DDB Sydney welcomes Michael Sinclair as head of brand performance

DDB Sydney has announced the appointment of Michael Sinclair as head of brand performance.

Across his career, Sinclair has focused on working in high-performance companies that take the commercial potential of creativity seriously. That mission has seen him work as a producer, planner, marketer, and adviser at the likes of Droga5, Wieden+Kennedy, Optus, Channel4, and M&C Saatchi.

Across these roles, he has worked with, and learned from, some of the most creatively ambitious and commercially successful companies in the world, including Nike, Adidas, and The Guardian.

In the new role, Sinclair combines strategic leadership with operational expertise and is centred on big opportunities impacting brand growth for DDB’s clients.

Over the past 18 months, he advised start-ups, scale-ups, and larger businesses on brand-building, and became a founding Board Member of the In-House Agency Council of Australia.

Sheryl Marjoram, DDB Group Sydney CEO, said: “Our mission is to give brands an Emotional Advantage at scale and in context, and that starts with strong, sharp strategy. We’re building a strategic function that can point creativity at new growth opportunities for brands, and Michael is the perfect person to spearhead those opportunities.”

Fran Clayton, DDB Sydney Chief Strategy Officer, said: “We’re very lucky to have Michael’s mix of client-side and creative agency experience in the building, which gives him a different perspective on what makes a strategy successful. He’ll apply this to our clients’ brands, but also help develop new agency approaches beyond core strategic planning needs.”

Sinclair said of his new role: “We all know that a strong brand can be a practical tool for growth. But are we asking the tough questions about how to build and harness brands efficiently in a world that still, stubbornly, refuses to stop changing? DDB is. And it’s energising.”

This follows the appointment of Cam Hoelter as group creative partner in August.

First published via Mediaweek