Compiled by Sarah Williamson, Content Marketer and Leah Disley, Brand Photographer
Location matters more than you might realise, because it does more than “look nice”. It shapes how your brand is perceived, how confident you feel during the shoot, and how versatile your images are long after shoot day. The right setting can help your photos feel professional, natural and versatile — images you actually want to use across your website, email marketing and social content, not just once and forget about.
Whether you’re a service provider building a personal brand, launching a new offer, or refreshing your visuals, Bristol is a brilliant city for brand photography because it offers two very different things:
In this guide, I’m sharing fifteen of the best places for a brand photoshoot in Bristol, all photographer-approved and chosen specifically for how well they support business-focused shoots.
Free, flexible and unmistakably Bristol. These locations are ideal if you want your photos to feel natural, relaxed and rooted in the city.
Outdoor shoots are great if you want:
One of Bristol’s most underrated brand shoot locations.
Brandon Hill offers leafy paths, open lawns and beautifully kept gardens, giving you a soft, natural backdrop that feels calm and timeless. You can give the greenery a starring role or include Cabot Tower subtly for a recognisable but understated Bristol reference.
Best for: Service providers wanting a natural, grounded feel without going fully “woodland”.
One of Bristol’s most visually dynamic areas.
Water reflections, boats, converted warehouses and colourful buildings give you depth and movement. Within a short walk, you can capture several distinct looks.
Best for: Brand shoots with energy, editorial shoots, creative portraits and lifestyle imagery.
Ashton Court offers scale, variety and atmosphere all in one location.
With woodland paths, open fields, rolling hills and a historic mansion, you can capture multiple looks without moving locations. Natural light here is consistently flattering, especially later in the day.
Best for: Lifestyle branding, natural portraits and shoots that benefit from space and movement.
Bold, creative and constantly evolving, Stoke Croft is Bristol’s creative heartbeat.
The murals and street art everywhere you look create instant visual impact without needing props or styling. The ever-changing street art means no two shoots look the same, and the area offers endless creative angles.
Best for: Creative brand shoots, bold brands and anyone wanting personality-led visuals.
Open, airy and timeless.
With wide green spaces, wild grasses and trees, the Downs offer a variety of natural backdrops that feel open, soft and easy to work with. Soft morning light and golden hour here are particularly flattering, and the space allows for relaxed, natural shooting.
Best for: Natural brand portraits, candid portraits and lifestyle imagery.
The full Bristol moment.
If you love the bridge and want drama, this is it. The scale and backdrop are unmatched, especially in good light.
Best for: Statement shots and strong hero images.
A tranquil woodland setting on the edge of the Avon Gorge.
Dense woodland, dappled light and natural textures create depth and softness. From certain angles, you can catch subtle glimpses of the Suspension Bridge without it dominating the frame.
Best for: Storytelling photography, lifestyle branding and nature-inspired shoots.
Iconic without the climb.
Sion Hill offers a clear, impressive view of the Clifton Suspension Bridge behind you, without the hike required for St Vincent’s Rocks. It’s a cliché for a reason — it works.
Best for: Anyone who wants unmistakably Bristol visuals with minimal effort.
A Bristol institution.
The colourful houses on this quiet street create a bold, urban backdrop that feels lived-in and real. It’s instantly recognisable to locals without feeling like a cliche.
Best for: Personal brands that want warmth, colour and an urban edge.
A bonus location for colour lovers.
The row of colourful houses looks fantastic from across the river. Shooting from near Thekla or the Redcliffe Bascule Bridge gives you layered compositions with water, colour and architecture.
Best for: Creative brands and lifestyle-led shoots with visual interest.
When you want privacy, consistency and full control — regardless of the British weather!
Indoor shoots are ideal if you want:
If you’re looking for a clean, light-filled indoor space for a brand photoshoot in Bristol, The Engine Room is hard to beat.
The Engine Room is a bright, versatile indoor studio with a large 60 m² main space, high ceilings, crisp white walls and a neutral grey floor. This makes it ideal for shaping light and styling shoots without distractions.
