CUADERNOS.INFO Nº 39 ISSN 0719-3661 Versión electrónica: ISSN 0719-367x http://www.cuadernos.info doi: 10.7764/cdi.39.1039 Received: 09-15-2016 / Accepted: 11-17-2016 Female leadership in advertising creativity1 El liderazgo femenino en la creatividad publicitaria Liderança feminina na criatividade publicitaria CLARA MONTES, Universitat Autònoma de Barcelona, Barcelona, España (gr.publicitat@uab.cat) DAVID ROCA , Universitat Autònoma de Barcelona, Barcelona, España (david.roca@uab.es) ABSTRACT RESUMEN RESUMO This research studies female creative Esta investigación se enfoca en las Esta pesquisa estuda as diretoras criati- directors in advertising as leaders. It directoras creativas publicitarias en su rol vas femininas e o seu papel como líde- focuses on their presence in the crea- de líderes. Se centra en su presencia en los res no ramo da publicidade. O estudo tive departments rather than in the cau- departamentos creativos y no en las causas está focado na sua presença nos depar- ses of their absence. We interviewed de su ausencia. Se entrevista a seis directoras tamentos criativos e não nas causas de six Spanish female creative directors, creativas españolas, que han conseguido sua ausência. Seis diretoras criativas who managed to reach and stay in that llegar y mantenerse en ese departamento. femininas espanholas, que chegaram ao department. The paper reveals how they Se explica cómo comprenden, perciben y topo e mantiveram a sua posição, foram understand, execute, self-perceive and ejecutan su liderazgo, y cómo perciben que entrevistadas. O artigo revela como elas project their leadership, and how they las valoran sus empleados. Los resultados compreendem, percebem e executam a perceive that their employees value them. muestran que ellas encajan en la definición sua liderança, e como percebem o valor The results show that these women fit in del líder —vs. manager— que propone la que os seus empregados lhes dão. Os the definition of a leader –vs. a manager– literatura. Su liderazgo puede enmarcarse en resultados mostram que estas mulhe- proposed by the literature. Their leader- el estilo efectivo, creativo, transformacional res se enquadram na definição de líder ship can be framed within the effective, y democrático que identifica al liderazgo – vs. gestor – proposto pela literatura do creative, transformational and demo- ideal actualmente. campo. A sua liderança pode se identifi- cratic style that nowadays identifies the car com o estilo efetivo, criativo, trans- ideal leadership. formacional e democrático que identifica atualmente a liderança ideal. Keywords: advertising agency, Palabras clave: agencia de publicidad, Palavras-chave: agência de creativity, gender, leadership, woman. creatividad, género, liderazgo, mujer. publicidade, criatividade, género, liderança, mulher. • How to cite: Montes, C. y Roca, D. (2016). El liderazgo femenino en la creatividad publicitaria. Cuadernos.info, (39), 113-131. doi: 10.7764/ cdi.39.1039 113 MONTES, C. y ROCA, D. Female leadership in advertising creativity INTRODUCTION According to Grow et al. (2012), the factors that Unlike existing studies on the causes of the lack of motivate the low presence of female creatives in Spain female advertising creative directors (see Grow, Roca are the following: the final selection of ideas is done by & Broyles, 2012; Mallia, 2009; Windels, Lee & Yeh, men; women are more democratic in finding solutions; in 2010), this research aims to analyze the presence of the presentations to the client, women feel marginalized; women in the creative direction of Spanish advertising the products are assigned according to gender (female agencies. That is, it focuses on the women who arrived vs. male products); the accounts (clients) most likely and remain in the creative direction. The study object to win prizes are assigned to men; and women leave addresses the female leadership in advertising creativity the profession to look for jobs with less stress, to avoid through in-depth interviews (semi-structured with a highly masculinized environment that harms them open-ended questions). It seeks to understand how and, when they are mothers, to gain flexibility. these women understand, perceive and execute their leadership and how they perceive their employees’ evaluation of them. LITERATURE REVIEW Women represent –in numbers– about half of the Leadership can be defined as the process by which a advertising industry (Jordan, 2009; Klein, 2000; person has the ability to influence and motivate his or her Mallia, 2009). For example, in Spain, they reach 56.7% followers in a way that contributes to the achievement of (Nieto & Lema, 2008); in the United Kingdom (UK), established goals and to the success of the organizational 49% (Klein, 2000); in the United States, 56% (Equal project (House, Javidan, Hanges & Dorfan, 2002; Yuki Employment Opportunity Commission [EEOC], US, & Van Fleet, 1992). Its essence lies in being perceived 2009); and in Germany, 53.5% (Bundesagentur für as a leader by others (Lord & Maher, 1991) as a way to Arbeit, 2008). increase the influence that one can have, something that However, on the global scene, specifically in does not happen if one does not occupy a position of creative advertising departments, there is a clear lack chief and is not perceived as such (Kats & Kahn, 1978). of gender diversity (Nixon, 2003), since only 20-25% The leader’s behavior influences the perception and of advertising creatives are women (DiSesa , 2008; emotional reactions of his or her subordinates, which, Grow & Deng, 2014; Jordan, 2009; Klein, 2000; Mallia, in turn, influence their creativity (Amabile & Conti, 2009). It continues to be a boys’ club to which women 1999; Amabile et al., 1996; Amabile, Schatzel, Moneta have to adapt (Kazenoff & Vagnoni, 1997). & Kramer, 2004; Oldham & Cummings, 1996; Pelz & In Spain, the female presence in the creative Andrews, 1976; Scott & Bruce, 1994). departments is 20% (Pueyo, 2010); in the case of the The great man theories or features approach suggest UK, 15% (Klein, 2000); in the United States, 30% that there are certain stable characteristics of people (Endicott, 2002); and in Germany, 36% (Fröhlich, (features) that differentiate leaders by their intelligence, 2008). This absence worsens in higher managerial high energy, intuition, foresight, and persuasiveness positions: the percentage of creative directors does not (Bass, 1990). Other traits that may be related to reach 20% (Klein, 2000; Martín, 2007; Roca, Alegre effective leadership are tolerance to stress, integrity, & Pueyo, 2012; Weisberg & Robbs, 1997). In Spain, emotional maturity, and self-confidence (Bass, 1990; women represent only 14% of creative directors, 8% of Kirkpatrick & Locke, 1991; Yuki & Tracey, 1992). Thus, executive creative directors and 1% of general creative certain characteristics, abilities and behaviors (Avolio, directors (Roca & Pueyo, 2011). Walumbwa & Weber, 2009) or behaviors expected There is a growing interest –especially among female from stereotypes (Wofford, Wodwin & Wittington, researchers–to study female creatives in advertising, 1998) would explain the leadership. their interactions in creative departments, and gender- Bass (1990) divides leadership styles between task- related dimensions that may lead them to abandon oriented leadership or structure-oriented leadership and the them (Grow et Broyles, 2011; Grow et al., 2012; Mallia, interpersonal or relationships oriented leadership. He also 2009; Windels & Lee, 2012). distinguishes between democratic and authoritarian leaders. