s Senior Director, Brand and Reputaon Markeng she pioneered how markeng and technology can play a crical role in addressing societal inequalies. Giving her me to mentoring next-gen talent, she takes part in many industry iniaves and is currently President of WACL. JO ARDEN Jo oversees Ogilvy UK’s strategic team of experts across all areas of the business. She’s a creave strategist whose work has ranged from building big brands to seeding social movements. She has worked with WACL on driving gender equality in the markeng industry, with the APG on supporng strategists, mentoring young women and people from working class backgrounds and, as 2024 Convenor of the IPA Effecveness Awards, geng everyone excited about measurement and effecveness. KATE STANNERS Kate is Chairwoman and Global Chief Creave Officer at Saatchi & Saatchi. Having worked there for over 18 years she has been pivotal in transforming the agency. By harnessing the unreasonable power of creavity, she has driven the agency’s spirit of Nothing Is Impossible to deliver impossible outcomes and revoluonise clients’ businesses. Recognised as one of AdAge’s ‘Women to Watch’, she also sits on the customer experience council of the V&A museum and is a past President of D&AD. HARJOT SINGH An award-winning global strategist, Harjot has worked in six countries with some of the most well-known agencies and on client sectors from packaged goods to banking, cars, retail, paints, telecom, tourism and governments. He joined McCann in New York in 2011, named Global CSO in 2021 and, since January 2023, his role was extended across all McCann Worldgroup companies including McCann (adversing), MRM (martech and relaonship markeng), Cra (producon) and FutureBrand (brand strategy and design). SABINA USHER Sabina was a Campaign magazine ‘Face to Watch’ in 2019 and Mediaweek ‘30 under 30’ in 2020. Her work in Government comms has won over 30 industry awards. She is currently a strategic lead at OMD UK and strives to prove and defend the transformaonal commercial power of strategic creavity past, present and future. She is delighted her first-class history degree will be put to good use as a HAT trustee and is helping to drive content on the up-coming AdWomen exhibion.

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13 HAT Archive regularly benefits from the wonderful donaons of material it receives as gis to its permanent archive and library collecons in addion to archive client deposits. 2023 was a bumper year for new accessions and we would like to thank the following donors and depositors: The Street Jewellery Archive 1973-2023 Donated by Christopher Baglee Christopher Baglee and Andrew Morley (d.2021) were the leading authories on enamel adversing signs. They co-authored several books including StreetÊJewellery (1978) and TheÊArtÊofÊStreetÊJewelleryÊ(2006) and organised exhibions and gave lectures on the subject. The pair coined the new term 'Street Jewellery' which was accorded its own entry in the OxfordÊEnglishÊDiconary in 1982. The Street Jewellery Society was founded by Baglee and Morley in 1983 and provided a forum for the study and appreciaon of enamel signs. Enamel adversing signs became very popular from the late Victorian period. Their Brish heyday is considered to have been between c.1890-1940 but they connued to be produced as late as the 1960s. These objects, ‘provided a truly democrac, ubiquitous, free-for-all art gallery that cheered the populaon of industrial Britain. Enamel signs offer an insight into the lives of ordinary people and the commercial pracces of a hundred years ago’ (C. Baglee & A. Morley, EnamelÊAdversingÊSigns, Shire Publicaons, 2001). John Honsinger Collecon 1980s-1990s Donated by John Honsinger John Honsinger was the managing director of Saatchis' SPA (later Equator) subsidiary. He le in 1987 to set up his own company (HH&S) and was then hired by CDP to head up their sales promoon subsidiary Maxima. The collecon comprises promoonal packs, novelty items, leaflets, slides and biographical arcles. Brands featured include Brish Airways, TV Licensing, Mail on Sunday. Robin Purton Collecon 1980s-1990s Donated by David Foreman Robin Purton was an Adversing Art Director for thirty years (1968-1998). He worked for several adversing agencies and as a freelance art director. The collecon is parcularly strong on fashion and jewellery adversing with examples of work for brands such as Aquascutum, Selfridges and Harvey Nichols. Mainly consists of laminated adversing proofs plus brochures, leaflets and catalogues. Pears Soap Prints 1880s-1920s Donated by Alan Palmer Comprises complete framed set of original prints of the pictures used in the early adversing of Pears Soap including famous pictures such as 'Bubbles', 'You Dirty Boy', 'Cherry Ripe' and 'Captain of the Eleven'. Collected by Alan Palmer, freelance writer and author who has also donated showcards, aucon catalogues, magazines and other adversing related material (1890s-2022). Gareth Morgan Collecon c.1982-2007 Donated by Gareth Morgan Gareth Morgan worked in several adversing agencies from August 1982 to 2007 including Omnicom subsidiaries AMV and BMP, from the West Midlands to London, from Trainee to Board Director. Other employers included Quadrant and Craik Jones. He also worked as Markeng Manager for London Taxis Internaonal and headed up Land Rover's Direct Markeng Unit. Comprises: adversing proofs, showreels, pitch Selected gifts and new arrivals

