Motherland in Adland: Casey Bird

In this instalment of the ‘Motherland in Adland’ series, the creative director explains how discovering AI during maternity leave unlocked a new creative freedom – and why mothers must play an active role in shaping the future of work

Motherhood in advertising has long been an unspoken challenge – a career-defining crossroads where ambition is too often questioned, and support systems fall short. And while the industry has made progress in acknowledging the realities of working parents, tangible change is still slow, leaving many mothers to navigate the journey alone.

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Casey Bird, a creative director who most recently worked at Channel 4.

During her second maternity leave, Casey didn’t just return to work – she rewired how she thought about creativity, career progression, and possibility. AI became her tool for liberation, reinvention, and self-determined ambition. Now, as she launches her own creative studio, she’s calling on mothers across adland to experiment, challenge norms, and help shape the next era of work – because if they don’t, the future risks being built without them.

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The AI Revolution is Here. Mothers Can’t Be on the Sidelines.

I’m not a technologist. I’m not a coder. I’m a mother of two (Hi Ruby & Mason, mama’s in LBB!).

I’m an award-winning creative director in advertising and marketing by trade, and someone who spent most of my career working global brands or brand partnerships, most recently Channel 4. But, during my second maternity leave in 2024, something happened: I became obsessed with AI. I became obsessed with the possibilities, the opportunities, the limitless ideas and thoughts. My brain literally exploded.

Not in a “sci-fi robots” kind of way, but because I saw how powerful it could be when applied to real life. I devoured hours of podcasts or YouTube vids on the topic. I started using it to brainstorm business ideas, draft pitches, shape creative concepts, things I had always relied on late nights or over-caffeinated mornings to do. Suddenly, instead of squeezing myself into a workplace model that was never designed for me, I could start designing my own.

That shift was life-changing for me. In 2025 I created the first advert for a brand on behalf of Channel 4 using creative imagination, prompt engineering and a lot of human editing. I could do this, because I felt confident with the tools I had been practising behind the curtains, that when the opportunity arose, I was able to raise my hand and stand out. It was so much fun feeling limitless in the execution and not restricted by a shoot.

Now? I’m currently in the process of taking a pause whilst I launch my own creative studio, one that works around my time, my energy, and my commitment to my family. And AI is at the heart of it, obviously. My imposter syndrome sometimes can tell me this is a bit of a gimmick, but I truly believe it’s going to the scaffolding that allows me to build a business on my own terms as a mother.

Here’s the thing I’ve been pondering, AI is being called the biggest shift since the internet. But if mothers aren’t part of this revolution, then once again the future of work will be built without us in mind. And we can’t afford that. Women constitute only 20% of employees in technical roles in major machine learning companies, 12% of AI researchers, and 6% of professional software developers. (UNESCO)

Because let’s be honest, the traditional workplace is already failing mothers. And if you’re reading this and nodding along, you’re not alone. Too many of us are pushed out, sidelined, or quietly exit because the system doesn’t bend and work with us and our commitments. AI could change that. It could be the tool that helps us re-enter, reinvent, or completely bypass the structures that excluded us in the first place.
So imagine if mothers everywhere used AI not just to lighten the admin load or think up dinner ideas for the week, but instead:

Prototype businesses faster: turning that “what if” idea into a plan overnight. With no-code website builds you can take your idea to MVP in a day. No dev dude to patronise you.
Access opportunities that don’t depend on presenteeism: pitching, networking, or upskilling on your own schedule. Getting LLM’s to challenge you, set goals and learning schedules. Research indicates that women adopt generative AI tools at work 25% less than men, potentially widening the gender gap in career opportunities. (AllBright)
Rewrite the CV narrative: using AI to frame maternity leave not as a “gap,” but as proof of leadership, resilience, and creativity. The more we feed the LLM’s and tools these narrative, the less bias will present.
Create new economies of work: where flexibility isn’t a perk, it’s the foundation. The opportunity is enormous. But only if we claim it!