Natural light floods in through full-height glass doors and a lantern skylight, giving the space an open, airy feel that works beautifully for personal brand portraits, product photography and video content.
There’s also an adjoining Green Room for outfit changes, prep time or makeup, plus ground-floor access, free parking and reliable Wi-Fi — all of which make shoot days smoother and less stressful.
Best for: Personal branding, studio portraits, editorial content, product photography, flat lays and video shoots where control and consistency matter.
Gather Round’s production space offers a private, flexible indoor environment right in the heart of Bristol.
The production space offers a controlled, indoor environment with blackout capability and a private entrance, making it ideal for focused shoots.
Best for: Studio portraits, creative product photography, editorial work and campaigns that need a controlled indoor setting.
One of Bristol’s largest and most professional creative studio spaces.
With over 10,000 sq ft of purpose-built studios, including soundproofed spaces and an infinity cove, this is ideal for high-production shoots that need room to breathe.
The facilities go beyond just empty space. Green rooms, makeup and wardrobe areas, breakout spaces and on-site equipment hire make full-day shoots far more efficient.
Best for: Fashion editorials, commercial campaigns, product photography, interviews and brand shoots requiring a professional studio setup.
Full production-level facilities.
Large studios, soundproofing, infinity cove (seamless studio backdrop) and on-site equipment hire make this ideal for higher-production shoots.
Best for: Commercial campaigns and high-end brand shoots.
Compact, creator-focused and efficient.
A small but well-equipped studio with good lighting and a clean setup, making it easy to capture polished, professional imagery without distractions.
Best for: Headshots, talking-head videos, product photography and social content creation.
Choosing the right location is only part of the puzzle. Knowing what to shoot — and how those images will support your business — is what turns a photoshoot into a real marketing asset.
That’s exactly why we created the Brand Compass Edit.
Hosted at The Engine Room in Brislington, it combines a professional brand photoshoot with content guidance, so you walk away with images you actually know how to use across your website, emails and social content.
If you’re planning a brand photoshoot in Bristol and want visuals that work beyond the shoot day, this is your next step.
This article was written by Epoch’s Creative Director, Vix Hansard.
Every single day, the minute we step out of our house, we find ourselves swimming in a sea of visual cues. These cues can guide us, they can teach us, they can resonate with us or in some cases, they can shove us to the margins.
Take a hospital. You’re stressed, you’re scared, and the signs make no sense. Too small, poorly placed, or a muddle of colours. At best, it’s frustrating. At worst, it’s dangerous. Good design can soothe; bad design creates chaos.
Ever noticed raised metal bumps or concrete studs outside storefronts? They’re not decorative, they’re designed to stop homeless people from resting there. They are physical “no entry” sign for the most vulnerable. It’s hostile architecture and it’s basically telling us to f*@k off.
Visuals also reinforce bias. The press often show mugshots for black suspects and family photos for white ones. Before you even read the headline, the picture has framed your judgment. That’s not neutral design; it’s a loaded cue.
But visual design can also include, uplift, and connect.
In classrooms, images and symbols help diverse learners grasp complex ideas. In public transport hubs, clear, multilingual signs empower newcomers to navigate new cities with confidence and joy. A rainbow sticker on a café window is a clear invite to the LGBTQ+ community, saying ‘you’re welcome here’.
And long overdue, fashion is catching on. Inclusive mannequins are popping up in storefronts featuring prosthetic limbs, diverse skin tones, and more varied body shapes. Nike nailed it with their plus-size mannequins standing alongside their slender counterparts in their flagship London store. It’s not a gimmick. It’s visibility. It’s a ‘you matter too.’
Japan has a word for this kind of intentional, behaviour-shaping design:
Shikake (仕掛け), creativity that influences action and emotion without force. Like zigzagging pathways that naturally slow you down, or stairs that play music, SO MUCH more fun than the escalator. Playful, practical, effective.
In summary, we don’t just look at the world, we read it. Constantly. Every shape, symbol, colour, and structure around us is whispering (or shouting) something. The question is: What’s the message? Who gets to connect with it and who’s left out?
