The Evolving Landscape of Creativity: A conversation with Michael Aneto and Adam Horne

Adam: What’s exciting you the most within the world of international creativity?

Michael: Hyphenates like Issa Rae, Zoë Kravitz and Gabriel Moses. They’re perfectly evolved for the future. Marvel bringing back Robert Downey Junior as Doctor Doom is totally wild. It’s re-energised their most valuable asset, core fans, and has limitless storytelling potential. Money is already well spent there.

Adam: You mentioned talented hyphenates being perfectly evolved for the future. What do you think is driving the need for this?

Michael: Preferences and expectations. Multiplicity is just the way of the world now. Whatever you do, reaching your potential is impossible by just staying in one lane. Businesses, devices, teammates - the things and people we value most tend to do several things to a high degree of quality.

Adam: Do you think there’s something that senior professionals can learn from this approach?

Michael: Well, this is the reality of the world so I think it’s the only sensible approach. Everyone should strive to be highly skilled at a bunch of things; and exceptional at a couple. Getting all those skills to work together is the creatively satisfying and valuable part.

Adam: You were working at the Paris 2024 Summer Olympics. What’s your lasting impression of the Games?

Michael: It was my favourite Olympics ever. They hit that sweet spot of crowd-pleasing and creativity. There was a really thoughtful combination of mainstream cultures, subcultures, icons and iconography. The Eiffel Tower. The Grand Palais. Even Louis Vuitton. I loved that their unique assets were active protagonists, not just pretty extras. It helped create a stylish, high EQ, familiar and fun atmosphere. It’s no surprise that the sports and athlete stories were so good.

Adam: How do global brands balance data-driven decisions and creative intuition at scale?

Michael: Well, most companies don’t reveal their secret recipes. You can get a glimpse of them through case study resources like The Work. Anyway, the recurring underlying characteristics are more interesting right? For example, a bigger canvas helps with finding that data-creative balance. So being part of a brand portfolio ecosystem is a recurring theme. There, you can play with distinct identities, develop idea efficiency and understand value creation better than in mono-brand environments.

Adam: Totally. How do you envision the future of brand storytelling in an era of incredibly decreasing attention spans?

Michael: I’m not so sure that they’re just decreasing. Rather, there’s a broader range of attention spans to cater to, which presents opportunities and challenges for creativity. For sure, a principal challenge is navigating the algorithmic era. Anyone looking to up their game here should check out ‘Filterworld’ by Kyle Chaka and the last couple of chapters in ‘Status and Culture’ by David Marks. Both authors have great takes on this. 

Adam: Are there any other areas of creative brand marketing where the industry needs to up its game?

Michael: There is tons of bad creative work out there. And perhaps those are more useful than shiny, excellent examples. But Community is one area where the general brand approach of mild dishonesty is pretty disappointing. Collaboration is another where marketing laziness has diminished that ‘wow’ potential. Authenticity in both is key, but that’s an investment many brands and agencies aren’t willing to make. 

Adam: You’re someone who has had a long relationship with Berghs. How can programs like Berghs Advanced help experts and new talent stay ahead in a rapidly evolving technical landscape?

Michael: I think Berghs should just keep encouraging the attitude of leaning heavily into technology. Position technology as vital - not as a utility. It’s less of a toolbox and more like air or water. Always being up on it gives you the confidence and positivity to develop creative principles, tell stories how you envisage and learn what really moves the needle.

Michael: How many countries are represented in the International English program at Berghs?

Adam: We attract young talent globally—from India and South Korea to Canada and all over Europe. This creates a dynamic melting pot of diverse backgrounds and perspectives. Despite these differences, all are committed to creative excellence, producing brave, interesting, thoughtful, and bold work.

Michael: How do you balance giving students what they want versus guiding them towards what they need?

Adam: Different personalities require tailored approaches—some need a challenge, others need support or a listening ear. Often, it’s about gathering insights and helping form a direction rather than dictating it. It’s invigorating when students shift their focus to a new target, re-energising their efforts and development.

Michael: Is it about managing their development steps?

Adam: Yes, it has to be. We can’t just set a distant goal and expect students to pursue it if it doesn’t align with their personalities or needs. It’s about guiding them in a way that makes sense for each individual.

Michael: How have you evolved the programs in response to industry convergence?

Adam: Our students, mostly aged 25-30, aren’t confined by traditional roles—they’ve grown up admiring multifaceted creators and embracing the freedom to evolve. They see themselves as problem solvers, adaptable in creative or strategic contexts. Even those with some industry experience learn to see the benefits of this flexible mindset, so there’s some adjustment there, too.

Michael: What methods does Berghs use to mimic real-world challenges?

Adam: We engage students with real briefs from real clients, pushing them beyond their comfort zones to solve real-world problems. We also emphasise that the real world is unpredictable and not always easy. It’s about teaching them to set healthy boundaries, manage expectations, and navigate complex relationships while keeping creativity intact.

Michael: Speaking of complexity, what are creativity’s biggest challenges and what skills are needed to address them?

Adam: Creatives often struggle to be taken seriously in business, government, and politics because their value and the risk of avoiding risks are hard to quantify. Adaptability is another major challenge. Like previous shifts such as the internet and smartphones, AI shows that creatives must constantly re-centre, balance, and distinguish potential from hype.

Michael: How do you see AI reshaping the creative process in the next 5-10 years?

Adam: Creativity isn’t exclusive to humans, though appreciating it is. AI is already widely used in the real world, and we see it as a creative partner at Berghs. AI is like swimming with flippers. It boosts your efficiency, but you still need leg muscles and a sense of direction to drive forward.

Michael: What was it like collaborating with LIONS on the Creative MBA?

Adam: Working with many extremely sharp and interesting people was great fun. LIONS contributed an extensive catalogue of knowledge, case studies, and truly unique expertise, while Berghs emphasised personal development and an understanding of the learning process. Together, we crafted a unique program that blends deep industry insights and focuses on individual growth. I thought we’d develop a competing program – but in the end, I understood that we’re both really good and really different. 

Michael: How does Berghs stay at the top of its field?

Adam: Our strong management provides stability, allowing us to be bold and focus on evolving our programs rather than dealing with silly problems. There’s a constant drive to keep the curriculum fresh and aligned with the leading edge of industry trends. That attitude exists in all teams at Berghs. It’s a unique culture, believe me! 

Michael: What’s the purpose behind Berghs’ emphasis on personal development?

Adam: Success in communications hinges on confidence. From coaching ambitious volleyball teams, I’ve learned that helping people stay resilient after setbacks is key to winning. At Berghs, we emphasise emotional management, encouraging bold moves, and quickly refocusing when things don’t go as planned. This approach not only boosts confidence but also drives the quality of work.

Michael Aneto is a Friend of Berghs, a member of our International Advisory board and the Creative Director, International of Ring / Amazon. Adam Horne is Program Director of Berghs Advanced and Creative Director of Berghs Studio. 

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