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 114 MONTES, C. y ROCA, D. Female leadership in advertising creativity Burns (1978) and Bass (1990) also add the The environment contributes crucially to the transformational leadership style, which is defined creativity of individuals (Amabile, 1988, 1997; Ford, as a behavioral process comprised of three factors: 1996; Woodman, Sawyer & Griffin, 1993). These charisma, intellectual stimulation and individualized researches point out how the interaction between the consideration of the followers’ needs (Bass, Avolio individual, the organization, the department and the & Goodheim, 1987), with intellectual stimulation environment influences creativity. correlating most significantly with job satisfaction Something less obvious is the critical role that (Emery & Barker, 2007). Leaders challenge the leadership plays in creating an environment that status quo and promote commitment, creativity, and encourages creativity. However, creative directors satisfaction (Gaertner, 2000; Villalba Moreno, 2001). need to find reward structures that intrinsically Other researchers on leadership (see Avolio, 1999) motivate their subordinates (Stuhlfaut, 2012) under contrast transformational leaders with transactional leaders, two premises: “Creatives appeared to have a love- who operate on the basis of reward systems that appeal hate relationship with the boundaries imposed by to subordinates’ self-interest and establish an exchange strategic considerations on advertising”. (Koslow, relationship with them. The latter understand leadership Sasser & Riordan, 2003, p.101) and a balance between in the conventional sense of clarifying the responsibilities control and freedom, fostering a creative culture and of subordinates, rewarding them for the fulfillment of their environment in the agency (Nixon, 2003). goals and correcting them when they fail to achieve them. To date, the existing literature on women in creative In the creative leadership style, creativity is key to advertising has focused heavily on their absence from promoting positive change and inspiring followers more these positions, as well as the difficulties they face in effectively than those who lack this quality (Mumford, accessing them and not abandoning them once they Zaccaro, Connelly & Marks, 2000; Shin & Zhou, 2003, exercise them. Although this approach was justified Sternberg, 2007). The creative leader requires experience by the need to understand and denounce the lack (Andrews & Farris, 1967; Mumford, Zaccaro, Connelly of women in the creative departments of advertising & Marks, 2000; Mumford, Scott, Gaddis & Strange, agencies, it did not contribute to giving visibility to the 2002); social skills to run an agency and persuade unique talent, strengths and abilities of the creative clients to support his or her project and build networks women who managed not only to reach, but to stay in (Mumford et al., 2002); solidarity (Andrews & Farris, the creative direction of advertising. 1967; Oldham & Cummings, 1996); to count on his Thus, we decided to focus this research on the figure or her employees and recognize their work (Amabile et of the female creative director in advertising agencies, al., 2004); to create an environment to thrive (Goffee & studying it for the first time from the perspective of Jones, 2007), and to be efficient by hiring and leading leadership. Consequently, in order to understand creative people, coordinating the creative process and how these women understand, perceive, exercise and product, and promoting a creative culture (Amabile project their leadership, we asked the following research & Khaire, 2008; Csikszentmihalyi, 1988; Florida & questions regarding the Spanish context: Goodnight, 2005; Hunt, Stelluto & Hooijberg, 2004; Townley, Beech & McKinlay, 2009). • RQ1: How do female creative leaders understand Leadership has not been as studied in creative leadership? industries as in other fields (see Amabile & Khaire, 2008; Basadur, 2004; Florida & Goodnight, • RQ2: Do female creative directors see themselves 2005; Goffee & Jones, 2007; Helund et al., 2003). as leaders? The creative department of an advertising agency constitutes a discrete culture (Nixon, 2003) with its • RQ3: How do female creative directors execute own codes (Stuhlfaut, 2011) and collectively shared leadership? ideas (Alvesson, 1994). The study of management in creative departments focuses on two aspects: the work • RQ4: Do others see female creative directors as environment and the individual. leaders? CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 115 MONTES, C. y ROCA, D. Female leadership in advertising creativity METHODOLOGY degree of structure and with very homogeneous We used a qualitative methodology based on the populations, it is not worth interviewing more subjects, in-depth interview. The methodological choice was because the new information does not compensate the due to the fact that qualitative methods, such as effort of the researchers, since very few new categories interviews, provide a deeper understanding of social are obtained. Third, we found previous studies related phenomena than purely quantitative methods, such to advertising creativity that had already worked with as questionnaires (Silverman, 2000). The analysis of small samples (see Hackely & Kover 2007; Kover 1995). the interviews was based on the frequencies- based “thematic analysis” (Rossiter 2011). This methodology PROCEDURE has already been used previously in qualitative research Through Linkedin, we found a total of seven creatives on advertising creativity (see Chong, 2006). that fulfilled the established criteria for the sample. An After the transcription of the interviews, we analyzed attempt was made to contact them by sending a message and determined thematic areas, in order to organize through the profile of one of the investigators. In the five the data and translate them into the results section. cases in which no response was received, we contacted Within each thematic area, we presented patterns the advertising agency by telephone to subsequently and exemplified them with key texts, verbatim, of the access the email of the female creative. After verifying different interviewees (tables 3, 4, 5 and 6). The most that they had a creative management position, they were outstanding issues were accompanied by the number, informed about the parameters of the study, the time in parenthesis, of interviewees who supported them. that would require them to participate and its possible Finally, given that one of the women expressed her publication. Of the seven female creatives, one could desire to remain anonymous, the participants were cited not be finally interviewed due to scheduling problems. as numbered subjects (Subject 1, Subject 2 ... Subject 6). One researcher conducted the six in-depth interviews during the months of April and May 2016. Interviews SELECTION OF THE SAMPLE with the female creatives working in Barcelona (5) The search for the