Groups of like-minded people, working together, create the energy to make things happen, writes Harold Mitchell.
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 future. We can see this when we realise that 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.
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.
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. 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".
History tells us that when like-minded people come together, great things happen.
Silicon Valley 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.
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 flowering of genius in figures such as 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 war weary from Europe, who worked together on land 20 kilometres long and 4 kilometres wide to create the powerhouse for the beginning of many modern industries.
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 changing the character of Hobart. MONA is the new mecca for the arts in Australia.
So 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 are creative communities and why do creative communities matter for everyday investors?
Creative communities are clusters of like-minded artists, entrepreneurs and businesses that collaborate and generate new ideas. They matter for everyday investors because they can drive local economic activity, attract tourists and customers, and spawn new businesses and events — all of which can create opportunities in sectors such as local services, hospitality, property and early-stage companies.
How do creative clusters like Silicon Valley and Florence show the investment value of creative clusters?
The article cites Silicon Valley and the Renaissance in Florence as examples of how concentrated talent and collaboration can re‑invent industries and create long-lasting economic value. For investors, these examples highlight that areas with strong networks of creative people often become hotspots for innovation, new companies and sustained economic growth.
What impact has MONA in Hobart had on local tourism and investment potential?
According to the article, David Walsh’s MONA museum has pulled in record numbers of tourists and spawned new artists and events, changing Hobart’s character. For investors, a cultural institution that boosts tourism and local activity can improve revenue prospects for hospitality, retail and property in the surrounding area.
Can investors intentionally benefit from fostering or backing creative enclaves?
Yes — the piece argues that building a business often means building a community. Investors who support cultural projects, creative hubs, local events or networks of entrepreneurs can help catalyse growth that creates follow‑on commercial opportunities. The article recommends nurturing these enclaves rather than assuming regions will prosper in isolation.
What historical role did migrant communities play in creating local economic clusters in Australia?
The article notes that up to 25% of the 1850s goldfields population came from China and that societies such as Melbourne’s See Yup Society helped migrants support each other in business and family life. These organised communities helped create the Chinatowns and localised environments that supported trade, services and long‑term economic activity.
What lessons for investors come from the advertising and media examples in the article?
The author describes how groups of energetic advertising professionals in South Melbourne and figures like John 'Singo' Singleton and MoJo thrived by working with other talented people. For investors, the lesson is to look for entrepreneurial teams and sectors where creative talent clusters — backing strong networks and management teams can multiply the chances of business success.
How can local policy and communities help create the creative enclaves that attract investment?
The article suggests that if a country wants to build business and prosperity it should ensure creative enclaves continue. That implies policies and community actions that support arts institutions, cultural events, affordable creative workspaces and networking opportunities can help attract talent and tourists, which in turn can stimulate private investment.
What practical signs should investors look for to spot emerging creative communities worth watching?
Look for indicators mentioned in the article: new cultural institutions or museums, rising tourism numbers, a cluster of creative businesses and events, visible networks of like‑minded entrepreneurs, and local leadership that brings people together. These signs often precede broader economic activity that can present investment opportunities.
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