From Window To Screen: Rosie Hanley And The Reframing Of John Lewis

John Lewis's 'Tableau' begins with a deep breath and a frisbee throw. Pigeons flutter through the air as a crackly, jazzy gramophone begins to play a fresh, modern take on 'The Beat Goes On' - courtesy of rapper Mike Skinner.

There are old-fashioned perambulators. A Robert's Radio. Sunny yellow short shorts. A teapot. Cheers to the footy. A spot of cricket. A Dyson hoover. It's grey. It's raining. It's Britain - a place that's never knowingly undersold.

As the golden quarter kicks off, the work is a masterclass in both branding and the magic of living-room storytelling. Adland recently marked 70 years of ads on UK tellies, and the beloved, legacy retailer has shown the nation exactly how—and why—it's done.

Created by Saatchi & Saatchi, ‘Tableau” follows last year’s three-part Christmas campaign - a nostalgic yet modern celebration of the many customers who’ve gazed into John Lewis’s Oxford Street windows over the decades.

The marketing nous behind this latest creative evolution is Rosie Hanley, the brand director quietly reshaping the role of John Lewis in British life. She joined the retailer in 2021 from eBay, with earlier roles at Dunnhumby and Demuth's Restaurant.

When selecting a new agency of record in 2023, Hanley wasn’t looking for a headline-grabbing shake-up. She was looking for an agency that understood both the heritage of John Lewis and the expectations of its modern customer. As she put it at the time, the brand needed to honour its past while moving decisively forward.

“Rosie is a true partner to us,” says Saatchi & Saatchi’s chief executive Claire Hollands. “Ambitious, collaborative, straight-talking, and always prepared to push the boundaries to make the work better. All these qualities are gold dust, as we partner through the golden quarter in John Lewis’s busiest time of the year.”

And that golden quarter matters more than ever. With John Lewis in the midst of an ongoing turnaround - following the 2024 departure of Dame Sharon White and the arrival of chairman Jason Tarry - this Christmas is set against a backdrop of cautious optimism. The retailer is on course for improved profits, and marketing is playing a central role in that momentum.

Speaking at Advertising Week Europe earlier this year, Hanley explained that the return of 'Never Knowingly Undersold' was no nostalgic indulgence, but a strategic move backed by data. Research showed it boosted perceptions of value for money - and metrics like CSAT and NPS confirmed it was resonating. But the real goal was cultural relevance.

“The golden quarter is a pivotal time for us — it’s not just about sales,” she said. “It’s about reaffirming our connection with customers during the most meaningful season of the year. It’s when trust, loyalty, and our values truly come to life.”

And beyond the highly anticipated Christmas and anniversary spots, in spring, Hanley led the charge as John Lewis began to invest in its Home brand to reinforce its position as a lifestyle leader and expert on everyday home products. 

That saw it launch its own glossy home publication - ‘Foundation.'

"We hold a unique position in the UK home market. Over one-third of the UK population shop with John Lewis, and last year home customers grew by 11 per cent.  We’re trusted for our quality, service, and unrivalled range of home products.  The investment we’re making in our brand this spring is to inspire our customers with our style," explains Hanley.

“Printed publications that you want to keep and display are having a revival, so our new publication is a great way to showcase our incredible home products and reinforce our authority as a style leader in the home space," she continues.

Meanwhile, a seasonal tie-up with BBC Studios' series 'Bluey' ran throughout the summer at John Lewis's rooftop bar, bringing customers in-store and staying culturally relevant for children and young parents.

It was a classic showcase of how John Lewis taps into the heritage of its store and British cultural institutions like the BBC while remaining exciting, something it has done from its inception.

What better place to revisit that heritage than on the small screen — a place where stories, not clicks, are made?

In a world where brands too often chase virality over genuine, long-lasting value, Hanley is building a legacy. From the window to the screen, she’s reminding the nation why it matters — and we can only expect that to continue this Christmas.

A spotlight on 'Tableau' with Saatchi & Saatchi executive creative director Will John

Creative Salon: Why was it important to shed specific light on John Lewis's 100th birthday, and how did the brief come about?

Will John: Staying true to something for over a century is pretty special. You just don't get that type of commitment these days. Especially against the wider backdrop of everything that's going on in the world right now; there can be a general lack of integrity, reliability, and trust out there.

It felt like the right time to remind everyone of John Lewis’s dependability and their unshakable promise that’s built on fairness and trust. ‘Never Knowingly Undersold’ is their greatest expression of reassurance and reliability. They’ve played such a huge role in seeing and serving the styles and tastes of British life over the past 100 years - and will continue to do so.

Can you talk about the role and importance of easter eggs in the film?

Layers! So many layers. We wanted to create something really rich, riotous, and dripping with details, to reward repeat viewing. Like a mash-up of Where’s Wally meets the Bayeux Tapestry and Sgt. Pepper's Lonely Hearts Club Band. 

We also wanted the film to genuinely reflect the role John Lewis plays in British life, so we delved into the Gazette’s archive (which is John Lewis’s 100-year-old internal magazine) and used AI to uncover real trends from the last 100 years, which then informed all the scenes, styles, and items that we see unfold in the film. So, everything shown has been done with an intention, every item, clothing, and moment is there for a reason. All those details and easter eggs should have a depth and truth to them, just like John Lewis’s 100-year-old promise. 

How have you been working with John Lewis to define and respond to the needs of the business?

They’re a dream partner with an incredible heritage. They have huge ambition and understand the power of creativity and what it can do to drive commercial success. They want us to create a buzz about their business, and they’ve always set the bar in one way or another. It's up to us to match that and raise it. To remind the nation of the place John Lewis holds on our high streets, on our phones, and in our hearts, as great curators of style and taste.

CS: Can you talk about working together to balance nostalgia with embracing modernity?

WJ: It's not about choosing between the past and the present. You can weave them together. That's what our 'Tableau' campaign set out to do.

It's then and now side by side, in a way that doesn't feel nostalgic or chronological. We wanted to mix up time, a mish-mash of moments, to blend the familiar with the new, to have 1920s fashion rubbing shoulders with ravers from the 90s, to nod to the cyclical nature of trends, the return and reinterpretation of seasonal traditions, blending the familiar with the new, showing how past trends inspire future ones, in a way that still feels cohesive, stylish and timeless.

After all, they are a very special retailer; they themselves combine the best of the old with the best of the new. With this campaign, we aimed to replicate that.