If AI is left to be defined by the Silicon Valley bros and tech dudes in your office, it will replicate the same systems that already shut us out. If mothers step in, experiment, and shape it, we can build something better. Not just for us, but for everyone.
Think of it as inventive, as being resourceful and creative with our thinking. And mothers have always been good at that, right?

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So here’s my call to action for mothers and others, reading this…

Mothers, play with AI. It’s not scary or uninviting. Break it, bend it, push it. Use it to sketch that side hustle, to pitch that business idea, to design work that actually fits your life!

Because if mothers don’t step in now, we risk being erased from the future of work before it’s even been written. Now is the time to really flex the skills, and pull up a seat at the table. In fact, forget the table, build your own AI table with cosy chairs and warm cups of tea and invite other women to sit at it with you.

November 18, 2025November 27, 2025

SAKARI LERKKANEN’S CINEMA INFUSED LOVE LETTER TO CAMPARI

In the latest edition of getting down and NERDy we caught up with Sakari Lerkkanen to discuss the filmmaking process of Ode to Cinema for Camapari. A love letter to not only the iconic drink but to the history of cinema, blending many different genres and playing homage to some very iconic filmmakers. Sakari doesn’t just pay homage to the work of other famous directors but provides his own distinct and striking form of storytelling the oozes style and sophistication. Juggling the act of capturing the brand image of Campari, while also capturing the spirit of classic film iconography and then on top of that still applying your own unique stamp is no easy feat. You could say it’s like a creative cocktail, balancing new and old flavours together to make something totally original and refreshing.

When you think of Campari what’s the first thing that comes to mind for you and how did you apply this to the campaign?

Cinema. Cannes Film Festival. The Riviera. Italy. In that order – though only after directing this campaign.

Across all the films, that Italian sensibility was essential, especially in art direction, design and elegance. Campari is an Italian icon. But it became more in focus in the ’60s spy spot. The original script leaned on Western spy tropes (notably James Bond), but we shifted toward Italy’s own “spaghetti spy” tradition. It felt more intriguing, more distinct – and more Campari.

What was the trickiest aspect of shooting this campaign?

Time. Prep was tight. But the script was strong, and we had an exceptional team who instantly connected with it. Everyone brought ideas that enriched the final films and added far more nuance than I initially imagined. I love that kind of collaborative process. It makes the final piece feel so much more layered and alive.

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How did you use technology and equipment to capture the visuals of the different genres to make them feel authentic? (e.g. lenses, audio)

The goal was to study and mirror each filmmaking era as authentically as possible.

For example, in the 40s, wide and long lenses were limited. The equipment was heavy. The film stock was less refined than today. We purposefully burned highlights, avoided anything overly polished and kept the audio mono. Our sound team even matched the tonal footprint of the period.

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In the 60s, mainstream production value improved, but spaghetti spy films were often low-budget. We leaned into that charm – of course, with elegance in mind. Our editor (an absolute cinephile) also noted how rare match cuts were then, so we adopted a simpler, slightly imperfect rhythm. Later, there was even a brief trend when editors who could do match cuts became a novelty in Hollywood, which feels funny in retrospect.

In the 90s, post-Star Wars, the more expressive, layered sound design became standard (so to speak, modern sound design). In our Se7en-inspired piece, we used that freedom. However, Fincher always emphasises the plot with clarity and purpose. This poignancy was essential – nothing messy. Visually, handheld cameras and most modern lenses were already part of the mainstream grammar by the ’70s onward, so we used them.

Even though Anderson’s films feel nostalgic, he also uses these modern tools. Playful title cards, clean optics, precise framing. Studying Moonrise Kingdom, we also realised that his symmetry is very different to Kubrick’s, and his art direction blends eras rather than being pinned to one (primarily mid-20th century).

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When paying homage to other artists or work how do you make sure to create your own personal stamp?

When aiming for an authentic film, there’s always a paradox: everything can’t be perfectly authentic. 40s or 60s film stock would be too aged today, so you rely on modern tools to echo the past. Storytelling is subjective, not objective – visible in every cut you make. Every decision you make.

