The Nomad S5: VJ Anand
VJ Anand, Founder & Chief Experiment Officer of Ballsy, is ready to take the leap
From a small humble town in Malaysia called Taiping to leading global creative campaigns and working with pop culture phenomenon Charli XCX, VJ Anand is not slowing down. In fact, the former Global Executive Creative Director at VaynerMedia, who has recently left the firm after five years (where he notably spent three of which building the APAC team from 4 to 221 employees), is ready to take a leap.
“I’m still young enough to do it and if I don’t do it now, I might miss the window”, citing how Gary Vaynerchuck always encourages people to chase their dreams, no matter where they are in life.
For Anand, working alongside someone as “visionary” as Gary has been an amazing five-year learning curve. But it was not just those five years at Vayner Media. He had built a body of work that captured culture zeitgeist and global attention - and ultimately Vaynerchuck’s. His last piece of work (a music video with Rich Brian) at Indonesia’s first tech giant Gojek, where he was its former Senior Vice President of Creative and grew an internal creative team from 10 people to 120, went viral, leading to a hire by Vaynerchuk to help build VaynerMedia APAC.
Since then, he has run numerous global and regional campaigns for Google, Disney+, Subway, SK-II.
He wants to bring that knowledge back to Asia. “I’m passionate about helping Asian brands go global. There’s so much energy and innovation brewing there, especially in tech, and I want to help those brands make their mark on the global stage,” he tells me with excitement.
On February 14th, he launched his own consultancy Ballsy which aims to break the traditional agency model. “I chose Valentine’s Day because I want to bring a bit of love back into the industry. I’m looking forward to seeing where this journey takes me and what I can create this year,” he says.
What have you been up to? Still doing cool and crazy things and not ready to slow down?
I’ve just left Vayner after five years, and it’s been an incredible journey. I learned so much during my time there—it was very different from my previous roles in traditional agencies or even my stint at a tech company. At Vayner, the focus was on mastering algorithms, hijacking platforms, and understanding the intricacies of the digital space.
Fashion is something I’ve always loved, and recently, I shared some of my designs with Gary. He liked them so much that he even asked for the merch and posted about it on LinkedIn. That same day, he shared a post about how Christian Dior started at 41, which reminded me that it’s never too late to pursue your dreams.
Lots of fashion designers start late in life. Sometimes, especially in the creative industry, companies tend to hire younger people. So I’ve been reflecting on ageism. It’s disappointing how the industry often favours youth while sidelining older professionals with so much experience and wisdom to offer. There’s tremendous value in combining the perspectives of both younger and older generations. I want to challenge that stigma and show that age isn’t a barrier—it’s an asset.
From a small humble town in Malaysia called Taiping to doodling and drawing in your textbooks to leading global campaigns, what moments or decisions were pivotal in shaping your journey? How do you reflect on your journey so far?
There have been a few pivotal moments in my journey. Growing up in Taiping, a small, peaceful town in Malaysia, many of my friends stayed there, living quiet lives, graduating, and working locally. When I post about being in places like Paris, Mexico, or New York, some of my old friends comment on how exciting it all seems—it’s like they’re experiencing it with me. I feel lucky, really.
One big moment was convincing my parents to let me study advertising. They’re traditional teachers and wanted me to become a teacher too. It wasn’t easy to change their minds, but with my uncle’s help, I convinced them to take a chance and let me go to art and design college.
Another turning point came early in my career. I spent my first six or seven years as a web designer, but then I shifted to advertising. Even during my studies, everyone thought I’d major in advertising, but I chose digital media because it was new and exciting at the time. I’d always wanted to learn something new, and digital felt like the future. That decision surprised my lecturers, but it opened so many doors for me.
Switching from web design to advertising was another pivotal moment. It wasn’t just about getting into advertising but learning all its forms—print ads, TV commercials, social media, on-ground activations. I wanted to understand it all.
Leaving my home country was a big step, too. Working across Southeast Asia—in places like Thailand, Laos, Vietnam, Singapore, and Indonesia—taught me so much about the region’s diversity. Even though the countries are close to each other, the cultures are so different.
Another major moment was telling Gary I wanted to travel the world. He asked, 'What can I do to keep you here?' and I said, 'I want to learn more, maybe spend a few years abroad.' He gave me the opportunity to move to Europe, where I worked on global brands, pitches, and campaigns. That was a huge eye-opener.
Leaving advertising to join Gojek in Indonesia was also pvotal. Working with founders like Kevin and Nadiem, who are now Indonesia’s Minister of Education, was incredible. They’re visionaries, and I learned so much from them.
Working across APAC and now in EMEA, how do you ensure your campaigns resonate culturally with diverse audiences? How does moving to the UK from Malaysia influence your work and creative approach?
