The road to reinvention

There’s a point in every client-agency relationship where the chemistry either hardens into process or evolves into something more valuable: shared ambition. Together, Nissan US' chief marketing officer Allyson Witherspoon and Omnicom Production’s global CEO Sergio Lopez explore how their partnership has moved beyond the traditional client-agency dynamic into something closer to a shared operating model for modern marketing.

What is clear is that neither side is particularly interested in the old transactional model. This is not the client handing over a brief and waiting for assets to appear. Nor is it an agency relationship built on the increasingly outdated promise of efficiency alone. What they describe instead is a partnership built around mutual provocation: pushing, questioning, experimenting and occasionally freezing ideas until the timing is right.

And in an industry moving as fast as automotive, that mindset matters.

Transformation at scale

Witherspoon describes the car business as being in “complete transformation”. Not incrementally changing, but fundamentally rewiring itself around new consumer behaviours, fragmented media and the growing expectation that brands should speak to people personally, contextually and continuously. The old model of giant campaigns landing in carefully orchestrated bursts no longer fits the reality of how consumers move through culture or how they buy cars.

For Nissan, that has meant becoming dramatically more agile. Automotive may still be a highly considered purchase, but the environment around it now behaves more like retail, entertainment and tech combined, she explains. Consumers expect brands to meet them where they are, on their own terms, with content that feels culturally and geographically relevant. Which sounds obvious until you realise the operational scale required to make that happen.

That’s where the Omnicom Production relationship becomes interesting.

For Lopez, this relationship is less about outputs than infrastructure. Less about campaigns than systems. One example says everything: moving from producing 10 images to producing 3,000 geo-targeted assets tailored to different markets and audiences. But crucially, neither he nor Witherspoon frames this as scale for scale’s sake. The point is relevance. Personalisation that actually feels personal. Creative that understands geography, culture and context rather than flattening everything into a generic national message.

If there’s a shared refrain, it’s that efficiency is an outcome, not a strategy. In an era where every conversation about AI eventually collapses into cost-cutting rhetoric, Witherspoon and Lopez say that they're trying to position technology differently: as an enabler of better consumer experiences rather than simply cheaper production.

The marketer is clear that AI only has value if it solves a genuine problem. “Efficiency is not the reason you use it. Efficiency may be an outcome, but that’s not why you start,” she says. For Nissan, the challenge is how to deliver continuous, personalised engagement across the US at a scale impossible to achieve manually. Traditional production models simply cannot sustain the volume, speed or cadence required. AI has unlocked the possibility of moving from isolated campaign bursts to a constant, always-on brand relationship.

But neither side romanticises the technology. Lopez is equally pragmatic about its limits: “There’s a perception that it’s just pushing a button, but that’s not always the case,” he notes. What excites him is not automation but creative expansion - like shots that couldn’t previously be filmed, or visual worlds that didn’t exist before, or the narrative possibilities beyond the limits of physical production. It’s a notably mature conversation around AI: less techno-utopianism, more practical reinvention.

A need for trust

The partnership itself appears to thrive because both sides understand that transformation is as cultural as it is technological.

Witherspoon repeatedly returns to trust and honesty as the “secret sauce”. Not performative transparency, but the kind that allows difficult conversations to happen early. And Lopez describes treating Nissan’s business as his own. Together, they frame the relationship less like client and agency and more like a shared operating system and one built to solve business problems rather than manage politics.

That became especially important during Omnicom’s consolidation process. These kinds of structural shifts often create instability for clients, but both describe the transition as remarkably seamless. Six months of planning went into ensuring continuity, with Nissan treated as a flagship relationship whose stability mattered strategically. Both suggest the consolidation ultimately strengthened the partnership by increasing access to R&D, data integration and new creative capabilities.

Despite discussing AI, automation and scaled content production, neither sounds interested in replacing creativity with systems. If anything, they argue the opposite: that creativity has become more important precisely because so much marketing now looks and feels the same.

Lopez calls it “CEO safeness” - the performance-marketing-fuelled caution that has flattened distinctiveness across categories. Witherspoon agrees that while tools and targeting are now table stakes, creativity remains the thing that actually differentiates a brand. The best ideas, they argue, sit at the intersection of cultural relevance and business impact.

And Nissan seems willing to test that philosophy in practice.