I am not Fincher or Anderson, but I can embrace what I love in their work and how it makes me feel. In storytelling, that honest, personal feel is something that we all connect with. It’s like speaking to another person. That becomes your signature. In Wes, the curtains and jacket had Lynch vibes, while the plot carried a touch of Kaurismaki. Why hide it? In the noir, Mona had a natural telenovela flair – so we embraced it. And guess who’s the voice on the phone? These decisions all add nuance and texture.

I remember being very happy with the first cuts, but rewatching them again at home, something felt off. Moments that felt funny or exciting earlier weren’t anymore. The spark was missing. The next day, we tore each cut apart and rebuilt the flair. That’s the work – finding the emotional truth.

Ultimately, your style comes from your workflow, the people you collaborate with, and your taste – not from forcing a look. In my early years, I leaned on flashy effects and signature tricks to create a certain “style.” Later, I realised: story comes first. What does it need? How does it connect with people? The sharper the intent, the stronger the resonance.

That learning curve allowed me to translate my vision across multiple film genres and work with vastly different brands worldwide. Now, it is fun to see how some people say my reel has a bold voice, while others highlight its versatility. Both are true. For me, the story and intent always lead – rest follows.

While preparing for the shoot were there any films you watched for inspiration?

For noir: Tension (1949), D.O.A. (1950), Casablanca, The Third Man and The Maltese Falcon.

For the 60s: Audrey Hepburn: Charade, The Spy Who Loved Me, Dr. No, From Russia with Love, Goldfinger, Danger: Diabolik (recommend) and various others.

Wes Anderson’s Moonrise Kingdom and The Grand Budapest Hotel. For the thriller: Se7en, Killer and various others.

Mostly, though, we broke down and analysed the frames, techniques and scenes rather than entire films. Everyone was already familiar with the titles. It was a mix of agency references and my own. (I had to pull these titles from my notes.)

Music also plays such a large part of telling the narrative in each of these films, how was the music brought to life for this?

Each track needed to instantly throw the viewer into the film’s world. First, we aligned on era-specific instruments/styles, then shortlisted five tracks per film – twenty total. The ones that were both instantly recognisable and uplifted the films with a distinct edge made the cut.

The funniest case was the Wes spot. I’d never associate that track with Anderson, but I love surf guitar (I play it too), plus the song’s rhythm elevated the film with a deadpan wink. It made us smile – and it worked.

Need to see more from Sakari then click here 👀
And to find out more about NERD Productions talent click here 👈

November 11, 2025November 27, 2025

Motherland in Adland: Sarah Collinson

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Sarah Collinson, chief executive officer of Havas New York.

Sarah shares her experience of navigating pregnancy, parenting and leadership all at once – from fertility struggles and all-day sickness to the emotional tug-of-war between work and home. With candour and humour, she reflects on what it really takes to lead while parenting young children, and why embracing imperfection, drawing boundaries, and showing up authentically may just be the most powerful form of leadership we have.

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Being a leader is tough.
Being a leader, while being a parent to a 4 year old, while also being pregnant is maybe the hardest thing I’ve ever done.

Part of me feels bad even saying this because my journey to parenthood has been an exhausting fertility rollercoaster that has taken up the majority of my thirties.
From the relentless ‘keep-trying-but-nothings-happening’, to the nightmare of miscarriages and an ectopic, to countless doctors’ appointments, injecting myself in random bathrooms, and running around cities at 7am trying to find somewhere to get a blood test before a meeting – it’s pretty much been the opposite of a good time

But MAN, working parenthood is tough.

Our industry is about people.
We have to research them, understand them, appeal to them – and yet with all that knowledge of what it takes to be a human, the basic pulls of working in a client-service business mean that for parents, balancing work and home can feel impossible.

The constant juggle that makes it feel like you’re half-assing everything, anti-social global hours that don’t take bathtime into consideration, and pitches that can swallow a weekend or five. All this, coupled with the thing I always struggled to admit – that when my son Felix was very little, working sometimes felt easier than being with a crying baby.