participants was done through were conducted in person, while in the case of the Linkedin. The filtering responded to different criteria: creative working in Madrid, we used a Skype video their gender, that they had creative management call. Previously we prepared a script for the interviews, positions and worked in mainstream agencies in with the aim of ensuring their depth, consistency Madrid or Barcelona (the two largest markets in Spain). and relevance (table 1). The average duration of the Copywriters, art directors and other similar profiles interviews was approximately 50 minutes. All were were ruled out. The interviewees’ positions ranged from recorded in Mp3 format and transcribed for their later creative director to general creative director. frequency analysis. Although the initial listing was of seven female creatives, the final selection was determined by their CHARACTERISTICS OF THE SAMPLE availability and willingness to collaborate in the The age of the selected creative directors ranged from research. Once a female creative director was located, 32 to 53 years old. All of them had a degree in Advertising we called the agency to ask for her participation in the and Public Relations. Their average experience in the investigation. It was possible to interview six of the advertising sector was around 18 years, having worked seven female creatives. on average in about four advertising agencies. Their The sample was limited to six interviews, for three professional positions were creative direction (3), executive reasons. First, the difficulty of obtaining women in creative direction (2) and general creative direction (1), positions of creative management made us focus on and they ran teams of between three and sixty people, few subjects. Second, the research by Guest, Bunce and highly masculinized (65% men). The advertising agencies Johnson (2006) on samples in studies based on in-depth where the female creative work are mainstream and had interviews showed that with only six interviews, 94% of been awarded internationally in festivals of advertising the main basic categories of information are obtained. creativity. Geographically, five of the agencies were in These authors explain that in interviews with a certain Barcelona and one in Madrid (table 2). CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 116 MONTES, C. y ROCA, D. Female leadership in advertising creativity RQ1: How do female creative directors (CDs) see leadership? -What is a leader for you? -Name 5 characteristics of a leader Give me 4 examples of people you consider leaders -What do you think characterizes male and female leadership? -Do you think women have what it takes to be leaders? -Why? -What do you think is the disposition of women to access leadership positions? - What factors would you highlight as important for a woman to reach a leadership position? - Specifically, what do you think a woman needs to become a creative director? -And to stay once she arrives? RQ2: Do female CDs see themselves as leaders? -Do you see yourself as a leader? -How does your gender and the stereotypes related to it affect your perception of yourself as being or not being a leader? -What are your strengths as a leader? -And your weaknesses? -How would you define your leadership style? RQ3: How do female CDs lead? - What techniques do you use to encourage the creativity of your teams? - Which methods do you use to motivate your creatives? -Which advantages and difficulties to lead as do you find as a creative director for being a woman? -With which strategies or techniques do you face them? RQ4: Do others see female CDs as leaders? - What feedback have you received on your leadership and from whom? -How do the fact that you are a woman these affects feedbacks? Closure -How do you think that female leadership in general could be promoted? - What advice would you give to the next generations of potential female creative directors? Table 1. Interview script Source: Own elaboration. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 117 MONTES, C. y ROCA, D. Female leadership in advertising creativity Gender of the team Experience Previous Name Age Studies in years agencies Position M F Subject 1 53 Degree in Advertising and Public Relations. 30 6 ECD 5 2 Subject 2 32 Degree in Advertising and Public Relations. 11 5 CD 3 3 Subject 3 37 Degree in Advertising and Public Relations. 18 3 ECD 34 11 Subject 4 34 Degree in Advertising and Public Relations. 12 4 CD 1 2 Subject 5 36 Degree in Advertising and Public Relations. 14 2 GCD 36 24 Subject 6 46 Degree in Advertising and Public Relations. 22 3 CD 3 2 13.6 7.3 Average 39.7 - 17.8 3.8 - (65%) (35%) Table 2. Characteristics of the sample Note: 1) GCD (General creative director), ECD (Executive creative director) y CD (creative director); 2) M (male), F (female). Source: own elaboration. Theme Verbatim It is someone who knows where he or she goes (...) knows how to be followed and along the way Leader makes great things, enjoying, making people enjoy. (Subject 3) definition He or she knows how to inspire so much and so well that others follow him or her without having to inflict pressure or give an order. (Subject 6) Empathy, you have to empathize with people, put yourself in their place and understand them (...) in the end in advertising (...) you must be a charismatic person, people must perceive in the leader a Features of a support (...). If you are a leader, you have to have certain judgment to be able to value with some bases. leader In the end you are making judgments about a job. (Subject 2) Obsession in the sense of being firm and knowing where you want to go and do not stop until you get it, and ambition. (Subject 3) My grandmother and my mother. (...) Strong women who have led their family as nobody else. From Examples of my mother (...) I also learned how to manage and stimulate creative processes and teamwork. leaders (Subject 4) Table 3a. The understanding of leadership Source: Own elaboration. RESULTS exemplars as motivating factors to voluntarily follow The results have been divided into four thematic the leader and enjoy doing so (6). In addition, among blocks that answer the research questions. The the five key characteristics of an ideal leader, they frequency of responses (from 1 to 6) is indicated in mention empathy and/or emotional intelligence (5), parenthesis. charisma (3), honesty (3), as well as other aligned qualities such as determination, mental clarity THE UNDERSTANDING OF LEADERSHIP and ambition or focus and tenacity (2). They also Regarding the understanding of leadership name qualities similar to the previous ones, such (tables 3a, 3b and 3c), the female creatives define as judgement (2), being an exemplary professional the leader as the person who knows and marks the (2), coherence (1) and respect (1). Examples of more way, someone who guides others (6). They emphasize recurrent leaders include family members (5), mainly their ability to inspire (4) and directly or indirectly for their judgement, strength, diligence and influence refer to their personal, professional and even moral on others. