The Rebel Who Redefined Advertising

Shattering Conventions: One Design at a Time

A SON OF THE BRONX: THE FORMATIVE YEARS OF GEORGE LOIS

In the vibrant heart of The Bronx, amid the ceaseless pulse of New York City, 1931 heralded the arrival of George Lois. Born to Greek immigrants, his early years were steeped in the spirit of a working-class neighborhood, a crucible where his future as a luminary in graphic communication began to take shape. Lois’ childhood was marked by a curious blend of rebellion and creativity, with his father’s florist shop serving as the backdrop for his nascent talents. Here, among the blooms, he first wielded his pen, hinting at the revolutionary vision he would one day unleash.

Though often believed to have been shaped at major universities, Lois’ formal education in design was brief and unconventional. At Pratt Institute, he found little in the way of traditional education to inspire him, save for the guidance of Herschel Levit, a mentor who recognized Lois’s unique talents and advised him that formal education had little more to offer him. Levit encouraged Lois to seek real-world experience, leading him to a pivotal role with Reba Sochis, where his career in graphic design truly began. This period was transformative, as Lois crafted a personal style that defied conventions, preparing him to spearhead an industry on the cusp of change.

1960s DISRUPTOR: THR CAMPAIGNS OF GEORGE LOIS THAT SHOOK MADISON AVENUE

Following his stint in the military, George Lois embarked on a meteoric trajectory in advertising, beginning with a foundational role in the CBS advertising department in 1954. This experience was merely the prologue to a storied career that would see Lois become a vanguard of Madison Avenue. His subsequent transition to Doyle Dane Bernbach (DDB) proved to be a crucible for his burgeoning talents, positioning him at the forefront of a creative revolution.

At DDB, in an era when advertising was largely formulaic, Lois’s fearless creativity began to percolate. His first campaign for Kerid ear drops in 1959 became a case study in controversy-courting creativity. With a vivid portrayal of the hazards of ear poking with pencils and bobby pins, the campaign initially “disgusted” colleagues for its perceived grotesqueness. Yet, Lois’s unwavering belief in the power of bold visual storytelling carried the day, heralding the arrival of a creative force, unwilling to be constrained by the industry’s genteel conventions.

The foundation of Papert Koenig Lois (PKL) in 1960 marked Lois’s foray into entrepreneurialism, creating the first publicly traded advertising firm. By 1967, Lois, Holland, Callaway emerged as a beacon in the advertising world, with a client roster boasting the likes of Olivetti and Cutty Sark and billings reaching $40 million. It was an unmistakable declaration of Lois’s ascendancy to the pinnacle of advertising.

Lois’s tenure in the industry was punctuated by campaigns that did more than sell products; they permeated the cultural fabric of the time. The “When You Got It, Flaunt It” campaign for Braniff International Airways not only revitalized the airline’s image, but also encapsulated a burgeoning ethos of the 1960s. Lois masterfully combined celebrity endorsements with vibrant visual flair, disrupting the traditional airline advertising playbook. Figures like Andy Warhol and Sonny Liston, cast in roles and settings far removed from their public personas, epitomized Lois’s knack for the unexpected. As Lois himself said, it was about “making them believable by showing them in a human way, downplaying their celebrity”.

Beyond the skies, Lois’s “I Want My MTV” campaign embedded itself into the lexicon of an entire generation, marrying music with television in a rallying cry that was both a demand and a declaration. His conceptual genius in naming Stouffer’s Lean Cuisine offered a new narrative in the realm of convenience food, while his rebranding efforts for Tommy Hilfiger catapulted the fashion label into the cultural zeitgeist.

Amid the 1960s’ Creative Revolution, George Lois’s innovative spirit was both celebrated and contested. His significant contributions to design and advertising were scrutinized, alongside unjust accusations that he claimed credit for work he didn’t do. Contrary to these accusations, Lois indeed pioneered those projects, or, in some instances, his genuine innovations were overlooked without due recognition. This paradox underscores the complexity of attributing creative achievements in a collaborative and highly egregious industry, reinforcing Lois’s enduring influence beyond the confines of controversy.

In an era defined by its conservative mores, Lois’s work was a beacon of boldness. His campaigns did not merely navigate the cultural currents of the 1960s; they helped to redirect them. With a portfolio that was as much provocation as it was promotion, Lois challenged and changed Madison Avenue, leaving an indelible mark on the canvas of American advertising.

THE VISIONARY IDEAS BEHIND “I WANT MY MTV”

In 1982, George Lois, already a titan of the advertising world, known for his boundary-pushing creative work, was approached by MTV. The network, then just a fledgling operation struggling for wider recognition and distribution, needed something monumental to break into the mainstream. Lois, understanding the potential of MTV to redefine music and visual culture, crafted the “I Want My MTV” campaign.

This campaign distilled the essence of what MTV aimed to be—a rebel in the television landscape, a herald of a new era where music was both seen and heard. By enlisting rock icons like Mick Jagger and David Bowie, Lois didn’t just use celebrity endorsements; he harnessed the spirit of rock ‘n’ roll rebellion to create a movement. These stars didn’t merely appear in advertisements; they became voices of a generation clamoring for a new form of entertainment. As Lois himself recalled, “I Want My MTV ignited a firestorm of popular demand for MTV within minutes after the commercials ran in each market.”

The genius of the campaign lay in its simplicity and its direct appeal to viewers to demand MTV from their cable providers, effectively turning audiences into advocates for the channel. This strategy not only succeeded in expanding MTV’s reach but also in embedding it into the cultural fabric of the era. The campaign’s impact was profound, marking a significant moment in the evolution of advertising, where the message merged seamlessly with the medium, and the brand became a symbol of youth culture.