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14 documents, creave briefs, photos, publicaons on adversing pracce, promoonal literature and biographical informaon. David Horry Archive c.1970-2004 Donated by Toby Horry David Horry (1949-2023) was a leading art director at DDB, CDP, Lowe Howard Spink amongst others from c.1971. He finished his career in China in 2003. David was responsible for some of the most acclaimed ads of the Sevenes such as Fiat Strada ('Hand-built by robots'), Silk Cut 'Zulu' and Whitbread Trophy Beer. Comprises: proofs, artwork, photographs, audio-visual material, awards, journals and biographical informaon. John Wringe Collecon c.1987-2006 Donated by John Wringe John Wringe has spent over 40 years in the adversing business with three decades running markeng and communicaons businesses including UK and Internaonal agency networks plus integrated communicaons groups and specialist services. For the last 16 years he has run his own markeng and private investment consultancy - The Marketects Ltd. Collecon comprises agency documents and show reels. Basil Bates Young & Rubicam Collecon 1961-1982 Donated by Andy Bates Basil Bates (1924-2009), described in an ad for InvestorsÊChronicle as 'The Shrewdest media man in town', worked for the Young & Rubicam agency from the 1950s-80s. Collecon comprises: press adverts, photographs, media plans/reviews, company bullens etc. Includes images of the first ever Brish colour newspaper ad and the first ever London escalator display covering every stair. Diana Hoy Collecon of Promoonal Branded Merchandise 1950s-2010s Donated by Diana Hoy A further deposit (5 boxes) featuring a variety of novelty items collected as part of promoonal offers such as Homepride Fred Flour Shaker, Walkers 50th Anniversary teddy bear and Bere Basse enamel badges and fridge magnets. Also includes a collecon of material relang to the 2000 Millennium Experience. Pennico Payne Ltd Commercials Collecon c.1984-2008 Donated by John Pennico The Pennico Payne company operated from 1984 to 2008 and worked on approximately 100 commercials a year making models and special physical effects. Comprises 77 U-Mac and Betacam tapes. Richard Myers Archive c.1975-2017 Donated by the Myers Family Richard Myers (d.2023) joined Saatchi & Saatchi in 1975 as a copywriter and created adversing for many significant clients including Anchor Buer, Black & Decker, Brish Airways and Castlemaine XXXX. He became joint creave director of the London agency in 1995 and then chairman of Saatchis' first European Creave Board, a member of the Worldwide Creave Board and Execuve Creave Director responsible for Saatchis' own brand unl 2010. Myers wrote ChutzpahÊ&ÊChutzpah:ÊSaatchiÊ&ÊSaatchi:ÊTheÊInsiders'ÊStories (2017) along with Simon Goode and Nick Darke. Includes: laminated proofs, awards, diaries, client files, creave briefs and commercials. The Baked Bean Museum of Excellence Collecon c.1900-2020 Donated by Captain Beany (to the Heinz UK Markeng Archive at HAT) Comprises a selecon of Heinz related items (branded merchandise, noveles, publicaons, adversing, packaging etc.) from the former Baked Bean Museum in Port Talbot. We would also like to thank the following who have generously donated archive material, books, journals, commercials and adversing ephemera to HAT (including client collecons) in 2023: John Ayling, Adam Bell, Diane Bilbey, Ian Bramson, Michael Burrell, Veronica Buayotee (Heinz), Mary Cavin (Heinz), Howard Caroline, Nick Crown, Amanda Davidson, Nigel Dickie (Heinz), Richard Fowler, Ella Gaer, Simon Goode, Chris Hayes (Butlin’s), Jeremy Herbert, Miranda McArthur, Colin McDonald (AMSR), Jane Miles (Heinz), Joanna Miles, Valerie Payne, Alex Pearl, Carol Reay (WACL), Michael Rosbotham, Geoffrey Russell, Brenda Seymour, Andrea Shaw, Chris Smith, Ken Sorrie, John Turner, Patrick Thursby, Chloe Veale, Paul Christopher Walton, Ray Wilbern (Heinz/HP Foods).

