We all know that we can't succeed alone. Our very literary Louise is constantly quoting John Donne's words that "no man is an island", to which Charlie always replies "nor any nation either, including Australia".
The fact that we are an island geographically, and that in every other way we are not, is at the heart of understanding our past, present and, most importantly, our future.
We can see this when we realise up to 25 per cent of our 1850s goldfields population came from China and their name for this great southern land was "Xin Jin Chan" - new gold mountain.
One feature of early Chinese migration and its contribution to Australia was the formation of societies such as the See Yup Society in Melbourne, which supported these enterprising people in business and family life.
The Chinatowns of Melbourne and Sydney grew out of this skill of creating favourable localised environments to work and live in.
I started my advertising business in South Melbourne, and while it was a humble beginning with just a desk, a phone and a second-hand brown Torana, I was not alone.
All around me was a generation of young Turks in the advertising and media business who were headed for great things. Tony White, Mike Strauss, Wayne Wood, Bob Talbot and others were "stealing" all the clients from the old guard agencies.
Music studios sprouted up with Bill Armstrong recording jingles as well as top 10 hits by people like Hans Poulsen, who could sell a product with a song. Johnny Farnham was starting to create hits in the same studio.
In Sydney, John "Singo" Singleton's Spasm agency was born in a burst of inspired energy and he became the country's retail advertising king. His incredible energy and gregarious manner brought a host of other people along with him to greatness - from wholesalers like David Holdings' legendary "Where do you get it" campaign, to Bob Hawke's successful 1983 election. Singo is a classic example of how to be a winner by being with winners.
Allan Johnston and Alan Morris (known as Mo and Jo) formed MoJo with great jingles like, "I feel like a Tooheys or Two", and launched Kerry Packer's cricket with "Come on Aussie Come On". And Dennis Merchant and John Pettett formed Merchant Pettett, one of the great media buying companies.
History tells us that when like-minded people come together, great things happen. Silicon Valley in the latter part of the 20th century is a perfect example, where the extraordinary creativity and invention of Steve Jobs and his ilk allowed America to reinvent itself after grim times in the 1970s with the savings and loan scandals, the Vietnam war and the impeachment of its president.
For nearly three centuries, Europe was undergoing its renaissance and the consensus is it all began with the association of like-minded artists, scholars and philanthropists in Florence.
Virtually no aspect of European life was untouched by this astonishing flowering that gave the world the genius of Leonardo da Vinci and Michelangelo.
And what better modern example could there be than another island that is no island - Manhattan - that mecca for the dispossessed and war weary from Europe, who worked together on a piece of land 20 kilometres long and 4 kilometres wide to create the powerhouse for the beginning of many modern industries including advertising and media.
And down in Tasmania the same process is under way today, as David Walsh's multimillion-dollar private Museum of Old and New Art pulls in record numbers of tourists and spawns all sorts of new artists and events that are beginning to change the character of Hobart. MONA is the new Mecca for the arts in Australia.
So as we contemplate our next week back at the shop, it's worth remembering if we want to build a business, we have to build a community. If we want to continue to build a great country we have to ensure creative enclaves of winning communities continue.
That's the only way we can make the most of our individual capacities and assets and get beyond any thought that we are an island unto ourselves.
Frequently Asked Questions about this Article…
What does the article mean by an 'island mindset' and why does it matter for investors?
The article contrasts Australia’s geographic isolation with the idea that we aren’t socially or economically isolated. An 'island mindset' is thinking you must succeed alone. For investors, the point is that collaboration and community — not isolation — drive growth, so looking for investments that benefit from local networks and creative clusters can matter more than assuming lone ventures will thrive.
How do creative communities and clusters drive local economic growth?
The article gives many examples — Chinatowns, advertising hubs in Melbourne and Sydney, Silicon Valley, Florence’s Renaissance and Hobart’s MONA — showing that when like-minded people gather they spawn businesses, jobs, tourism and cultural events. Those clustered activities change a place’s character and can lift the broader local economy.
Why should everyday investors pay attention to cultural assets like MONA in Tasmania?
According to the article, MONA (David Walsh’s Museum of Old and New Art) has pulled in record tourist numbers and sparked new artists and events that are changing Hobart. Cultural assets can attract visitors, support new businesses and create demand for services — all of which can create local investment opportunities to watch.
What historical examples does the article use to show the value of creative enclaves?
The article cites several examples: Chinese migration and societies like the See Yup Society shaping Australian goldfields and Chinatowns; the post‑war advertising and media community in Melbourne and Sydney (Spasm, MoJo, Merchant Pettett); Silicon Valley’s tech renaissance; Florence’s Renaissance; and Manhattan’s role in building modern industries. Each example shows how groups of creative people sparked broader economic change.
How can building a community help a small business grow, according to the article?
The article argues that businesses prosper when they’re part of a community of complementary talents. It points to advertisers, music studios and agencies that grew by working together and sharing clients. For a small business, being embedded in a creative enclave can bring talent, customers and collaborative opportunities that are hard to achieve alone.
What signs should investors look for if they want to spot an emerging creative hub?
Based on the article, look for the emergence of cultural institutions (galleries, museums), new studios and agencies, rising tourism, festivals and a cluster of like‑minded businesses and people. These signals often precede broader economic and social change in a locality.
Does the article say creative communities guarantee investment success?
No — the article doesn’t claim a guarantee. It highlights that history shows powerful benefits when like‑minded people come together, but the message is that building and supporting creative enclaves is a key part of creating opportunity rather than a sure‑fire shortcut to returns.
How can everyday investors or local business owners support and benefit from creative enclaves?
The article suggests practical, community‑focused approaches: participate in local networks, support cultural projects, collaborate with complementary businesses, and help foster events or institutions that attract people. These actions can strengthen the local ecosystem and create more opportunities for businesses and investors over time.
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