Witherspoon speaks enthusiastically about experimentation - from immersive VR experiences for its all electric SUV called ARIYA to rapid-response social campaigns built in 24 hours around the Super Bowl that generated 92 million views without paid media. But she’s equally pragmatic about creative risk. Not every moment requires a home run. Sometimes brands need the “base hit”. Sometimes the right idea simply isn’t right yet and gets “put in the freezer”.

The story behind the naming process of the ARIYA captures something about Witherspoon’s approach. Amid that process involving agencies and executives, the winning name didn’t come from a workshop or a whiteboard, it came from a text exchange with her brother about her niece Ariya’s name, and what it meant - “lioness”. A reminder that even at scale, instinct and human connection still shape the outcome.

For all the discussion of AI, scale, data, and transformation, the relationship between Nissan and Omnicom Production still seems built on something fundamentally analogue: trust, candour, shared curiosity, and the willingness to evolve together rather than defensively protect old models.

In a marketing landscape obsessed with speed and optimisation, that may be the most future-facing thing of all.

Creative Salon: Allyson, you work in one of the fastest-evolving industries. What’s the state of the industry today, and how is that shaping Nissan’s marketing?

Allyson Witherspoon: Yeah, I would say the industry is in the middle of complete transformation-almost end to end. Product life cycles are happening much faster to address more current consumer needs, whether that’s powertrains, hybrids versus EVs, or shifts between larger and smaller vehicles depending on the market.

The industry needs to be much more nimble to respond to consumers. We also need to meet consumers where they are, connecting with them on their terms with the information they’re looking for, rather than a one-size-fits-all approach. Automotive is unique because it’s a highly considered purchase, but like all marketers, we’re navigating a rapidly evolving media landscape. That forces us to rethink how we operate-how we deliver personalised content at scale, and how we do it efficiently.

How has this transformation changed how you work with agencies? When do you push for innovation vs. efficiency?

AW: It always starts with core brand truths. You’ve to be clear about who you are. Transformation is more about how you deliver that.

Efficiency is the outcome. Not the starting point.

The biggest shift in how we work with agencies is bringing them into the business problems we’re trying to solve, not just the outputs. It’s about making sure they understand our business objectives and then working together on how marketing and creativity can address those. That’s probably been the biggest shift over the last six years. COVID was a catalyst, as it forced all of us to adapt quickly to changing consumer behaviour, consumption of goods and services, and the outcomes from that. It accelerated agility and nimbleness, and that pace hasn’t slowed down since.

Sergio, how does that show up in your partnership with Nissan? How do you make it strategic rather than transactional?

Sergio Lopez: When Allyson and I started working together, we had to rebuild things from the ground up. It’s not just about efficiency for efficiency’s sake - it’s about transformation over time.

For example, we recently launched geo-targeted content, moving from 10 images to 3,000. But that’s not just scale. It’s about delivering more relevant, more culturally connected content to consumers. That kind of shift doesn’t come from simply adopting a toolkit; it comes from rethinking how we work together. Having a close partnership with a client like Nissan is critical. They’re ambitious, and solving their challenges pushes us to innovate as well. The automotive category is complex and constantly evolving, which means we need to stay agile. That’s why the partnership matters as it allows us to keep moving forward together.

Tell us what helps Nissan stay ahead creatively?

AW: We’re always looking at innovation - whether that’s in consumer engagement, platforms, or media. We try to take a first-mover approach, or at least be in a position to test and learn early. But the key is that it has to start with a consumer need. That’s the checkpoint. Even if something doesn’t scale right away, we’re always learning from it.

With ARIYA, for example, we explored immersive VR experiences. We learned that consumers responded positively, but the friction of using headsets was a barrier. That insight was incredibly valuable and helped us rethink how to deliver immersive experiences in a way that’s more accessible. For us, it’s about testing, learning, and staying ahead of technology. All the while making sure we’re not forcing innovation into a rigid framework. It has to serve the consumer first.

So ARIYA - Is it true that the name came from you, Allyson, and that it’s connected to your niece?

Allyson Witherspoon: Yes, that’s correct. I was working in a global role in Japan at the time and was part of the naming committee. We were brainstorming different names and concepts for the car, which was described as a “wolf in sheep’s clothing.” Very powerful, but with a sleek, elegant design.