Design is power. It can open doors or build barriers. It can be a warm welcome or a cold shoulder. So, let’s design better stories and create visual cues that guide with clarity, include with heart, and resonate. Design speaks. Let’s make sure it says the right thing.
References:
Hostile Architecture by Ben Campkin and Ger Duijzings Designing Disorder: Experiments and Disruptions in the City by Pablo Sendra and Richard Sennett
Shikake: The Japanese Art of Shaping Behavior Through Design by Naohiro Matsumura EJI & Global Strategy Group (2021): Innocent Until Proven Guilty?
Signage and Wayfinding Design by Chris Calori & David Vanden-Eynden
At Shaped By, we’ve always believed in the power of bold strategy and well-crafted expression. Right now, we’re riding a wave of momentum that is bucking industry trends, driven by the clients we work with, and the ambition we’ve set for ourselves.
Our clients are high-growth tech companies. They are growing fast with some building categories as they go, and others challenging them. New entrants are often popping up nipping at their ankles, and some go from seed stage to billion-dollar valuation in just a few years.
It’s exciting, but it’s also a fight for relevance. They need people who can help them stand out, shape their market, and say something only they can say.
That’s where our growth is coming from.
We are helping global brands find their bold voice, sharpen their positioning, and express what makes them genuinely different. Whether they’re a challenger brand needing to find their “je ne sais quoi” or an established company looking to rediscover it. That’s our space. That’s what we’re built for.
To meet the opportunity ahead, we’ve grown our team welcoming eight new Shape-lings to the team in the last 6 months. Each one adds a different kind of firepower, strengthening the work we can deliver and the relationships we build. Reinforcing our position as a unique creative force in Bristol.
Growing our creative power:
Wowing our clients with great relationships and delivery:
Amplifying our voice worldwide: Betty Dartois-Vanneck, who joined our Marketing team.
Our success today is the direct result of a bold choice we made in 2021 – the strategic rebrand from Workbrands to Shaped By. This was more than just a new name, it was a commitment to focusing on a new market and audience – high-growth tech companies largely based in Silicon Valley.
To meet that challenge, we invested heavily. Putting significant capital into people, and increasing our marketing and sales budgets. We’re really seeing the fruits of our labour. Strong improvements in our marketing ROI, has encouraged us to invest further. Plans are now underway to expand our growth team and introduce a new business model that will deliver better, more exciting, projects to our incredible client services and creative teams.
I’m a firm believer that agency growth is something every single person contributes to, and this collective effort has given us the foundation to build our reputation and an ever-stronger client base.
The future ambition for Shaped By is clear. We’ll continue to deliver projects that have a real, strategic impact on some of the world’s most innovative companies. While our current success is largely focused on North America, we’re confident in our ability to stretch our services to new markets across Europe and Asia.
Ultimately, we are only as strong as the team we have working for us. I’m incredibly proud to have attracted and maintained such a talented group of people. I’m committed to being a genuine agency of choice for talent in Bristol – investing in and training our team to be the best that they can be. I’m genuinely excited about our progress and the ambitious next steps we’re planning to take.
If you’re interested in seeing the kind of bold work that demands this level of growth, please explore our work page. For those inspired by our ambition, keep an eye on our careers page!
We have a brand new shiny website on the horizon and will be advertising further positions soon as we continue to grow our team built for global impact, from our very local Bristol studio.
Thanks to all the love and support from our amazing community, we have been named the 8th best workspace in the UK by the 2025 Tallys, and the highest ranked workspace in the South West.
All there is to say is thank you. To our members, our supporters, our incredible team, and to everyone who makes Square Works what it is.
When we started Square Works way back in 2019, we could never have imagined the amazing community we would build over the years – to be ranked so highly amongst many other incredible workspaces across the country is a privilege, and we couldn’t have done it without you.
To find out more about The Tallys and why Square Works has been ranked #8 in the UK, click the link below.
