Only the strong survive the road to becoming a senior commercial creative. It may look as though that road is paved with glittery awards and monetary privileges. More abundant, though, is its roadkill – ideas, storyboards, layouts, edits…

…a truth of creative life that was exaggerated delightfully by Zula Alpha Kilo last week, in its new talent recruitment drive.

Zulu Alpha Kilo wants to scare young people out of choosing advertising?

Still, a whole new batch of young creatives has just been let loose into the world from school. Every one of them hoping to be the next creative legend, their eyes only on the rewards. And tertiary education, advertising and production are eager to “nurture’ their dreams.

There is a dazzling array of ways to try to get into advertising and production. Blindingly dazzling. Advertising and production are always looking for the next great thing. And “thing” includes people. Replenishing the pool of creative thinkers must be important to the creative industry. It invests almost as heavily in finding new talent as it does in winning awards.

Successfully? That’s what The Stable wanted to know.

While I was talking to Jonathan Kneebone about how The Glue Society has been going, I couldn’t help but notice that the top two pieces of work he said stood out for him, were projects in which he cited The Glue Society’s Fellowship Program talents as important players.

Both projects are quintessentially “The Glue Society” – work that was important to the company’s brand.

One was a clothes line:

The Glue Society’s clothes line revives the importance of traditional everyday life

Tendedero for Hecho en Casa Festival was created by The Glue Society’s Henry Curchod, a Fellowship Program member, & Jonathan Kneebone:

The other was a collection of nudes:

The Glue Society recreates the world’s most famous nude kiss

Recreating The Kiss was conceived, written & directed by The Glue Society’s Kate Davies, Max Rapley, Alex Harrod, Henry Curchod & Alice Cogin – all Fellowship Program members.

The Glue Society is also involved in D&AD’s New Blood, one of the most prestigious ways for a young talent to get his or her career started.

So I asked Jonathan what he thought the advertising and production industries are doing right and wrong to replenish their stocks:

“The advertising and production industry is a tough place to get into at the moment, for sure. Because the expectation has gone from one skillset to many. And what we’ve found with many young people entering the advertising agency side in particular, is that once in, they aren’t getting any mentoring or access to creative directors to assist with their growth, simply because time demands are so great.

“I’ve had young creatives in great agencies approach me to see if I can help them develop – simply because they can’t get time with their own ECDs or CDs. So the issue is becoming one of not just helping people to get work, it’s helping them handle larger and more complicated projects on their own.

“New Blood and other workshops – such as our Brief to Broadcast days and Copy School –  are ways in which young creative people can develop their skills and confidence, but it has to happen in conjunction with true experience.

“I can actually see agencies perhaps soon bringing some specific mentoring personnel in-house to assist with people’s growth.

“Getting your name on an award is also something that used to be a way to get noticed and be courted. But as the list of people involved in projects grows, it can become even harder for young people to become truly recognised for their contribution.

“And for young people with quite unconventional skills – or people who don’t fit the ‘white middle class ad guy’ mould – finding the confidence and environment to have their voice heard is vital.

“It’s why we’ve got behind the D&AD Rare Week this week (November 21-24) and it will be the focus of this year’s Brief to Broadcast project.”

Next year is The Glue Society’s 20th anniversary. But could it have a better year than this one was?

Jonathan Kneebone directed Airbnb’s Until We All Belong for Clemenger BBDO Melbourne:

Pete Baker directed Cochlear’s Hearing Test in Disguise for CHE Proximity:

…and ANZ Hold Tight for TBWA Melbourne:

Paul Bruty directed Movember Unmute for Cummins & Partners.

And Gary Freedman directed VW’s The Button for adam&eveDDB London.

…as well as Melbourne, A Twist At Every Turn for Clemenger BBDO Melbourne

“And because this coming year is our 20th anniversary – we will not only be having a party to celebrate – but have a book in its final stages of design, plus our own interactive art exhibition planned for March.