We were struggling a bit to find the right name. I think I was the only English speaker in the room at the time, or one of only a few, and we were going through ideas with our agency partners and teams around the world. At one point, we were riffing on a name, and I texted my brother to ask what the name “Ariya” meant. He told me it stood for “lioness,” a female lion. That felt meaningful. So I shared the name in the discussion, and it went up on the board alongside about 20 other options.

What’s interesting is that it was a very democratic process - names moved up and down the list over time. And eventually, “ARIYA” was the name that was selected and approved by the CEO.

During the Omnicom consolidation, how did you maintain alignment and momentum in the partnership. Were there any unexpected lessons along the way?

AW: The key was transparency. From the outset, we discussed what this could mean for us and what opportunities it might unlock. There was also a regulatory period, so throughout that time it was about ongoing dialogue and understanding the implications for our partnership and what it could enable.

Once finalised, we were able to get more hands-on, particularly around areas like data integration, which can really power what we do in terms of targeting and creative personalisation. I had already raised my hand early on as I wanted us to be part of that from the beginning. Overall, it’s been seamless from our perspective. There’s been a lot happening behind the scenes, but we haven’t felt disruption.

SL: We spent six months planning to make sure there was no disruption. That was a priority, especially for a complex client like Nissan. In many ways, it actually strengthened capabilities. It increased the scale of some of our teams, particularly in areas like R&D, and allowed us to invest more in key partnerships. It also improved access, as in access to partners, to development, and to building new solutions (which is helping accelerate what we can do).

We were very deliberate about protecting this partnership. Nissan was one of the clients we mapped carefully to ensure continuity, while also using what we learned to inform the rest of the organisation.

Is there a “secret sauce” to your partnership?

AW: Honesty and trust. Those are the foundations. Honesty doesn’t mean being brutal, but means being clear about challenges. That allows us to solve problems together more naturally.

It’s not about handing over a brief and waiting for output. It’s about solving business challenges together.

SL: I see Allyson’s business as my business. We spend time solving business problems, not relationship problems. When challenges come up, we address them directly. That trust makes everything work. Culture also plays a big role-Allyson invests heavily in that, and it shows in the results.

How do you both approach creative risk?

AW: I’m very supportive of creative risk, and that comes in part from my agency background. I know what helps teams create great work, and what gets in the way. But you can’t always swing for the home run. Sometimes you need the base hit. It’s about balance and timing.

There’s also a lot happening in marketing right now, and you can create change fatigue. So it’s important to think about cadence: when to push, and when to hold back. We’re in it together. It’s about having the trust to push each other — when to go further, and when something isn’t quite right yet. And sometimes an idea is right, just not right now. That’s when we “put it in the freezer” and come back to it later.

SL: Creative risk isn’t always big and flashy. There’s often an expectation that risk means a dramatic move, but with an established brand, even small changes can be very significant.

What we focus on is progression, so incremental steps that build toward something bigger over time, while staying true to the core of the brand. It’s not about taking reckless risks. It’s about evolving in a way that adds up, both in what we do and how we do it.

How do you define a great idea?

AW: For me, it’s about impact. But impact can mean different things depending on the context. It could be brand-level impact, or something much more direct and performance-driven.

A recent example: we created a social campaign around the Super Bowl without buying media. It actually started as a way to stretch ourselves and test a different way of working. It was a verbal brief, developed in 24 hours, and ended up reaching 92 million views.

For me, a great idea sits at the intersection of cultural relevance and business impact. There’s also a broader shift happening — there’s now a recognition that it can’t all be performance marketing. You need the brand layer as well. At the end of the day, the tools, targeting, and efficiency are there — they’re table stakes. What actually drives impact is creativity. That’s what makes a brand stand out.

SL: A great idea is something that strengthens the brand. Makes it more memorable and helps it stand out in the category.

Right now, in a lot of categories, we’re seeing what I’d call “CEO safeness.” It’s a result of the last few years and a heavy focus on performance marketing, which has led to a lot of sameness. Great creativity is what breaks through that. It builds emotional connection, but it also drives real outcomes - consideration, purchase, and long-term value. The best ideas are the ones that do both. They elevate the brand and deliver results.

Which industries are shaping how you think? And what are you actually taking from them into your work?

AW: Gaming is a big one for us, particularly in terms of immersion and how deeply it can engage people. There’s a lot we can learn from how gaming keeps audiences involved and coming back.