You post daily, share behind-the-scenes content, and your analytics show people are actually seeing your work.
Here’s what’s really happening: your audience is watching you, but they’re not connecting with you. And the problem isn’t your posting schedule, your hashtags, or the algorithm. The problem is that you’re broadcasting at people instead of connecting with them.
Let me explain what I mean by that.
You post daily, share behind-the-scenes content, and get decent engagement.
You’re not bad at content creation. You’re just talking at people instead of with them.
Here’s what I see happening:
You’re broadcasting at people, not connecting with them.
The difference? Broadcasting assumes everyone needs the same message at the same time. Connection recognises that your audience exists in different relationship stages with you and they need different things depending on where they are.
Most creators fall into what I call “megaphone marketing.” They stand on their digital soapbox, shouting the same message to everyone within earshot:
It’s not personal. It’s not strategic. And it’s definitely not connecting.
Broadcasting treats your audience like a crowd at a concert, faceless, interchangeable, all wanting the same experience. But your audience isn’t a crowd. They’re individuals in different places, with different needs, at different stages of relationship with you.
Some just discovered you yesterday.
Others have been following for months but haven’t bought anything.
Still others are loyal clients who’ve worked with you multiple times.
Broadcasting assumes they all need the same thing. Connection knows better.
Connection happens when you recognise that your audience isn’t one homogeneous group, they’re individuals at different stages of relationship with you.
Some people just discovered you yesterday. They’re curious but cautious, need quick proof you understand their world.
Others have been following for months but haven’t bought anything. They’re building trust, evaluating whether you’re the real deal.
Still others are loyal fans who’ve worked with you before. They’re ready for your advanced insights and premium experiences.
Same audience.
Completely different needs.
Yet most creators treat them all the same.
Here’s what this looks like in practice:
Broadcasting: “Here’s my 5-step morning routine for success!”
Connecting: “If you’re struggling to start your day with intention instead of immediately checking emails…”
Broadcasting: “Everyone needs to invest in personal branding!”
Connecting: “For those of you who cringe every time someone says ‘build your personal brand’, I get it, and there’s another way…”
Broadcasting: “Buy my course and transform your business!”
Connecting: “I know some of you have been following me for months but haven’t taken action yet. Let me share what’s probably holding you back…”
Broadcasting: “This strategy works for all entrepreneurs!”
Connecting: “If you’re a solopreneur feeling overwhelmed by advice designed for teams of 20…”
Notice the difference?
Broadcasting makes assumptions.
Connection acknowledges reality.
Most creators fall into broadcasting because it feels safer. Talking to everyone means you don’t have to risk alienating anyone. But here’s the truth: when you speak to everyone, you connect with no one.
The irony? The more specific you get about who you’re talking to and where they are in their journey with you, the more people feel seen.
In a world of AI-generated content and mass automation, this human recognition becomes your competitive advantage. Your audience can get information anywhere. What they can’t get everywhere is the feeling that someone truly sees their specific situation and cares enough to meet them there.
But here’s what’s interesting: Even when creators understand this concept, they often end up attracting the wrong people anyway. People who want quick fixes when they’re selling transformation. People who want free when they’re selling premium.
Why does this happen?
That’s a different problem entirely and it’s what we’ll explore next.
This week, audit your content through this new lens:
The shift from broadcasting to connecting isn’t about overhauling everything. It’s about awareness. Small changes in how you think about your audience create massive changes in how they respond to you.
Because when people feel seen, they stick around. When they feel like just another face in the crowd, they scroll past.
With courage and conviction.
When you think of branding, chances are your mind jumps to the sexy stuff – ads, taglines, packaging, maybe even a catchy jingle. And yes, all of that matters. But the brands that people remember, the ones they talk about, trust, and come back to? Those brands are built on something much more human: connection.
At Epoch, we believe branding is about more than just looking good, it’s about meaning something. And meaning something starts with relationships. Not just between a brand and its audience, but also between us and our clients.