Lois’s work on the “I Want My MTV” campaign epitomizes his legacy as a master of the advertising craft. It showcases his ability to fuse commercial objectives with cultural insight. His approach was not only about selling a product but about igniting a cultural revolution, proving that advertising, at its best, can change the way we see the world.

THE ESQUIRE COVERS

Throughout the 1960s and early ‘70s, George Lois crafted a series of ninety-two Esquire magazine covers that were as provocative as they were visually compelling, leaving a profound mark on the landscape of American culture and journalism. Each cover, a canvas of Lois’s ingenious mind, ventured beyond mere aesthetic appeal, daring to confront and comment on the tumultuous socio-political climate of the era.

Lois’s cover, featuring Muhammad Ali as Saint Sebastian (1968), for instance, was not just a portrait but a powerful statement on religious freedom, race, and the Vietnam War. This imagery, coupling Ali’s defiance against the draft with the martyrdom of Saint Sebastian, encapsulated Lois’s unique ability to distill complex narratives into striking visual metaphors.

Another notable cover from 1969 depicted Andy Warhol drowning in a can of Campbell’s soup, a wry commentary on consumerism and the art world. This, like many of Lois’s works, blurred the lines between advertising, art, and editorial content, challenging viewers to engage with the magazine on a deeper level.

Lois’s covers for Esquire were more than just memorable pieces of graphic design; they were cultural artifacts that captured the spirit of an era, prompting public discourse and reflection. His ability to leverage the magazine cover as a medium for social critique underscored his role not only as a designer but also as a cultural provocateur.

The legacy of these covers, many of which reside in the permanent collection of The Museum of Modern Art in New York, is a testament to their enduring relevance and impact. In 2008, thirty-one of his covers were installed at the museum, further solidifying their place in the annals of design history. This prestigious recognition underscores the profound effect George Lois’s work continues to have on the perception of magazine covers today, even as their influence in an ever-evolving media landscape may seem somewhat diluted.

THE BEDROCK OF CREATIVITY

George Lois’s impact on the advertising world stems from a core philosophy: the supremacy of “The Big Idea.” This ideology was not merely a set of abstract principles but a clarion call to elevate advertising from mere commercial transactions to moments of cultural significance. Lois believed that at the heart of every memorable campaign lies a singular, potent concept, capable of not only capturing attention, but of also provoking thought, evoking emotion, and driving action.

This philosophy is exemplified in his transformation of the Xerox brand. Lois’s approach to promoting the Xerox 914 revolutionized public perception of office copying. Originally developed by Chester Carlson in 1938 and rejected by major corporations, the technology found its home with the Haloid-Xerox Company, later shortened by George to Xerox. Lois, at his newly formed ad agency Papert Koenig Lois, convinced Xerox that a televised demonstration would dramatically elevate the product’s profile. The initial ad featured a little girl making copies so seamlessly that her father marveled, “Which one is the original?” Although the Federal Trade Commission challenged the ad’s authenticity, Lois responded by filming a new commercial in front of FTC investigators, this time using a chimpanzee as the operator, humorously highlighting the machine’s ease of use. The campaign was an instant hit, achieving Xerox’s ten-year sales goals in just six months and establishing a lasting legacy for xerography, as evidenced by the two trillion copies made annually worldwide.

Lois’s approach was revolutionary. He advocated for a move away from the safety of tested formulas
and toward the embrace of bold, innovative concepts. His campaigns did not merely seek to inform, but to stir the imagination, challenge preconceptions, and engage consumers on a deeper level.

By championing the idea that advertising could be both an art form and a vehicle for commentary, Lois redefined the boundaries of the industry. His legacy, characterized by a relentless pursuit of “The Big Idea,” continues to inspire creatives to craft campaigns that resonate more profoundly with audiences. Through his work, Lois demonstrated that the most impactful messages are those that connect with people, not just as consumers, but as part of a shared human experience.

LEGACY OF A CREATIVE TITAN

In the vast landscape of creative innovation, George Lois emerges as a seminal figure whose audacious vision redefined the parameters of design and advertising. His legacy is underpinned by a profound influence that transcends his immediate industry, resonating across multiple disciplines. Recognized by institutions like the Art Directors Club Hall of Fame and The One Club Creative Hall of Fame, Lois’s contributions have been celebrated not just for their creative brilliance but also for their enduring impact on visual communication. He was also honored with a Lifetime Achievement Award from the CLIO and the Society of Publication Designers, further cementing his legacy in the design world.

Beyond the realm of professional recognition, George Lois’s philosophical imprint resonates deeply within the halls of academia. His philosophy, advocating for bold innovation and the breaking of conventions, has been embraced by institutions such as the School of Visual Arts and the Massachusetts Institute of Technology. These establishments, among others, have integrated Lois’s approaches into their curricula, nurturing a culture of creativity that dares to challenge the status quo.

Integral to understanding Lois’s enduring influence are his literary contributions, particularly his seminal works: George, Be Careful, What’s the Big Idea? and Damn Good Advice (for people with talent!). These volumes not only serve as a testament to Lois’s genius but also act as invaluable resources for aspiring creatives. Through his body of writings, Lois extends beyond the confines of his visual work, offering wisdom and inspiration that continue to guide and provoke thought among readers across the globe.

George Lois’s legacy, marked by distinguished awards, educational impact, and significant literary work, sketches the enduring figure of a man whose influence extends far beyond conventional acclaim. His imprint on the creative sphere is not a constellation of celebrated campaigns, but a dynamic testament that perpetuates innovation, learning, and artistic eminence across successive generations. Lois’s narrative serves as a guiding light for those aspiring to shape their world, instilling a bold ethos of ingenuity and authenticity. In doing so, his fervor, creativity, and enduring influence on advertising, American and global culture, remain vibrantly alive, inspiring the creative minds of tomorrow.—

The Essential Lois Collection