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 118 MONTES, C. y ROCA, D. Female leadership in advertising creativity Male leadership is defined as more authoritarian, for women in accessing and exercising leadership: hierarchical, direct and determined than the female motherhood (3). (6). It is considered that men lead in part from the Men do not live their paternity as a professional brake, ego, as an act of reaffirmation, something to impose either because they do not experience it physically or through the pressure or the exercise of authority (5). because they do not give it so much importance, so In contrast, creative women define female leadership for them it is not a reason for resignations or that as much more empathic (4), inclusive (2), sensitive (3), affects their professional projection. Women live their accessible (2), and intuitive (2). Women listen to the professional-family renunciations as a succession of team and involve it, sharing power, building together emotional contradictions caused by not wanting to and gaining their respect for the relationship they create give up anything and feel that they have to do so (1). with them by being understanding. It is because of this We detected several positions and factors that help widespread perception of masculine leadership that to understand this reality, as well as to question its the masculinization of women (3) emerged as a way of raison d’être. On the one hand, it was recognized that demonstrating their worth, reaffirming the legitimacy women self-inflict a veto on leadership, burdened with of their leadership and being taken seriously in the excessive weight caused by their way of thinking and face of their own and others’ doubts, particularly at managing motherhood (1). A new factor appeared, the beginning of their leadership. the inferiority of wages with respect to men, which The interviewees reaffirm the potential of women reinforces the fact that women tend to give up progress to lead (6), highlighting their capacity for observation, in their careers, in favor of family and personal organization and action (4) and their advantageous responsibility (1). readiness to consider the needs and qualities of the On the other hand, the lack of reconciliation between group members in order to obtain the results sought the professional and the personal/family caused by by organization (3). They also show a preference the endless hours of the advertising industry and the for female leadership (3) and even the belief that creative department in particular, was directly or it is superior to men’s, because they are the most indirectly mentioned by several interviewees as a great organized, adaptable and complex. Only one female condition that makes motherhood a source of stress, creative argues that leadership capacity and qualities guilt and exhaustion, making women feel that they are gender-independent (1) and that good leadership should choose between one or another area of their life. is a balance between the qualities of women and men’s Lastly, and apart from the conflicts between personal leadership (1). or family life and the professional life, it was pointed Creative directors suggest that women’s willingness out that most of the leaders are men and surround to access leadership, in terms of desire and ambition, is themselves with other men as a further brake on the the same as that of men (5) and that it is a question of professional advancement of women (1). choosing priorities (6), considering all the resignations When defining which factors make a woman reach a and personal sacrifices that professional leadership position of leadership, the approaches of the answers are entails. In fact, they point out that ambition is a right diverse. Some focus on more pragmatic aspects, such and that women should not self-delude themselves by as judgment and its transmission (1) or more strategic, thinking or saying that they do not mind about not such as networking (1). On the other hand, there are also leading, because behind that statement there is a reality inspirational factors related to the transformative power of suffering. As they go deeper into this aspect, they of one’s own convictions, good attitude and motivation point out that professional leadership is much more in gaining leadership (3). At the perspective level, two complicated for women than for men, since, other than different approaches appeared, one negative and one the fact that women have to demonstrate more effort and positive. The first vision focused on the criticism of work to access these positions, exercising them means, gender inequality, on the assumption of women’s as they are also leaders at home, a physical and mental renunciations or on the elimination of prejudices and overload that can be unbearable (4). And they state barriers to the rise of women. The second vision focused that access to leadership positions usually coincides on the importance of self-support and the environment with a stage explicitly identified as the great obstacle to achieve leadership positions as a woman. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 119 MONTES, C. y ROCA, D. Female leadership in advertising creativity Theme Verbatim Men have too much ego, it is “me, me, me” (...) the woman takes the leadership more as a service ... (Subject 1) Male and female If he hits the table nobody is amazed; on the other hand, if a woman does it, it is more strange leadership (...) it seems that the man is more authoritarian than the woman and it seems that to be heeded she has to shout and masculinize. (...) empathy belongs more to the feminine gender (...) is much more sensitive ... men do not come so naturally. (Subject 3) Women’s leadership is more about management, better organization of time and, in that sense, being a better leader (...). The male leader, on the other hand, is more despot. (Subject 3) The ability of female The ability to organize, act and generate results, to face a situation, of adaptability, of leadership suffering (...) women are more prepared to face many more situations than men, in that sense they have more capacity for leadership. (Subject 6) It is not that women are willing or not to gain leadership positions, nor is it a matter of having or not having enough ambition. It is not a matter of fear of leadership. (...) it is a question of saying “I do not know if it compensates me”. (...) the hours are a very strong handicap. (Subject 2) Female disposition Self-deception is not good either. “No, no, I left because I do not care” (...) you left because towards access to you could not bear it anymore (...) Gender is a huge overexertion that takes away much of leadership your personal life, and then I think many women leave, they surrender. (Subject 5) In a couple who wants to have children, what happens is that usually the one who earns the most is him and then the woman says “well, then, he works ... I’ll take care of the child and that’s how I compensate.” (Subject 6) Table 3b. The understanding of leadership Source: Own elaboration. As for the factors necessary to become creative system or environment where trust, respect and directors, the interviewees highlighted some common conciliation reigned, and where people feel valued and aspects to gain access to leadership: talent, sensitivity, comforted, while at the same time having a life beyond determination, ambition, motivation, good attitude and work (5). In fact, environmental