There was no job for me here. So I invented one.

The school ran one annual course in traditional advertising creativity — two class groups, around fifty students a year. Meanwhile brands were moving serious money onto social platforms, and nowhere in Argentina could you learn how to make creative work for them.

I could see the gap from inside an agency, where I was living it daily. But nobody hands the digital strategy to the assistant. So I stopped waiting to be asked and proposed a course of my own — and then another, and then two more.

The annual courses ran on a simple model: a different creative director each night, arriving with a pen drive, showing a couple of Cannes cases, then setting the students loose on a brief. Excellent people. Not a program.

I introduced the slide deck as a teaching instrument — decks that told a story, carried references, and built an argument rather than listing examples. Then a syllabus full of interactive activity instead of briefs alone. And behind it, the part nobody sees: recruiting the instructors, coaching them, and directing what each of them taught so the four subjects actually added up.

Brother was already a network of campuses across Spain and Latin America. What Buenos Aires had that the others didn't was digital — so once the programs worked here, the founder asked me to take them out to the rest of the network.

I worked with the local faculty in each city: trained them on the program, and then did the part that decides whether a rollout survives — defining what had to stay identical everywhere and what each country was free to change. Get that line wrong in either direction and you either strangle the local team or lose the thing that made the program worth copying.