I think my nomadic journey—working in different places—has really shaped the way I think. As I mentioned before, when I moved to Thailand, I learned a completely different style of thinking—very out-there, crazy, and left-field in terms of marketing and advertising. Then, going to Cambodia was another shift. At that time, TV commercials were minimal there. It was more about on-ground activations, very old-school approaches. But with that old-school approach, you’re reminded of things we often forget—that there are so many ways to connect with people beyond TV ads.
Every culture and place I’ve worked in has been eye-opening. Coming to London and working across Europe, on projects in New York, Amsterdam, and elsewhere, really highlighted how different the cultures are. For me, London has been all about craft. Here, everything—art direction, design, even copy—is beautifully and well crafted. That’s something I sometimes forget while working in fast-paced environments. Being here reminded me of the importance of craft and the value it adds to the work.
Every culture has taught me something new and opened my mind even more. Now, I feel like I think more globally compared to before.
At Gojek, you grew a team from 10 to 120 members. What is your approach to building a creative culture within such a rapidly scaling environment?
When I started in Singapore, I was staff number 4, and in just three years, we scaled to 288 people. Scaling is never easy. For me, the sweet spot is always when the team is between 10 and 30 people—that’s when it feels like a family. But once you go beyond that, it gets tough. Maintaining quality and culture with 200, 300, or even 1,000 people is challenging, but not impossible.
When I start building a team, the first thing I focus on is finding a mix of talents. I look for people who excel in different areas—animation, social, strategy—so their skill sets complement one another. As the team grows, I make it a point to mentor and develop individuals so that some can rise to senior roles and share the leadership burden.
When the team gets even bigger, having solid left-hand and right-hand people—like strong VPs—is essential to take care of certain craft or departments. At Gojek, I was fortunate to have excellent VPs for creative and social content. They could run their areas while I focused on experimenting, tweaking, and pushing boundaries. I see myself as more of an experimenter, always encouraging the team to try new approaches.
And one last thing: when hiring, I don’t just look at talent. Attitude is number one for me. Positivity and a can-do mindset outweigh raw skills because if someone has the right attitude, they can learn anything and adapt to any challenge.
Taking VaynerMedia APAC from 4 to 221 people is an incredible feat. What lessons did you take from that experience, and how are you applying them in your EMEA role?
As I mentioned earlier, a positive, can-do attitude is the most important thing when it comes to scaling a team—or tackling any challenge, really. That energy sets the foundation for growth, even if scaling isn’t something that comes naturally to everyone.
One big lesson I’ve taken from scaling VaynerMedia APAC is that every region is unique, and you can’t approach them with a one-size-fits-all mindset. It’s easy to fall into the trap of discounting or generalising about regions if you haven’t lived and worked there. For example, someone from the U.S. might think Asia or Europe operates the same way—but they don’t. Each culture and each market has its own nuances, and you need to open your mind, heart, and approach to embrace those differences.
For me, moving across regions has been an eye-opener. I’ve learned to adapt to different styles of management, different ways of thinking, and different approaches to creativity. That’s critical because I think a lot of global leaders miss this. Many sit in global roles but have never actually lived or worked in Asia, Europe, or other parts of the world. It’s tough to lead globally if you don’t open yourself up to those experiences.
Being a truly effective global leader means recognising that there isn’t just one way to do things. It’s about considering other cultures, other perspectives, and other possibilities.
You are a fan of the colourful fashion of the ’90s and describe your style as “loud, vibrant, heat on feet” and I can see some of that reflected in your creative work. What is your advice for generating creative work without compromising your sense of style and creativity?
There always comes a point when you need to compromise because the client pays for the work. I think it’s important to learn when to let go, but in the beginning stages—when you’re pitching or trying to excite people—you need to bring your passion and style into the work. For me, my passions are music, fashion, street culture, pop culture, design, and photography, and I always try to channel those into my creative work.
Take the Revolut campaign with Charli XCX, for example. Funny enough, Charli XCX wasn’t part of the original pitch. Our first idea was quite crazy—we wanted to bring Freddie Mercury back to life using AI and VR and have him perform with someone new, like Lil Nas X. I’m a huge Queen fan, and I love how Lil Nas X is breaking boundaries and revolutionising culture. It felt like a bold, revolutionary idea.
Of course, what you pitch isn’t always what you end up with, and we landed on Charli XCX, which was still great because she’s also revolutionising culture in her own way.
One of your advice for creatives who want to go global is that “You don’t need to leave to make it big”. Can you please elaborate on it?
What I mean by that is, back in the day, the dream for every creative was to move to New York or London. You felt like you had to be there to make it big. But now, with social media and digital platforms, that’s not necessarily true.
Coming here, I’ve realised just how much incredible talent and creativity is brewing back home in Asia—places like Vietnam, Indonesia (especially Indonesia), Singapore, and Malaysia. There are so many world-class brands and creatives emerging from these markets. You don’t have to move to London or New York to break through.