factors seem to have a emotional intelligence. They also mentioned factors great impact on people and on the importance of more such as intuition, management of emotions and teams, personal aspects –such as ambition, tenacity, illusion mastery of the profession or the environment and the and trust– for female creative directors to remain in desire to be a leader. Finally, they referred to external leadership positions. Apart from the above mentioned factors that influence the arrival to leadership positions systemic and personal factors, the need for help at home (3), such as the pressure to which women are subjected was pointed out as a factor allowing not to abandon and their origin (self-inflicted or from superiors) or leadership (1). strategies to achieve promotion, such as focusing on passion for ideas and ambition to generate the best ones, SELF-PERCEPTION OF LEADERSHIP as well as work in places where one can ascend. Finally, As for the self-perception of leadership (table 4), they emphasized the importance of keeping alive the the interviewees recognized that they saw themselves curiosity and the illusion for ideas, the knowledge and as leaders (5). The most forceful statements referred the process of creation (2). to past experiences or aspects that had led them to When defining what makes a female creative director consider themselves as such (2), and one of them remain in leadership, they identified personal factors, explained that she had always been a leader throughout such as the strengths that led to that position or factors her life because of her “drive” and “passion”. Others related to the environment. They highlighted the were less emphatic, claiming that they had to judge importance of working in a flexible and high-quality others, not themselves, or using words like “I guess” CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 120 MONTES, C. y ROCA, D. Female leadership in advertising creativity Theme Verbatim Know how to handle the “politics” that surrounds everything (...) know how to relate and get along with the right people. (Subject 4) Being a woman and It is about ourselves, of believing more, of striving for it and of really feeling that we have becoming a leader greater support behind. When a woman comes to a position of leadership, often it is because she was convinced of something, because she has done a good job and because she has not put obstacles in order not to arrive. (Subject 6) Ability to manage stress, ability to manage teams, and knowing how to operate within an eminently masculine world. (Subject 4) Being a woman and Create the best book possible (...) and go asking yourself (...) if you see yourself in a becoming a creative managerial position (...) it is not the same to be a creative and a creative director. (Subject 5) director It takes a special sensitivity and lots of diplomacy, because you have to navigate a lot between very different personalities and marketing subjects. (Subject 6) Staying in leadership has more to do with the flexibility and quality of what surrounds you at work than with internal factors or personal characteristics. (Subject 2) If the structure respects you, knows your contribution of value, you have been sometime in it, Staying as a woman in it is easier to say “hello how are you, I am a person, I have life” and that the structure accepts the creative direction and allows it. (Subject 5) To have help at home, because if you pretend to do everything yourself, you die, for sure. (Subject 3) Table 3c. The understanding of leadership Source: Own elaboration. and “more or less” (3). Only one said that she saw the “maternal leadership” (2), which protects, cares and term ‘leader’ as ‘too big for her’ or at least ‘associate understands teams, making them feel good. it with other people’. We also analyzed the process On the other hand, they highlighted the importance since being named creative director, the doubts about of building a good environment and of seeing beyond being able to assume the function, and the beginnings talent when building teams (1), and the value of being in which the leading was as a man –because it was optimistic, constructive and motivating with their what was known– until the time when they found a teams (3). As for their weaknesses as leaders, female way to lead in a feminine style (1). creatives made very different contributions: from Gender stereotypes associated with women being too hard on themselves or not being enough, to influence whether they are seen (3) or not as leaders wish for more patience, talent or ambition. Finally, we (3). The first group of creatives blamed the doubts should point out that the strengths and weaknesses of generated by the lack of references (1), gender- leadership tend to be the same as two sides of a coin, a based discredit (1) and negative self-perception of clear example of which is mature age (1): experience femininity by having a team of men (1) as the causes versus freshness. of not perceiving themselves as leaders. In denying When defining their own style of leadership, the the influence of gender stereotypes, they recognized female creative agreed to characterize it or to insinuate that when a woman is very observant and, therefore, it as democratic, collaborative and based on an organic aware of her gender and the attention she draws for work system (5). Other terms used to define their being a woman, she tends to project that that reality leadership were “inspirational” and “transformational” matters and this makes others care about that too (1). (1). In general, aspects such as motivating and inspiring Among the strengths they possessed as leaders the team, sharing power with it in less hierarchical were qualities such as empathy (the most outstanding and more inclusive structures, and creating climates quality), tenacity, direction, ambition, inclusion and of trust and freedom where innovation brings the accompaniment of team members, aspects with which team to its common goal appeared repeatedly. On they had previously defined the ideal leader. They even the other hand, among those who had identified their took the empathy self-assessment further, speaking of leadership as “democratic”, some clarified that it was CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 121 MONTES, C. y ROCA, D. Female leadership in advertising creativity Theme Verbatim Gradually I found my style, focusing on the team, making things turn out well, worked well. It was when I forgot whether or not I would be a good leader, when I focused on being a real Leadership awareness leader. (Subject 2) The truth is, no. It is a word that I associate with other types of people (...)leader is a bit big. (Subject 4) It affects the fact that there are no referents, it is very difficult to see leaders, but even more Gender stereotypes to find women leaders. This makes it very difficult for you to see yourself as a leader (...) you and leadership ask yourself many times “will I be able?” (Subject 2) perception I see it in the eyes of others (...) they are surprised that I am not a guy with a beard and snickers, that I am a woman, the femininity as a concept. (Subject 5) I’m a mom, I like to take care of people. (Subject 1) To be clear to where we have to arrive, what kind of idea we have to have so it will