Hernán Cerdeiro of SAMY Alliance on How Tunnel Vision Yields Great Ideas

It's always make or break

Hernán is currently ECD of the Americas at SAMY Alliance.

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

Hernán, tell us …

Where you grew up, and where you live now.

I grew up in Argentina in a small town called San Martín, part of greater Buenos Aires. I moved to the U.S. in 2011 but creatively I’m still an Argentinian.

How you first realized you were creative.

When I was a kid, I used to spend too many hours drawing and sketching, but I graduated to painting T-shirts using tattoo designs from my favorite rock stars, such as Slash, Axl Rose, AC/DC, Metallica, Guns N’ Roses, Pearl Jam and, of course, lesser-known local bands in Argentina.

A person you idolized creatively early on.

Back in the day, I was really into Philippe Starck. He had the power to transform everyday objects into something cool and modern. Take the Juicy Salif lemon squeezer from 1990, a controversial but iconic design that created a load of discourse on style vs. substance. It’s both a kitchen gadget and a piece of art. Whether you see a spider or a rocket ship, there’s no doubt Starck made the boring exciting.

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

I wore a cap to university one day, perhaps it made me feel like a creative genius. A professor looked at me and told me to take it off: “We’re in a class, not a club.” I stared back, thinking, why should I follow these stupid rules? That day I decided to enroll in “Escuelita de Creativos Argentina” (equivalent to The Miami Ad School). There, I was surrounded by some of the most talented creatives who didn’t care what others were wearing. It was a turning point for me.

A visual artist or band/musician you admire.

Eddie Vedder’s music and lyrics are a big source of inspiration, especially on Monday mornings when I need a pick-me-up to kick off the week. Pearl Jam’s Ten is on repeat. It’s packed with raw emotion that never gets old.

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

Uncensored CMO is a podcast I always come back to. It’s important to see what your peers in the industry are up to so you don’t fall behind.

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

The best projects always come from brave clients. I was part of the team working for MTV in Argentina in the mid-2000s. The two big projects I enjoyed the most—”Young/Old” and “Don’t Kill the Music”—were truly standouts. Specifically, my favorites were: “Toupe” and “False Teeth,” which showcased the joys of being young, and “Meeting,” which was made to remind people that life is sh*t without music. 

A recent project you’re proud of.

SAMY Alliance and I recently executed a campaign for Old Jamaica, the perfect example of a brave client. It is perhaps the world’s first public “retirement” of a brand—a unique celebration honoring the legacy of the ginger beer in the U.K. Announcing that the brand was to be “retired ” was a risk. We produced a content series highlighting the brand’s iconic can, including a  “goodbye kick-off ” at Notting Hill Carnival (one of the largest street festivals in the world) as well as a  “farewell bucket list. ” It was a campaign where I could completely let loose.

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Someone else’s work that inspired you years ago.

Everything by Alberto Ponte for Nike, a talented Argentinian who, until recently, was the brand’s GCD. Campaigns like “Find Your Greatness” are pure inspiration for any creative in this industry.

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Someone else’s work you admired lately.

All the work and strategy behind Liquid Death shows us that we don’t need to overcomplicate or overanalyze. Sometimes, the more authentic, engaging and fun a campaign is, the more it resonates.

Your main strength as a creative person.

With a good idea, I develop a kind of tunnel vision. As a creative, you need to know when to tune out excess elements that get in the way of your best ideas and just go for it.

Your biggest weakness.

I envy those who care less about their work. But for me, it’s always make or break.

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

Earlier in my career, I progressed by competing with those around me. That, of course, changes when you become a leader. My days of competition (with my team, anyway) are now over, and I see myself more as a guide—encouraging and cajoling them to do great work.

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

Architect or interior designer, where I could still execute my creative ideas.