In a lot of agencies, Client Services are seen primarily as project managers. Scheduling meetings, tracking budgets, delivering and re-delivering timelines. And while we do all that and do it well, a great Account Manager is about so much more than just managing meetings and margins. Client Services at its heart is about building bonds. It’s about being a partner who listens, challenges, supports and truly gets it. Someone who cares just as much about the why as they do about the what.
When brands get too caught up in numbers, impressions and deliverables, they can forget that they’re speaking to real humans, with complex feelings, challenges and lives that don’t revolve around a product.
It’s not that deep, I hear you say. And sure, fizzy drinks don’t save lives, but they are a part of people’s lives. Sometimes a key part, proven by my very real Diet Coke addiction. They can represent celebration, nostalgia, identity, joy or just that small shoulder dropping moment of your day. Brands that become a part of people’s lives, earn the right to shape culture. That kind of cultural weight isn’t built by accident, it comes from an intentional effort to understand people deeply, and to not dismiss the importance of their small moments. And we believe that kind of effort starts not with a campaign, but with a conversation.
That’s why our Client Services teams make a point of showing up. Literally. Even though we’re based in a single office in Bristol, we travel the world to spend time with our clients in person. It’s something we get a lot of feedback on, and it means a lot to us. Because while emails and Teams calls are great for keeping the wheels turning, nothing beats the energy of being in the same room. The off-hand remarks that spark an idea. The shared laughter over dinner. The moments that remind us that we’re not just client and agency, we’re people with a shared passion working together to make something great.
And here’s the thing: how we show up for our clients is directly shaped by how we show up for each other. We’re big believers that internal culture drives external impact. When your team is built on trust, respect and openness, it shows. It shows in the friendships it creates, in the way we collaborate, the way we push creative boundaries, and the way we navigate challenges together.
That culture of care makes us better agency partners. We’re not just ticking boxes or hitting deadlines – we’re invested. In the relationship, in the work, in the long-term success of both our clients and our brands. That means sometimes having difficult conversations. It means knowing when to ask more questions, when to push, and when to pause. And it means both celebrating the wins, and addressing the challenges, big and small, because we genuinely care.
So yes, Client Services is about getting things done. But it’s also about how we do it. With empathy. With clarity. With curiosity. It’s a role that sits at the intersection of strategy, creativity and commerciality. Always striving to make the chaotic and complex, clearer and easier to digest. Constantly translating between client and studio, between vision and execution, between the impossible and possible.
When it’s done well, Client Services becomes a quiet superpower, a force that holds everything together and elevates everyone’s work. It’s not about being the loudest in the room, but the one who makes sure everyone in the room is heard.
Because at the end of the day, we’re not just helping our clients build brands. We’re helping them build brands that build bonds. And in a world of easy disposability, those bonds are what truly last.
In advertising, using emotion is entirely logical.
In The Long and The Short of It Les Binet and Peter Field analysed 30 years of IPA effectiveness award submissions and found emotional campaigns outperformed their rational counterparts on every brand and business metric that was measured.
But why? Here’s Robert Heath, in his book Seducing the Subconscious:
“Everyone in the ad industry agrees that emotion is important to advertising. Quite why it is important is the subject of considerable debate.”
This article argues that emotional communications are more effective because they attract more attention, create stronger memories and are more likely to be shared.
Studies have found that attention is directed by emotion.
We evolved in environments where our survival relied upon our ability to distinguish resources from threats. The two, however, are not of equal importance. If we couldn’t find food for another hour, we’d be ok. If we didn’t spot a predator, we wouldn’t have another hour to keep looking.
So we evolved two ‘modes’ of attention. We use slow and deliberate ‘active attention’ to search for resources and fast and automatic ‘passive attention to survey for threats.
To test this, researchers exposed people to two 3×3 grids of images. One grid featured eight non-threatening images (e.g. flowers) and one threatening image (e.g. a snake). In the second grid the proportions reversed.
Participants proved faster in detecting snakes among flowers than flowers among snakes. Their passive attention was at work. The researchers concluded that we are neurologically wired to give attentional priority to emotional.
But does this apply to advertising?