triumph (...) help the people in my position to achieve the goals set ... (Subject 3) Strengths and The atmosphere is super important. People are also contagious, both of positive and negative weaknesses of female structures. (Subject 5) creative directors as I am very self-demanding (...) I can become hard on myself. (Subject 2) leaders Patience to better manage stress and conflict situations. (Subject 4) The fact of not being more ambitious or not have been it in certain determined moments. (Subject 6) The structure is hierarchical but, in my day to day, I prefer to work in a more organic way, Female CD leadership collaborating on an equal basis with all the members of the team. (Subject 4) style My style is democratic but to a certain extent, because I am in favor of listening to everyone, but you also have to know how long to do it and make the final decision. (Subject 5) Table 4. Self-perception of leadership Source: Own elaboration. important to remember and make them understand When defining which measures drive the motivation that, despite listening to everyone and taking them of their teams, they highlighted the transformative into account, they were the ones making the final power of recognizing the well-done work of the team decision, something that it was not always possible or of a member and rewarding them, so that they feel to make them understand (2). appreciated; for example, by taking them to advertising festivals (2). On the other hand, several interviewees LEADERSHIP EXECUTION referred to the need to care for people, their spirit and Regarding the execution of leadership (table 5), their energy, to create good team environments where the respondents stressed the importance of fostering there are no barriers between members or for creative a curious spirit outside the agency (3), encouraging thinking. Several participants pointed to different creativity in the teams, asking their members to go to the ways of showing team members that were taken into movies, to exhibitions, events, that they nourished and consideration, such as reconciliation, listening and absorbed ideas and stimuli from other fields that were empowerment through trust and joint development, not advertising. Another way to encourage and guide through training and activities; there were also references creativity was to share references of good campaigns, to their inclusion in different projects and accounts. activities or interesting data with the team (3). They Half of the creative directors stated that they did also talked about the technique of starting the creative not find special advantages or difficulties in leading process, proposing some first concepts to the teams (2), because they were women (3). The creatives argued but also recognized techniques such as brainstorming; that the obstacles to leadership depend on how the some introduced others, such as maps of ideas, games, leader earns the respect of her team, while making formations, group dynamics and team meeting in clear what the position of each one is (1). Among those concentration environments (3). who have found difficulties in leading (3), the lack of CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 122 MONTES, C. y ROCA, D. Female leadership in advertising creativity credibility was mentioned as a difficulty imposed on THE EXTERNAL EVALUATION OF LEADERSHIP their leadership merely because they were women When asked about the external leadership’s (2). One of the interviewees pointed to sensitivity as evaluation (table 6), only one of the six interviewees a characteristic that sometimes played against them stated that she had obtained an explicit assessment with the teams, rendering her overprotective, too of her leadership by her team, which was positive. flexible or less demanding (1). Finally, it was pointed One justification for this was that normally the out that the focus of the difficulties to lead should be subordinates do not usually tell their leaders how placed on the obstacles to leadership, while another they do it (2). However, it was found that the internal acknowledged that she never had found advantages anonymous evaluations of the company or the for being a woman, thanks to the current fashion of superiors had provided very positive feedback to the talking about empowered women she received much creative directors (5). On the other hand, it was pointed more attention from the industry and the media (1). out that the best feedback from their leadership came The creative directors who did perceive differences from their teams, that, through gestures, details or in the treatment they received for being women, facts, instead of words, had demonstrated their well- stated that they faced them in different ways. As far as being, complicity and development over time (3). None discrimination is concerned, they proposed to ignore of those interviewed felt that these feedbacks had them, confront them, work hard to discredit them or been conditioned by the fact that they were women. detract from them. On the other hand, they pointed However, it is worth mentioning the note about the out that although sensitivity or maternalism could existence of advantages when dealing with clients sometimes be a difficulty to lead, they could also be a only for being a woman (1) and that when women facilitating tactic to manage the egos of the creatives, learn to lead in feminine –and not as men–, she and especially when giving them feedback (1). others realize her potential (1). Theme Verbatim I ask my team to be very curious, that they are interested in ideas, and ideas beyond advertising. (...) I want them to read, to go, to absorb, to be nourished by everything. (Subject 2) Empowering creativity Brainstormings, mixing a lot of people in projects where there is a lot at stake, instead of leaving it to two. I do sessions, I take a group of big people and we go outside ... (Subject 5) For me, motivating is that you go home at 7:00 p.m. (Subject 1) When you know someone has worked a lot and done it well, tell him. It costs nothing to do so and it’s these little things that make people happy, the ones that create a team, good Motivation of teams environments. (Subject 2) If someone is working on it and is doing a good job and a very good project arrives, he is given it and told why (Subject 5) Difficulties, what I said, sometimes I lack bad temper, I’m a little like a mom, and sometimes Advantages and mothering is counterproductive. (Subject 3) difficulties for being a The biggest difficulty is that there are many people who are still prejudiced. For example, there woman are certain customers accustomed to dealing with guys with beards and snickers, who for being a woman you have to do extra work with them ... (Subject 5) I think that by generating few expectations at the beginning, then it is much easier to surprise Differences for being a them with a good job. (Subject 4) woman When I am treated differently because I am a woman, if I can, I act as if do not realize, and if I think the situation is too much, I face it. (Subject 5) Table 5. Leadership execution Source: Own elaboration. