Nowadays ad agencies in Brazil include three major types.First, many well-known multinational agencies like BBDO,DDB, Draftfcb, Grey, JWT, Leo Burnett, McCann Erickson,Ogilvy, TBWA, Saatchi and Saatchi, and Y&R have a strongpresence in Brazil and service multinational accounts aswell as some local ones. Second, there are many smallerhome-grown agencies whose clients are primarily local.Third, there are a small number of extraordinarily successfulBrazilian agencies (including Africa, Almap, DM9, andW/Brasil) that grew up in the last two decades and enjoydistinction as some of the worlds most creative agencies.São Paulo is both the primary business capital of Brazil andthe nerve center of Brazilian advertising.
In 1929, the J. Walter Thompson Advertising Agency ofNew York opened an office in São Paulo, bringing with itthe international advertising standards of the time thatincluded the latest market strategies and researchtechniques. The ostensible reason for this expansion intoBrazil was to service its major client, General Motors,which had just opened a manufacturing plant in Brazil.Similar GM plants and accompanying JWT offices wereopened in more than 20 locations around the worldduring the 1920s. Another American agency, N.W. Ayer& Son, established offices wherever the Ford MotorCompany had its manufacturing plants. McCannErickson, whose client was Standard Oil, soon followed.
When Marcello Serpa, 45-year-old Partner and CreativeDirector of the Almap/BBDO agency in São Paulo andone of Brazils most famous admen, talks about thehistory of creativity in Brazilian advertising, he beginswith the 1960s when the media outlets forads, especially television, began to assume their presentforms. Rather than creating advertising space toaccommodate demand as happened in some othercountries, the ratio of commercials to programming onBrazilian national television was fixed from thebeginning. Airtime has always been sold in blocks to adagencies, and this fact has produced a highlypredictable and relatively stable media situation
Washington Olivetto- In 1986 Olivetto started to run the new GGK office in São Paulo. Under Olivettos leadership, the agencys billings increased exponentially. In 1989, Olivetto and his business partners bought the company and renamed it W/Brasil. Today it is one of the best-known Brazilian agencies. Nizan Guanaes- Guanaes opened DM9, his first advertising agency, in 1990. Three years later, DM9 won the Grand Prix at Cannes. The award put both Brazil and DM9 on the "whos who" of world advertising. Marcello Serpa-Partner and Creative Director of Almap/BBDO He is also one of the stars of contemporary Brazilian advertising, the first to claim a Grand Prix at Cannes. The year was 1993, and Serpa was an art director at Guanaess company, DM9, in São Paulo.
Brazilian creativity has been exported to othercountries in two important ways. First, the bestof Brazilian advertising is seen around theworld as a result of the various competitions inwhich it is entered. Creative people payattention to all sorts of artistic work —movies, photography, music, art, etc.—andfrequently draw on it for their own inspiration.The latest Hollywood hit or music video orBrazilian ad that won at Cannes might turn upelsewhere—albeit transformed—just as theanimal photographs in the New York showinspired the Brazilian Parmalat campaign
Brazils position as a world leader in advertisingcreativity was earned through hard work,borrowing and remaking ideas from abroad,focusing on visual communications over thewritten word, and a generous portion ofartistic talent. Many other national advertisingtraditions strive to imitate Brazilian advertising.Along with the other BRIC countries (Russia,India, and China), Brazils economy is as vitalto the global economy as its advertisingtradition is to global marketing