This industry also demands energy.
It’s a team sport, and we have to show up every day for our colleagues, teams, and clients.

It’s the thing I’ve found the hardest (and most rewarding) about being a CEO. If things are good, the people responsible need to be celebrated and recognized. If things are bad, they need encouragement and help. If you lose an account or a pitch, everyone else can despair, but you need to be there pretty damn fast with momentum and a game plan that helps people pick themselves up and start again.

It takes a lot out of you. And there are times I feel I give everything to work, and then rush home only to be a moody parent who doesn’t have the energy to read Curious George eight times in a row.

I found out that I was pregnant with my second child at the end of January and almost immediately started pretty epic morning sickness that lasted all day (and until week 16). Think heaving in the toilets no one uses on the 4th floor before big meetings, exhaustion levels that meant I wanted to nap under my desk and a generally crap feeling that never dissipated no matter how many bagels I ate.

Almost as soon as this phase wrapped (thank god), my hips and lower back seemed to disintegrate. I got an ugly belly band and tried to up my stretching, but walking was painful and standing still for any length of time became excruciating (why does no one sit down at drinks events??)

None of these things are conducive to being a pinnacle of energy and light.
It was a particularly tough adjustment because my first pregnancy was at the height of covid, and I didn’t step foot in an office.

To deal with it, I’ve become maniacal about energy conservation.
Getting good sleep, trying to ‘exercise’ – even if that means just walking for 30 minutes in the evening – and becoming even better at saying that wonderful word: “no.”

There is no solution for how to make this easy, but these are my learnings :

Tell partners early

Because of my fertility history, I didn’t tell anyone for a long time, but as soon as I brought the leadership team in, I felt supported. From ordering me mocktails when out with a booze client, to moments in pitches where I thought I might hurl and whispered they might have to take over (it never happened – but it came close), to simply having people to moan to – they, and everyone else at Havas, have been truly wonderful. The good news is we work in an industry of amazing humans. Let them help.

Prioritize ruthlessly

If you’re a parent, you’ll already be doing this. Do this more. Cut the chaff and focus on what is essential and meaningful. Sometimes that will mean cutting meetings short and delegating things you might not have before (they have to get used to you being out soon anyway).

Draw ground rules for yourself that you don’t break

This is something I’m telling myself in retrospect, as I very much did not do it initially. Give yourself a break, allow yourself to rest, hold time in your calendar to stretch, to walk, and to just sit in silence. Maybe don’t go into the office as much – especially if it’s summer in NYC and a million degrees.

Know there will be adjustments

I went to Cannes six months pregnant. I still did all of the Cannes things, but in orthopedic shoes with scheduled time for breaks. I also discovered the joy of swimming in the sea between panels and going for dinner. And yes, I mean that beach by The Martinez, where the chances of running into your biggest CMO in a towel are very high. I’ve never done it before for this very reason, but there’s nothing like being overheated and pregnant to make you think “fuck it.”

Lean into doing less

As someone who usually says yes to (almost) everything, turning down invitations and saying no has been tough, but I have to admit, it’s really helped. I’ve trimmed my priorities to family and work. Other things have fallen off a cliff, but with the knowledge that it’s not forever and they will be picked back up (I have a running list on my phone of all the fun things I am going to do when I can walk and drink again – a list my friends are increasingly terrified of).

Let yourself go to bed at 9pm
I feel like I’m a kid. But god, it’s helped.

The end is in sight but soon my new messy reality will be parenting two children, requiring more adjustments and a different type of exhaustion.

This journey has taught me that leadership isn’t about having it all figured out. It’s about adapting, prioritizing, and embracing imperfection. If you’re pregnant, parenting, or simply juggling life’s demands as a leader, your resilience to Keep Calm and Keep Showing Up is your greatest strength. So rest when you need it, learn to say no, lean on your people, and show up as the real you (even when that you is exhausted and with ankles so swollen you can barely fit into Birkenstocks), knowing that this authenticity is probably the most inspiring leadership of all.