In a study by Professor Karen Nelson-Field PhD and ThinkTV Australia , subjects were exposed to over 18,000 adverts and used a grid of 16 emotions to label their response while eye-tracking measured the attention each ad received. Ads that illicitde a strong emotional response received 16% more attention than those that did not. This effect may not be as large as our ability to spot a snake in the grass, but it is significant nonetheless.
As a child Stanford University neuroscientist David Eagleman climbed onto the roof of a half-finished adobe house. But as he stepped onto the newly laid tar paper, it tears. He reaches forward, the floor floats up, and his body rotates weightlessly. Eagleman remembers a moment of absolute calm and eerie mental acuity. In moments of great danger time seems to slows down and our ability to think speeds up.
Phil Barden, Managing Director of Decode, provides a succinct answerto why this happens:
“If we are in a state of high arousal, our attention span increases and our senses are sharpened to be able to deeply process the object that triggers that arousal.”
When we find ourselves in a dangerous situation (like spotting the snake in the grass) all of our cognitive resources focus on the stimulus to ensure our safety. This ‘deep processing’ of emotional stimulus happens in the amygdala, our brain’s ‘emotion centre’, which is located next to our hippocampus, our ‘memory centre’. The result is that emotionally stimulating experiences forge stronger memories.
Barden explains how this relates to advertising:
“To survive, and to optimise future decisions and actions, it was especially important to store and remember those objects and situations that evoked a strong emotional response. Hence, we are more likely to store episodes (e.g. TVCs) and objects (e.g. brands) if they are delivered with high arousal.”
Emotional advertising embeds our brands in the minds and memories of our audiences. Or, to put it another way, more affective advertising is more effective.
For hundreds of thousands of years stories have been used to share information, as they allow people to remember information more effectively than facts alone.
But not all information is worth sharing.
In the early 20th century, the German psychologist Wilhelm Wundt argued that emotions could be plotted along two axes: valence (positive to negative) and arousal (strong to weak). But which quadrants elicit the most social sharing?
To find out Jonah Berger , Marketing Professor at Wharton, ran a series of studies. In one, Berger split subjects into two groups: a control group who was asked to sit still and another group who was told to jog on the spot (which boosts physiological arousal). Both groups then read a neutral article and could share it with anyone they wanted.
Here’s Berger:
“Compared with sitting still, running in place increased the percentage of people who e-mailed the article from 33% to 75%.”
In another study, Berger coded almost 7,000 articles published in The New York Times based on the emotional grid. Berger then calculated the likelihood that articles triggering each emotion had of appearing in the publication’s “most emailed” list. Again, more emotional articles were more likely to be shared.
The transmission of highly emotive information improved the survival rates of those in our group. And in turn, of ourselves as well.
Emotional advertising is effective because it attracts more attention, creates stronger memories and is more likely to be shared.
In their book Unlocking Profitable Growth, System1 push this to its extreme.
“If you feel more, you buy more.”
But despite the evidence, most advertising doesn’t make the most of emotion.
System 1’s methodology codes emotional responses to TV adverts. In 47% of ads in the USA, and 52% of ads in the UK, System 1found the dominant response was neutrality.
If you’re a strategist, this should make you angry. But if you’re a marketer it should make you happy. Because this represents a significant opportunity for you and your brand. Half of your competitors are not benefitting from the triple win of emotional advertising.
So it’s time to embrace emotion. It’s time to uncover the effectiveness of the affective. It’s time to get attention, get remembered and get shared.
Because if you want your brand to move the needle, you first have to move the people.
Safe to say, the past year or so has been an era of change.
Our new-look board has bedded in. We’ve won some exciting new clients.
And, most recently, we’ve given ourselves a subtle-but-thorough branding refresh.
From a refocused strategy to a tweaked tone of voice, an updated identity to a brand spanking new website. It’s been an exercise in consolidation, clarity and the kind of brutal single-mindedness that we find ourselves forever reminding our clients to follow – but can prove so tricky to do when the tables are turned.
