Jason Romeyko’s “Romeyk’over”: Why the Aussie expat creative isn’t done yet

For most creatives, being ranked among the world’s best would be the culmination of a career. For Aussie expat Jason Romeyko, it was simply another point of reinvention. The former Serviceplan Worldwide Executive Creative Director has spent the past two years helping transform UBS into a global financial luxury brand while simultaneously exploring new creative frontiers beyond traditional advertising. Now, as he prepares to leave Publicis Groupe, Romeyko sits down with Campaign Brief to discuss AI, creativity, humanoid robots, the future of talent and why he believes: “Everything is AI. Nothing is AI.”

CB: Last time we ran an article about you, rumour had it you retired after you left Serviceplan as Worldwide Executive Creative Director and Managing Partner in 2023. However, in that same year you were ranked number 9 Group Creative Director in the world and number 1 in Europe (the Drum 2023 and Art Director’s Club Europe 2024 rankings) respectively. It seemed like an odd time to step back. What have you been up to?

Jason Romeyko: To paraphrase Mark Twain, the rumours were exaggerated. Who knows, maybe I even started the retirement rumour. For a while, I definitely let it hang.

For context, both those rankings are from my days at Serviceplan. Besides, like any legacy, you must keep topping it up. “You’re only as good as your next idea” is how the saying goes, right?

Over the past two years I co-founded a global customised agency ULABS for the Publicis Groupe servicing UBS as their Global Creative Director. Housed out of the Zurich office and together with offices from the Groupe’s footprint we rolled out a new global brand platform called “Banking Is Our Craft”. It makes a connection to their 180 years of banking experience of UBS that provides credibility where their skills in wealth management, investment banking and asset management are elevated to a craft.

Spearheaded by John McDonald, at that time CMO (now global CMO HSBC) and Winfried Daun, the campaign offers an appealing story to high net worth and ultra-high net worth individuals, transforming UBS into a financial luxury brand. I would argue that, communications-wise, it was a first for that conservative industry. While I am not permitted to disclose the full amount but the first year of communication helped drive new money deposits into “the squillions”- indeed a very accurate financial term.

CB: And now?

JR: For me this was a privileged opportunity to be part of the transformation of an iconic Swiss brand – one that stopped a global financial crisis and on the back of that give it a worldwide reinvention. I had great partners in James Griffiths, Jonas Poehlmann, Filipa Mauricio, Adam Hughes and Alex Haldemann along with a phenomenally talented multi-disciplinary team. In its first year, it scooped up big in the major financial creative award show in the US and Global Media Awards. But as John left, and the campaign performs well, I feel my mission is accomplished. I finish with Publicis Groupe at the end of July.

CB: It was your second time with the Publicis Groupe – the first time at Saatchi & Saatchi, your “alma mater” and then with the mother brand itself- how did you find the experience?

JR: The first time I left in 2015, I was overworked and under a lot of pressure leading a national agency and three global brands simultaneously while living in Geneva – a place I personally didn’t want to be. I was over it. Yet under a new and improved generation of Publicis Groupe leadership, I discovered a totally different company. Very impressive, visionary and with fantastic, diverse talent. I am grateful I got to experience it again.

CB: So, what now?

JR: Don’t laugh but I have always taken inspiration from music artists like Kylie or Madonna who reinvent themselves every few years. They keep adding to their legacies.

I have a friend, Chad, who even coined a phrase nicknaming me: “Jason Romeyk’over”. I used to do it by moving around from country to country. Advertising has afforded me reinvention through refreshing wonderful global brands like UBS, Deutsche Telekom (T-Mobile) Novartis, GSK, Toyota, etc that I have had the privilege to guide and steward at the highest levels.

My time in Serviceplan along with my philosophy of ÜberCreativity played an important role in transforming it from a perceived German-only agency group into the number one independent agency network in the world. Of course, the vision and ambition came from Florian Haller and Alex Schill, but together with them and Markus Noder, my international creative leadership helped shape the reality.

In the context of our conversation, “Romeyko’over “, it just means I power the reinvention of reputations, brands, agencies and industries.

CB: Back in 2023 you spoke of writing a book. Any news?

JR: Well, I finished an anthology of short stories and a play called “The Elevator”. (On the shelf. Open to publishers and producers!)

