Offshore Talent, On-Budget Creative.

Sure, the headquarters of global advertising and branding powerhouses are still clumped together in American metropolises, huddled downtown in fancy offices adorned with designer furniture and lobby murals painted by the latest art scene crush.

But a seismic shift has occurred. The former epicenters of creative influence don’t wield the same power that they once did. Which means the options for high quality copy, design, and development have expanded while the cost of exceptional talent has decreased.

 It started about a decade ago, with the rise of platforms like Upwork and Fiverr. That’s when the world took notice of, and had access to, a widening pool of brand building resources. These freelancer sites exposed American and European businesses to an undiscovered and untapped population of designers, copywriters, animators, editors, web developers, and every other discipline under the sun.

Creative crosses boarders.

Suddenly, hotspots for commercial artists began popping up all over the map. In Singapore, Manila, Bogota, UAE, Mexico City, and Belgrade — basically, everywhere.

 According to the Education Times, “ Singapore has transformed itself into one of the global capitals of cultural creation. Whether it is in the visual arts, filmmaking, animation, theatre, interior design, fashion design or architecture, creative professionals are flocking to Singapore to be part of these dynamic industries.”

 In 2018, Mexico City was designated as the World Design Capital by the World Design Organization. In an article featuring Mexico City and other international hotbeds of creativity, the BBC calls the award “a nod to [Mexico City’s] unique public architecture, visual culture and innovative design. It’s also home to experimental fashion designers and streetwear brands, championing a new wave of genderless design.”

The expertise existed.

It was the freelance platforms that first shined the light. They yanked back the curtain. They provided visibility and a market of clients that would fund further growth. But they didn’t create the expertise.  

Creativity has flourished around the globe since the dawn of the industrial revolution. From capitals on the African Continent, to burgeoning cities scattered throughout Europe’s Eastern Bloc, to the cosmopolitan trading hubs along the Southeast Asian Peninsula, the corners of cultural creation extend far and wide.

But what these creatives didn’t have were connections to budgets that paid a decent wage, nor did they have a pathway to those marketers who needed their skills. Fortunately, that has changed. Underdeveloped economies have improved. Local businesses rely on creative services to deliver on increased demand. Those same workers who enjoy improved conditions at home have also taken advantage of the opportunities provided by the freelance platforms.

How it evolved.

The maturation process went something like this.

A graphic designer in Lahore, Pakistan, contracted with a company in Orlando, Florida. They did a good job, which translated into more work. Both the marketing director and the designer spread the word. Soon, more clients outsourced their branding, and more creatives offered their services. The market for offshore talent grew.

 We’re currently in the middle of that growth phase. The exchange between client and talent is still evolving, and there are growing pains.

The struggle to adjust.

Clients have realized that managing creatives is hard. That freelancers are undependable, and often unavailable. That brand consistency suffers when bouncing from designer to designer. That giving direction is critical to a successful outcome, and that knowing the creative process is essential to achieving the desired deliverables.

On the other end, creatives have realized that they need to speak and write English. That the talent search platforms eat a large share of their profits. That sophisticated businesses expect them to read the briefs, meet the deadlines, follow through on the details, and know their objectives.

Both sides would admit that there are issues.

Studios like Better Off® are positioned to remedy those bumpy interactions between clients and offshore talent. We know how creatives operate. We speak their language, use the same processes, and can implement design systems to harness productivity. In short, we know how to vet and manage each role.

Better Off® handpicks the best of the best international talent, hires them on salaries, not as freelancers, and that’s what allows us to offer lower fees than any domestic agency. By partnering with a studio that embraces a decentralized network of offshore talent, clients can reap the benefits of the boom without encountering any of the downsides. Which translates to premium quality creative at more affordable rates.

We’re committed to a world where both clients and creatives are Better Off®, and we’re sharing the fruits of this newfound dynamic with our partners.