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 123 MONTES, C. y ROCA, D. Female leadership in advertising creativity Theme Verbatim [About her creative team] They not only value, and a lot, my way of thinking, they also value me as a person. (Subject 4) My bosses value a lot how I manage my team, because it is a team that is compensated, happy, they see that they listen to me and I do not have rebellions. (Subject 3) External evaluation of I have found more positive situations because of being a woman than negative. For example, leadership dialogue is easier with advertisers if you are a woman (...) it creates a feeling of teamwork with which you get involved and they involve you, creating a team of trust. (Subject 6) After a while, when you manage to lead in feminine, in an authentic way, true to what you are and not to what you are accustomed to see in society or in the advertising industry, you can get anything. And the others see it. (Subject 2) Table 6. The external evaluation of leadership Source: Own elaboration. DISCUSSION power and gaining respect for the team not through This research has dealt with the figure of the female pressure or hierarchies, but through making the team creative director of advertising in mainstream agencies feel good and involved. These aspects identify the style in Spain from the perspective of leadership. Unlike of female leadership as democratic (Bass, 1990; Dunker, previous studies, which focused on their absence in the 2002), oriented to people (Bass, 1990). agencies’ creative departments and their difficulties in The female creative directors recognize historical accessing or not abandoning them (see Mallia, 2009; reasons in the perception of the leadership as masculine Windels et al., 2010), this research focuses on their (Godoy & Mladinic, 2009), in a supposed feminine work presence as leaders. Through the frequency analysis of inferiority (Clancy, 2007) and in a questioning of the six in-depth interviews with female creative directors, competition of women (Collinson, Knights & Collinson, we have shown how they understand, perceive and 1990; Fitzgerald, Drasgow, Hulin, Gelfand & Magley, execute their leadership, as well as their perception of 1997; Kanter, 1977; Martin, 2007). Male leadership is how their employees value it. seen in and by the absence of female leaders in which to reflect (see Grow et al., 2012) and why because many of THE UNDERSTANDING OF LEADERSHIP them are masculinized (Coronel Llamas, 1996) as part Female creative directors understand the leader as of a practical process, although not true to themselves, someone exemplary, capable of guiding and inspiring to fit with the ideal leader features. others in such a way that they want to follow him All interviewees strongly believed in the potential or her and enjoy doing so. This vision of the leader of women’s leadership and emphasized that because implicitly has the influence and motivation that he or they are women, they are better leaders than men she is capable of exerting this on the team (House et (Book, 2000; Helgesen, 1990; Rosener, 1995), as al., 2002; Yuki & Van Fleet, 1992). their leadership is more effective (Lowe, Kroeck & Male leadership is seen as authoritarian, hierarchical, Sivasubramaniam, 1996). They see leadership as a directive, determined and exercised from the ego, and service to others, something that characterizes effective reaffirmed by pressure, in line with the definition of leadership (Blanchard, 2007). management rather than leadership (Yuki, 2002). In They also stated that women have the same addition, it fits in with the authoritarian leadership disposition as men to gain access to leadership in terms style defined by Bass (1990) and Dunker (2002), and of ambition and career aspirations, but that at a point contradicts one of the requirements of good creative in their career –often coinciding with motherhood– leadership. On the other hand, female leadership is they choose other priorities (Grow et al., 2012). Among described as empathic, inclusive, sensitive, accessible other factors that inhibit the access of female creatives and intuitive, emphasizing active listening, sharing to leadership, they mentioned the inferiority of salary CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 124 MONTES, C. y ROCA, D. Female leadership in advertising creativity and the inability to reconcile personal/family life and Broyles (2012). In addition, they provided an interesting career, due to the endless hours of the industry (Grow aspect that had not appeared in the literature: how the et al., 2012). awareness of gender and the stereotypes associated with To be and remain as creatives directors, women it projected and worsened discrimination, and how emphasized several qualities related to emotional to stop giving them importance as women could take aspects (Bass, 1990; Kirkpatrick & Locke, 1991; them away completely for the whole society. Naylor, 1999; Yuki & Tracey, 1992): talent, sensitivity, Their strengths as female creative leaders coincide in determination, ambition, motivation, good attitude, part with those of the transformational, democratic and and emotional intelligence. Other factors that did not creative leader: empathy, tenacity, direction, ambition, appear in the literature, but which the interviewees and the inclusion and accompaniment of the team commented on, were maintaining the illusion and members. Some defined their leadership as motherly. curiosity about ideas and knowledge, the importance This adjective had not appeared as descriptive of female of the pressure to which they are subjected and its leadership in literature, but is consistent with others, origin (self-inflicted or from superiors), and working such as empathy, mentoring, empowerment, coaching, in places where it is possible to ascend. or individualized treatment. On the other hand, they Respondents said that to remain a leader, a female commented on the ability to create good environments creative director must retain her strengths –ambition, through optimism (Andrews & Farris, 1967; Oldham tenacity, enthusiasm and confidence–but above all to & Cummings, 1996). be able to work in a quality environment –conciliatory, As for their weaknesses, they named being too hard flexible, trustworthy and respectful. This last aspect on themselves or not being it enough and wishing to confirms that women leave the creative departments have more patience, talent or ambition, none of these of advertising to avoid environments that harm them aspects corresponding to those that make a leader (Grow, Roca & Broyles, 2012). Finally, they added the bad or ineffective (Amabile et al., 2004; Oldham & fact that support was needed at home, since if their Cummings, 1996). partners did not support them to reconcile both sides of their lives, they would also be fomenting the stereotype LEADERSHIP EXECUTION of female inferiority (Clancy, 2007) and hindering their Female creative directors encourage creativity promotion to leadership (Escandón & Arias, 2011). through intellectual stimulation, one of the three main components of transformational leadership (Emery & SELF-PERCEPTION OF LEADERSHIP Barker, 2007): they invite their teams to absorb non- Female creative directors are aware of their advertising stimuli, teach them referrals, use creative leadership, although some believe that their leadership techniques, attend trainings and organize exits to should be judged by “others” (Lord & Maher, 1991). concentration environments. These activities also They indicated that they started by applying male build better teams and good environments, something methods (Coronel Llamas, 1996), until they gradually very important to lead (Amabile, 1997, 1988; Ford, found their own style. 