But all that effort and energy, blood, sweat and spreadsheets has got us to a point where every inch of our brand now has our essence imbued within it.
Naturally, we started with our strategy. Putting people first has been a mantra that we’ve lived by for years – and that wasn’t about to change. But it did need defining. We’re certainly not the only agency that claims to put people at the heart of their creative, but the reality is, we do so much more than that. We dig deep. We delve into their lives to discover what they truly love. What they truly hate. Their ambitions, their anxieties, their desires, their doubts, their dreams.
And that’s how we make brands matter… We craft creative that connects.
We build brands that build bonds.
As Alex Murrell, our Strategy Director puts it,
“In an industry so often characterised by ego and bravado, ‘putting people first’ has been our subtle but strong rally cry. It’s not about us. It’s about the brands we build and the people they serve. With our new positioning, we’ve taken this one step further. We’ve articulated the ultimate benefit, for our clients, of this approach.”
Once we’d ironed that out, our strategy was set.
To better reflect our new emphasis on connection, we wanted every element of our brand identity to communicate closeness, warmth and real, raw, human emotion – the highs, the lows, and everything in between. From our TOV to our photography, our palettes to our assets, wherever people encounter us, we want them to genuinely feel something. More than recognition, we want resonance.
In the words of Creative Director Vix Hansard,
“We get people. We truly connect with them. We take the time to listen, to observe, to understand not just what they do, but why they do it. And it’s only by understanding this behaviour, that we can build creative work that truly resonates. And it’s this idea that lives in the soul of our new brand identity.”
Our website has always been simple.
A contact page if you want to want to work with us, and one for if you want to work for us. With the support of fellow local agency Fiasco, we created a new site that stays true to that simplicity but with a little more to delve into. Now featuring a handful of recent projects that have proven to have connected with consumers and the key info about our Epoch Academy (our commitment to bringing the next generation of talent into the industry) – it’s single-minded, focussed and free of any unnecessary fluff.
We practice what we preach.
Anyone that’s ever worked in branding will tell you that the hardest job is branding yourself. Upholding objectivity. Sticking to self-imposed deadlines. Allowing yourself to let go. And as we found – all of that is true. But as we also know, when you build your brand from a strategic starting point – a core purpose – it makes all that follows ‘make sense’.
From the amazing team that we’ve built up over the past 33 years to all the incredible work that we deliver. Creating meaningful connections is at the core of everything.
This Florette project feels like a flavour-packed party on paper. Jessup has taken healthy, wholesome ingredients and transformed them into stylish, upbeat visuals that are as captivating as they are mouth-watering. It’s smart, eye-catching, and bursting with character — exactly what Florette needs to stand out in the grocery aisle.
‘If I were Florette, I’d frame this work on my office wall — it doesn’t just sell salads; it sells a fresh, joyful eating experience. Fantastic job!’
saintnicks has been shortlisted for four awards at the UK Social Media Awards 2025, recognising the agency’s standout work in user-generated content, integrated campaigns, long-term strategy and team excellence.
Best Use of UGC – POSCA
Best Integrated Social Campaign – Ascot Racecourse
Best Long-Term Strategic Use of Social Media – Ascot Racecourse
Best In-Agency Team – saintnicks
The UK Social Media Awards celebrate the very best in creativity, innovation and impact across social platforms. From the vibrant, creator-fuelled world of POSCA to diversification of Royal Ascot’s audience and fan engagement, saintnicks’ work continues to blend bold thinking with measurable success.
Callum Joynes, Head of Content at saintnicks, said:
“Social media is one of the most powerful ways to build meaningful brand experiences, and these nominations are a fantastic recognition of the agency’s creativity, commitment, and real-world strategic capability. We’re incredibly proud to be shortlisted across such a broad mix of categories.”
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saintnicks is a leading independent brand agency. We partner with ambitious brands to drive commercial growth, through standout strategy, campaigns, digital experiences, and social media. An agile, highly experienced team of specialists, combining top-tier strategic and creative talent from global agencies and client-side brands. We take brands further.
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