Technology brands like Apple are another reference point, and not just for innovation, but for consistency and how they evolve over time while staying true to a core identity. I’m also inspired by emerging brands that don’t follow traditional rules. They often take risks and challenge conventions in ways that offer real learnings we can apply at scale. For me, it’s not just about inspiration but about taking those ideas and translating them into how we show up as a brand and how we engage consumers.

SL: I think if you combine automotive, beauty, and gaming, you get a really powerful lens on modern marketing.

Automotive brings complexity and long-term brand building. Beauty brings speed, agility, and cultural relevance. And gaming brings scale, passion, and deep engagement. When you bring those together, you cover the full spectrum of what brands need today — how they’re built, how they stay relevant, and how they connect with people. It’s not just inspiration. It’s a way of thinking about how to solve the business.

How is AI shaping your approach, and how are you thinking about it in terms of cost, creativity, and scale?

AW: AI has to solve a problem. If you’re going to use it to its full extent, it has to solve a problem. Efficiency is not the reason you use it. Efficiency may be an outcome, but that’s not why you start. The biggest opportunity we’re seeing is in personalisation at scale. We’ve been trying for years to solve how to deliver personalised content at a geographic level across the United States.

If you tried to do that manually-shooting with cameras, producing multiple versions-it would be incredibly expensive and time-consuming. And you’d have to repeat that process every couple of weeks. That’s just not feasible. Now, the technology has unlocked that capability. So the question becomes: how do we use AI to enable that? We’re shifting from a model of one campaign at a time-start, stop, then move to the next-to a much more continuous, 365-days-a-year engagement with the brand.

AI helps unlock that, both in terms of scale and how we operate. When we talk about AI, it’s not about making things cheaper for the sake of it. It’s about solving creative and operational challenges-how we deliver at scale, how we meet consumer expectations, and how we do it at a quality level that reflects who we are as a brand.

SL: We’re aligned on this. At the same time, we have to balance what we’re telling our teams. On one hand, we’re saying: move fast into the future. On the other hand, we’re saying: don’t break things too much. So there’s a constant balance between pushing forward and maintaining quality and craft. AI is not just about making things cheaper. In some cases, it’s not cheaper at all. There’s a perception that it’s just pushing a button, but that’s not always the case. There are costs involved-credits, computational power-and in some instances, it can actually be more expensive than traditional approaches.

What’s exciting is that AI enables things we couldn’t do before. For example, we created a pack shot of a road falling at the end of a commercial in 48 hours-something that would have been incredibly difficult and time-consuming through traditional production.

We’re experimenting with these capabilities while also pushing creatively. We’re asking teams not just to use AI as a shortcut, but to explore new creative directions. You’ll see in upcoming work, like a new Rogue commercial, shots that couldn’t have been captured on camera. That’s the opportunity-AI introduces new narrative possibilities and expands what we can create.

AW: Part of the discussion around AI is that there’s an entire industry built over many years doing things a certain way.

So there’s a natural tension in shifting that mindset.

For us, it’s about pushing our teams to move away from “this is how we’ve always done it for the last 10 or 20 years.” That’s not the way forward. We need to rethink how we work and create, and also how we upskill our teams to become more future-focused.

At the same time, what we create must meet consumer expectations and be delivered at a quality level appropriate for a mass brand like ours.

How would you describe your partnership?

AW: I would say, and it may sound a bit cliché, but to me it’s a trusted business partner. And when I say that, I don’t mean just in the boardroom. I mean that we are truly in lockstep, trying to meet business needs together.

And the way we do that is through challenging each other-provoking each other, counselling each other. They counsel me a lot. It’s about understanding when to push and when to pull. He’s a trusted business partner-but one where there’s a real sense of shared accountability and collaboration in solving problems together.

SL: I would agree — it’s very much a partnership. For me, it’s about a shared mission and a shared direction: being aligned on where we’re going and working closely together to get there, with the same goals in mind.

I’m incredibly proud of what we’ve built with Nissan. It’s a flagship partnership for us — one that consistently sets the benchmark for how we work. Recently, when presenting to a new client board within Omnicom, our work with Nissan was the first case study we shared. It sits at the top because it so clearly demonstrates what’s possible when there’s true alignment, trust, and ambition on both sides.

The learning from how we work together doesn’t stay contained to this relationship. We actively share it when onboarding new clients and across our sister agencies, using Nissan as a reference point for what strong partnership looks like in practice - and what we can achieve together when we operate as one team.