1996; Woodman et al., 1993), especially for creatives Female creative directors are also aware of the effect (Stuhlfaut, 2012). They also motivate their teams by that gender stereotypes have on their self-perception as recognizing their work, caring for them, encouraging leaders: they highlighted the lack of referents (Roca & them, listening to them, allowing for reconciliation Pueyo, 2011); they also mentioned their self-perception and sharing responsibilities. Thus, they appear as of femininity as something negative in their work, a fact transformational leaders (Bass, 1985; Burns, 1978; caused by the desirability of stereotypical masculine Kouzes & Posner, 1993) and show their preference features (Miner, 1993); and the incongruity they perceive for innovation and flexibility, which defines them as between playing the role of the leader and their gender leaders, not managers (Yuki, 2002). (Eagly & Karau, 2002). Finally, they referred to the The greatest difficulty female creatives found was discredit that implied to have assigned only “feminine” access to the creative management position (Jordan, accounts, a factor of feminine abandonment of the 2009; Klein, 2000; Mallia, 2009; Nixon, 2003). Once creative departments, according to Grow, Roca and there, they mention the lack of credibility (Collinson CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 125 MONTES, C. y ROCA, D. Female leadership in advertising creativity et al., 1990) as the greatest difficulty. In addition, they CONCLUSIONS add being too sensitive with the teams, in the sense of This study gives visibility to female creative directors of being overprotective or flexible and less demanding, the Spanish advertising industry, discovering from a novel, something that did not appear in the literature. positive and constructive approach what is their secret As for the advantages to lead as a woman, they to be the exception to the norm: to be in the leadership. point out that they are now receiving more attention This approach, unlike the usual study of female creative from the industry and the media, due to the current advertising directors, understands them as leaders, which “fashion” of talking about female empowerment, brings value and novelty to the fields of management something that did not appear in the studies reviewed. study and advertising creativity, while promoting more On the other hand, they also noted being sensitive open and constructive views towards these professionals. and maternal as an advantage in managing creative The investigation must be considered exploratory. egos and giving feedback (Andrews & Farris, 1967; For this reason, there are some limitations associated Mumford et al., 2002; Oldham & Cummings, 1996). with focusing solely on mainstream agencies, female Finally, they pointed out a greater easiness to deal with creative directors in Spain, and not having interviewed the client as female creative director, something that their subordinates. In addition, a theoretical relationship contrasts with the claim that female creative directors between feminism and leadership was not developed, but feel marginalized in customer presentations (Grow the text was limited to highlighting the inequalities between et al., 2012). men and women in the field of advertising creativity. In the In the face of discrimination, women said they face future, other lines of research could be conducted, if the them by ignoring them, confronting them, working sample of research is expanded to more female creatives, to discredit them or rest them importance. All these for example, of non-mainstream agencies; if the reality of ways are new ways of dealing with this reality, other countries is studied to see sociocultural differences; alternative ways to feminize themselves to make men and if men creatives are interviewed to compare genders. feel comfortable or masculinize to fit socially in the However, this study unites voices and experiences role of the stereotypically masculine leader proposed that convey the unique value of women’s creative by literature. leadership and the urgent need to understand, appreciate and develop it, demonstrating their potential THE EXTERNAL EVALUATION OF LEADERSHIP not only to create advertising campaigns, but also to The interviewees indicated that their superiors inspire, motivate and lead creative teams towards their value their effectiveness and their way of managing maximum potential. people, which is in line with the high effectiveness In addition, this study has an evident social of women’s leadership (Book, 2000; Helgesen, 1990; component, as it seeks to open paths and show references Lowe et al., 996; Rosener, 1995). In the second place, of creative female leadership to the following generations their subordinates value them. They feel well-being of women on creative advertising, facilitating access and complicity with them because of their treatment to these positions by normalizing and balancing the and how they allow them to develop, aspects that gender balance of an industry that should have never characterize not only effective leadership, but also good forgotten about half of the population. creative leadership, based on creating environments in At a more global level, this research suggests that women which intelligent people can thrive (Goffee & Jones, are effective, creative, transformational and democratic 2007). On the other hand, the aspects of support, leaders, characteristics that define the ideal leader of the training, empowerment and recognition that enable this 21st century. And it is looking to the future when we realize link and feedback appear in the literature as defining that it is everyone’s responsibility to multiply, empower the transformational leader (Gaertner, 2000; Villalba and visibilize all those current and potential female leaders Moreno, 2001). capable of building a better world and advertising. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 126 MONTES, C. y ROCA, D. Female leadership in advertising creativity FOOTNOTES 1. This article is the synthesis of the Barchelor’s Thesis “Mujeres en publicidad: líderes creativas en un mundo de hombres” [Women in advertising: creative leaders in a men’s world] (http://ddd.uab.cat/record/164862) and is part of the research line on advertising creativity and gender of the Research Group on Advertising and Public Relations of the Universitat Autònoma de Barcelona. REFERENCES Alvesson, M. (1994). 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She also organizes the TEDxBarcelona and TEDxBarcelonaWomen conferences. David Roca, holds a Ph.D. from the Universitat Autònoma of Barcelona. He directs the Advertising Research Group of the UAB and his main lines of research deal with advertising creativity, gender and creativity. He has published, among others, in the International Journal of Advertising and in Public Relations Review. CUADERNOS.INFO Nº 39 / DECEMBER 2016 / ISSN 0719-3661 / E-Version: www.cuadernos.info / ISSN 0719-367x 131