November 4, 2025November 27, 2025

Motherland in Adland: Marisa Posadinu

In this instalment of the series, senior support advisor at NABS shares her own positive experience of returning to work after maternity leave – and the insight she’s gained from supporting hundreds of other parents across adland.

In this instalment of Motherland in Adland – the series founded by NERD’s Milana Karaica in partnership with LBB – we hear from Marisa Posadinu, senior support advisor at NABS.

Marisa’s perspective is uniquely dual: both as a working mum herself, and as someone who supports countless parents across the industry. She knows just how tough the juggle can be – and how rare genuine support still is. From her own positive experience at NABS to the difficult stories she hears every day, Marisa shares what true flexibility looks like – and what the industry must do to make it the norm.

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I know how tough it can be to be a mum in this industry. That’s because I have the privilege of helping parents across adland in my role as a senior support advisor at NABS. I hear first-hand about the obstacles stopping mums from progressing; about the challenges affecting parents’ mental wellness and ability to thrive at work and at home (because when you have a child, work and home life are more meshed than ever).

Before I write about those challenges and my thoughts on what we can all do to support working mums, I’m going to share my own experience. It’s an experience I’m lucky to have, and I share it because I want everybody to know that it is possible, even simple, to offer working mums the help they need to do well.

NABS is a really fantastic place to become a mum. I had my daughter in 2022, two years after joining the team. I had an inkling that I’d be in safe hands, because there are so many working parents at NABS; come into the office on any day and you’re sure to have a conversation with someone about nursery, school, the holiday juggle… I knew that I’d be met with flexibility and understanding, and I have been.

I communicated with my manager sporadically during my mat leave and this increased in the final few months. I had 10 KIT days, which I used to get up to speed with any changes and get myself back in to ‘work headspace’. I chose to do this: there was no pressure to use my KIT days at all.

When I eventually came back after 13 months, onboarding was great, thanks to empathy and awareness that sleep was still an issue. I was assigned a work buddy who I could turn to with day-to-day questions and had regular 121s with my manager to discuss my transition back into work.

Although I wanted to come back full-time – extortionate childcare costs have placed financial pressure on me and my partner – it soon became apparent that I needed more flexibility. I changed to condensed hours, working my full-time hours across Tuesday to Friday, and two years on I’m still benefiting from this pattern. It allows me to be better organised and focussed while having an extra day with my daughter. And when sick days and doctor’s appointments happen, I can take them with no judgement.

I’m lucky. I know from hearing hundreds of stories that this isn’t the case for all of us.
Mums calling NABS tell me that the juggle isn’t just real, it’s overwhelming. A lack of flexibility and long hours make the demands of the industry unmanageable; many mums will log on after bedtime, exhausted and struggling to keep up. Burnout, stress and anxiety are common as a result, with people calling NABS for urgent emotional support.

It’s even more difficult for parents of children with SEND, who need even more flexibility at work to navigate the system and fight for additional support.
I also hear of mothers being discriminated against by managers, allocating projects, clients and promotional opportunities to those who are ‘unencumbered’ by childcare responsibilities.

Add in the rising costs of childcare to this difficult mix, and it’s no surprise that many mums are looking for roles outside of the industry.

This is a terrible shame, and it can be – and should be – avoided. Mums have so much to contribute to adland, so we all need to work together to keep them with us.

So what do we all need to do?

As an industry, we could create a standardised parental policy, raising the bar to reduce the disparity between organisations and making sure that parents get the support they need across the board.

Support networks, mentorship, coaching and training should all be created and encouraged – and also point parents towards NABS’ resources including our advice line and group workshops.

Managers are key, as we discovered in All Ears, NABS’ community consultation. Equip your managers to have more open and supportive conversations with their teams – our Managers’ Mindsets workshops are a brilliant way to develop these skills.

Flexibility helps to remove stress, support mental wellness and furthers creativity and productivity as a result. Remote working, flexible hours and job sharing are just three solutions here. It’s about output, not presenteeism.

Many people become even more motivated about our careers once we have children. By putting the right structures in place, we can enable them to thrive. Let’s celebrate parenthood as an asset, not a hindrance.