Nils Leonard of Uncommon on Why Creativity Is the Last Great Industry

Ideas that live 'on the edge of what's possible'

Nils is the founder of Uncommon, a creative studio that spans advertising, design, live events and entertainment. Global clients include EA Sports FC, SiriusXM, Nike Jordan, Quaker and British Airways. Earlier, Nils served as chairman and CCO of Grey London.

We spent two minutes with Nils to learn more about his background, his creative inspirations and recent work he’s admired. 

Nils, tell us …

Where you grew up, and where you live now.

Grew up: Wealdstone, Zone 5, London. Live now: British Airways 187 to NYC.

How you first realized you were creative.

When I beat Liam Twomey in a drawing contest at primary school.

A person you idolized creatively early on.

Kirk Hammett, Simon Bisley, Malkovich’s Valmont.

A moment from high school or college that changed your life.

Here are three: A story I wrote about a man and the sea. A dodgy painting of me in the bath. The best right hook I ever threw in a fight at St Georges shopping center.

A visual artist or band/musician you admire.

Lucien Freud. Peter Saville. The Deftones. Amapiano as a scene.

A book, movie, TV show or podcast you recently found inspiring.

All of This Unreal Time by Max Porter.

One of your favorite creative projects you’ve ever worked on. 

“A British Original” for British Airways:

Play

We thought, “Wouldn’t it be brilliant if every execution was original? Yes, let’s do that.” Then the media company came back to us and asked if we knew how many there were? 512 total. But, we felt like we were bound by the idea. It was too good. So we went back to the studio and got everyone involved. We created a Google doc that became a massive therapy session. It captured the madness, the joy, all of the emotions and experiences–everything that travel evokes. I love the studio’s involvement in that. Also, it was a refusal to compromise. At one point the ask was for 20—and we said no. We held true to our idea. The newest ideas, the most remarkable, always live on the edge of what’s possible.

A recent project you’re proud of.

The EA Sports FC global rebrand. The design practice at Uncommon is obviously something we’re very proud of. But we look for something deeper in our design work—more than just “is it clever?” “is it pleasing?” “does it fulfill its function?” We were in search of something akin to a magic trick. In the research phase, we spent hours looking at the game, past and present. We realized that in almost every instance, the control triangle was ever-present. We loved this idea, that the logo might have been hiding in plain sight for 20 years. The control triangle above every player’s head became the new icon for the world’s game.

I would also point to our recent Vimeo “Reframe” branding that incorporated resolution into the design system. The easy question to ask is, “Does the design represent the values of the festival?” Yes of course, but we wanted to go deeper. We looked at the very concept of design itself, the systems we start with. It’s less about what we were making but more about how we might make it. We thought, “Wouldn’t it be brilliant if Vimeo, the original innovator in video, could create a design system as innovative?” So, we included resolution for the first time ever and used it to tease the location of the festival. The further away you were, the lower the resolution of the communications. The closer you got, the sharper the definition. 

Someone else’s work that inspired you years ago.

The incredible 9/11 memorials at the former World Trade Center in NYC. Aside from the tragedy of that physical place, I can imagine a temptation would have been to build something statuesque, something tall, a statement representing defiance. And I think that temptation would have been quite strong. But the decision to do something that went ever downward, speaking in deep ways to eternal loss, and to the depth of our grief, was incredible.

And also, “Whatever It takes” from Macmillan:

Play

Macmillan is a U.K.-based cancer charity that helps patients deal with their station, and they do very noble and beautiful work. It’s tempting to say it’s easy to make something beautiful in that space. But, this film is something special—the casting, the observation, the emotion. The part where one of the guys is dancing is so incredibly bittersweet. Any time I watch it, I’m in rags. I test anyone reading this to watch it and not end up weeping onto their laptop.

Someone else’s work you admired lately. 

The “Flipped Flop” by MSCHF. There are very few places existing in the sphere of creativity that aren’t dependent on other people to make their best work. We, as a studio, create our own products, brands, art and activism. MSCHF also does this. They create products that can laugh at the world and they are happy to have the world debate and discuss their output. Are they serious? That doesn’t matter. The best ideas cut through the feed, and provoke. Our Ratboot shares in this sentiment. In the face of all this chaos, it’s really really necessary to laugh. 

Your main strength as a creative person.

The ability to drop people’s shoulders.

Your biggest weakness.

Unreasonable internal timings.

A mentor who helped you navigate the industry.

Simon Fairweather taught me craft. Neil Hourston taught me the sell. Thomas Heatherwick taught me articulation.

How you’re paying it forward with the next generation of creatives.

I’m trying to make real work in the real world that people can believe in, at a level that people will remark on, with an importance that people will refer to. We have residencies that involve colleges, groups and youth in the studio and its practices. I am committed to changing the U.K. government’s view of creativity and its value to our country—it is our last great industry.

What you’d be doing if you weren’t in advertising.

The Prawn Shack. A no-menu destination restaurant in Cornwall run by a fatter version of me who barely buttons a shirt and never wears socks.