Currently I am working on a self-help book “You are what you watch” which talks about how your media nutrition (broadcast TV, streaming, music and beyond) affects your mental health and how you can positively influence it with what your mind ingests. It falls into Digital Life Design and is part of a bigger idea for collaboration with free-to-air, streaming services and an iconic wellness clinic.

CB: So, does this take you outside the creative business?

JR: God no! Luckily, these days our business and creative potential has just gotten broader. These are just new canvases to work and mediums of expression.

On a side note, every night I have multiple dreams without fail.

Over the past few months (no bullsh*t) I have dreams where I creative direct campaigns and lead teams of people I have never met before. My sub conscience keeps me in- or maybe it’s Stockholm Syndrome.

Also, I am chairing a state-sized Austrian advertising award show called the “Goldener Hahn” (“The Golden Chicken” or “The Golden Tap” depending on how you translate it. Although the award is a shiny egg, I prefer the tap analogy as good ideas keep money flowing). To quote my mentor, Bob Isherwood, “great ideas can come from anywhere” so I am looking forward to what I discover in Lower Austria.

Only three weeks ago, I collaborated with my friend Julian Wiehl and Vangardist Magazine (with whom I did the historic “HIV+ Issue” printed in blood) on Eurovision 2026 – this year held in Vienna. The event always has country themed “embassies” for its international visitors however this year, for the first-ever in the competitions 70-year history, we created “The Queer Embassy” – highlighting the rising need for LGBTQiA+ guests to have their own safe space to celebrate. It was a terrific success with coverage and support from our own Aussie Delta Goodrem and Kylie Minogue’s wines as well as Tia Kofi – an iconic drag performer from the BBC. It was loads of fun. Delta was robbed! It’s a concept that will be rolled out to Sofia next year!

CB: But after three decades in the business are you not worried that with AI, your time has come?

JR: AI is nothing new to me. I first started talking about it in conferences circa 2014. I even tried, unsuccessfully, to develop a primitive version of a Generative AI system in my early Serviceplan days. I am sure by now, like all major groups, they have since developed something outstanding.

I will admit though, the AI situation in the past two years has given me pause. Not from fear for myself, but a concern for a younger generation who become creators (writers, graphic designers, film makers etc). Because, like that of a priest or a doctor, they have a calling. Technology will take more than jobs and risks stealing a generation’s calling. It will take pride away from their special gifts. As a leader, I always want to take the young talent forward with an un-overpromised authentic vision – as without them and their new thinking we are nothing.

Besides, years ago, I coined the phrase in my keynote’s speeches: “Everything is digital. Nothing is digital”. Now I say the same about AI: “Everything is AI. Nothing is AI”. It lives in everything we do. We have the chance to give it a tangible shape. So, I am looking to see what is around the corner of the next corner. How can humans contribute to the advertising industry beyond these new technological frontiers.

CB: What do you see ahead?

JR: For me, as an example, one of the most exciting creative challenges for the future is how we help humanoid robots to be accepted into society as valuable, caring helpers.

Let that sink in.

Being gay, I have had half a century of experience to know the challenges of acceptance. Being an expat, all the years being a foreigner somewhere gives me similar knowledge.

The challenge of humanoid robots entering society brings us to “a horse & cart to automobile” moment. I am super excited about creating this societal bridge. I have actually applied to speak at a robotics conference in Silicon Valley in December this year.

Meanwhile, in Europe, one of the other opportunities I see is how to build the foundation values and image of the first ever European Army. I believe it is coming and will or should happen.

The EU is a peace project, and I would gladly participate in giving generations young and old, of all continental nations, a common cause to stand together. You can’t get this first moment of branding wrong. Apart from being proudly Australian, I am also Polish and hold Irish citizenship. Together with my multiple languages and empathy, I am well in a position to collaborate.

CB: So, will we see you in Cannes?

JR: Indeed, you will. With all the rapid change going on, Cannes Lions is still one of the best “in person” gathering of talent, clients, innovators and friends on the calendar. Besides, I couldn’t miss the iconic Campaign Brief La Colombe d’Or lunch. It is an incredible anchor and institution of the Australasian industry. Thank you Michael, Patsy, Kim and team for showing up for us all these years. It is such a good happening!

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