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15 Ad-Memoire In January, we were delighted to receive a generous grant from the Markeng Trust which has allowed us to provide one year of free access to our digital reminiscence resource, Ad-Memoire for 100 NHS hospitals across the UK. Ad-Memoire harnesses the uniquely memorable properes of TV commercials to help carers engage with older people living with demena. TV adversing began in 1955 and was played to a capvated audience, on TV sets with only three or four channels. Consequently, the jingles, slogans and memorable characters featured in the ads, were ingrained in the minds of watchers, making them ideal material for reminiscence today. In hospital sengs Ad-Memoire has proved very useful as a calming distracon, which also allows carers to quickly engage with and get to know paents. Furthermore, the use of the food and drink themed ad reels before mealmes has been shown to increase appete and nutrion, in paents who can struggle to remember to eat and drink. Thankfully the grant from the Markeng Trust has given us the opportunity to make the resource available to hundreds more NHS carers and thousands more paents living with demena. On compleon of the project at the end of the year, we will be looking for further sponsors and grant funding for the resource in 2024. Accreditaon Archive Service Accreditaon is the gold standard for all archive services in the UK. Administered by the Naonal Archives, it sets out the criteria required to achieve the top professional grade in the sector. When HAT first achieved accreditaon in 2017, it was a fing testament to the hard work, professionalism, and high standards of care that HAT’s archive team provides. Like most professional standards, the award must be reviewed regularly and renewed by full re-applicaon every six years. Therefore, in March the team were required to submit an extensive re-applicaon form and undergo a comprehensive inspecon from Naonal Archives staff, designed to ensure the service is sll meeng the standard. In August the team were delighted to receive the news that HAT had been fully re-accredited by the awards commiee. Deputy Director Alistair Moir said: “HAT holds the largest archive of UK adversing in the world and simultaneously manages the heritage of several major UK brands, with material dang back more than two centuries. The commercial and social history represented therein makes HAT both a naonally and internaonally significant research resource. Therefore, the job of caring for, and maintaining public access to these collecons is of the highest importance and requires the highest professional standards. Our re-accreditaon by the Naonal Archives, again recognises the extremely high level of care, hard work and dedicaon that HAT’s archive team puts into managing the social history reflected by the UK adversing industry, and that of our valued brand heritage clients.” Other news Educaon In July, HAT ran a workshop at the Academy of Markeng Conference in Birmingham at which Trustee, Sally Chan (Leeds Uni-versity Business School), Dr. David Rowe (Lecturer in Markeng, University of York) and Deputy Director, Alistair Moir, talked about the use of the archive in academic research. Whilst it was a quiet year for researchers vising the archive as people re-assessed life aer the pandemic, our website saw a significant increase in traffic with research focused on our ever-growing online catalogue. With Greenwich University taking up the baton for HAT Collecve, Sally Chan and Director, John Gordon-Saker, spent an enjoyable day on their beauful Thames-side campus judging student pitches for a markeng campaign to encourage more students to use HAT as a resource for their adversing, mar-keng and communicaon courses. Sally and John were impressed with the quality of the presentaons and creave ideas and awarded cerficates to the winning team, runners-up and finalists. Hosted by Dr. Hyunsun Yoon, Programme Leader, BA Adversing and Digital Markeng Communica-ons and Teaching Fellow, Helen Kofler, HAT has plans to connue the rela-onship with Greenwich in 2024. Meanwhile, we are parcipang in the Media, Communicaon and Cultural Studies Associaon (MeCCSA) Conference on 4-6th September at Manchester Metropolitan University and an Educaon Summit is being planned in Autumn 2024 for HAT’s academic contacts.

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17 President: Nishma Robb Chair Tom Knox, MullenLowe Group Deputy Chair James Best Hon. Treasurer Shirley Watson HAT Team: Tim Day, Archive Technician Kim Frances, Finance and Office Admin-istrator John Gordon-Saker, Director Les Hurn, Research Assistant Alistair Moir MARM, Deputy Director Mark Pitchforth MARM, Assistant Archivist Eve Read MARM, Archive Collecons Manager Clare Smith, Collecons Assistant Pam Smith, Housekeeper David Thomas, Research Manager Volunteers: Janet Brewerton John Renton Trustees: Jo Arden, Ogilvy Paul Bainsfair, Director General IPA Sally Chan, University of Leeds Rupert Earle, Partner Bates Wells Braithwaite Harjot Singh, McCann Phil Smith, Director General ISBA Kate Stanners, Saatchi & Saatchi Sabina Usher, OMD Stephen Woodford, CEO Adversing Associaon About us 1954 Motor Cycling magazine - Norton motorcycles (HAT20_20_459) @Hatads

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Be the next HAT story Donate Sponsor Archive History of Adversing Trust Charity No. 276195 01508 548623 Kate Waters, former President WACL