With interest-based algorithms on social platforms, you can capture global attention from anywhere. I often meet creatives who say, 'I really want to move to London,' and my response is, 'Why? You can achieve the same—and even more—while staying where you are and building something amazing in your own market. Instead of idolising or justifying certain places, focus on turning your own space into something great.
Another piece of advice is to be vocal to be seen. In an industry that is notorious for its lack of DE&I, how would you advise Black, and Brown talent and talent of colour to advocate for themselves?
I mean, whether you're Black, Brown, gender-fluid—any of that—for me, when I hire or look at talent, none of that matters. What I care about is three things: how positive your attitude is, your can-do mindset, and the unique skill set or edge you bring to the table. For me, they are the most important things.
That said, I know this industry can be tough. It can be sexist, ageist, and, at times, exclusionary. For women, gender-fluid individuals, or talent of colour, it’s not always easy to feel seen or treated the same. But when I say 'be vocal to be seen,' I mean showing up with confidence, bringing undeniable value, and making a difference.
Standing out doesn’t necessarily mean wearing flashy outfits—though I do love a loud pink outfit now and then—it’s about being someone people can’t ignore because of the value you bring. It’s about showing your skills and your thinking in a way that forces people to sit up and pay attention.
For example, I work with a brilliant strategist in our London office named Masuma. She’s a young, Brown woman—of Pakistani heritage, I think—and she is incredible. Every time she presents her strategy, she’s smart, articulate, and confident, and she stands out because of that. I’ve already told management that she’s someone with the potential to become a CEO or MD one day.
It doesn’t matter what you look like, your gender, or your background—if you bring something to the table that no one can ignore, you’ll stand out. And that’s what I mean. Be so good, so vocal, and so impactful that no one can discount you.
Your Rich Brian music video for Gojek went viral, and you've worked on high-profile campaigns like John Legend's SK-II video, and recently Brat banking with Revolut. What’s the secret to creating work that captures (global) attention?
I think people often get stuck thinking it’s all about the celebrity power. Don’t get me wrong—celebrities can help shortcut global buzz, but that’s not the real secret. For me, it’s about finding what’s brewing in culture is important.
Take the Brat campaign with Charlie XCX, for example. She was already shaping culture, and pairing her with a brand like Revolut, which is doing something revolutionary, created a perfect mix. But it doesn’t always have to be a global superstar.
The Rich Brian campaign is a great example. In Indonesia, he’s massive, but globally, people mainly knew him from his YouTube days or his feature on the Shang-Chi soundtrack. The key wasn’t just his celebrity status—it was finding the right moment and concept. Instead of doing something old-school like a press release—‘Gojek partners with Rich Brian’ (yawn)—we made it playful and engaging.
I asked him to tweet, ‘I miss Indonesian food,’ and we delivered it to him in 48 hours. That blew up on social media. We essentially manufactured virality by understanding how to work the crowd, much like a stand-up comedian does. Social media is the crowd, and your job is to get them pumped about something, to excite them.
So, for me, it comes down to two things: understanding what’s trending in culture and figuring out how to work with culture to create something people can’t ignore.
Someone wiser than me (you) has said success is boring and failures are more fun. What have you learned from your failures?
Honestly, failure is fun because it doesn’t have to be a sad thing, right? It’s about learning and becoming better. If you fail a lot, it means you’re experimenting, trying new things, and not just taking the safe path. That’s where the growth happens. You try, fail, try again, and then eventually, you hit on something amazing.
At Gojek, that was part of our ethos—keep trying, keep failing, and sooner or later, you’ll land on something big.
Also, let’s be real, LinkedIn is full of people showcasing their wins, talking about how great they are. Breaking that monotony and sharing the things you’ve failed at can be refreshing. I think advertising, marketing, and creativity need that breath of fresh air—otherwise, it’s just the same old, same old.
As a prominent Southeast Asian creative, what steps do you take to champion and elevate talent from the region on a global stage?
I’m always on the lookout for unique talent, especially from Southeast Asia, but also from other underrepresented groups globally. I believe diversity brings speciality and uniqueness, which can elevate creativity to new heights.
For me, it’s not just about where someone is from—it’s about what they bring to the table. For example, I worked with an incredible media content creator here in London from the Black community. Her comedic work is brilliant, and I’m certain she’s a future star. Supporting her and others like her, regardless of their background, is something I take seriously.
I’ll do whatever I can to help talented individuals shine and succeed. Diverse talent doesn’t just create better work—it brings different perspectives and cultures that can make the world a better place.
What are you looking forward to in 2025?
2025 feels like a year of possibilities. While there’s still some uncertainty ahead, I’m learning to embrace it and let it fuel my creativity. For the first time, I’m thinking of myself as a brand, almost like my own client, and it’s pushing me to explore ideas outside my comfort zone—things like reality shows and even vending machines. I’m looking forward to seeing where this journey takes me and what I can create this year.