Werkshop Weekender (formerly known as Werkhouse) is finally back! This year they’re changing it up, and the torch for hosting has been passed on to Halo.
The weekend, where future designers, copywriters, and strategists are given the chance to connect with the industry and get a taste for agency life first hand through a real brief, is happening in Bristol on 16th and 17th November 2024.
Breaking down barriers
As Halo takes over the mantle, they are continuing to dial up the focus on diversity and inclusion. The weekend is open to anyone over 18, no matter their previous experience or education, and all applications are being judged blind.
“We know that university isn’t accessible, or even the right route, for everyone but yet there’s still such a heavy onus on having a degree when trying to move into the Creative Sector. We don’t think this should be the case. Creativity is open to everyone, and always should be, no matter where you are in life or what you’ve been (or are going) through. “ ~ Bryony Greenwood, People & Studio Coordinator at Halo
Werkshop Weekender brings together professionals from some of the best studios in Bristol and Bath, with curious individuals looking to enter the creative industries. Participants are divided into squads to tackle a real life brief from a client in the charity sector, developing ideas and communicating their concepts, with the support of assigned team leaders and on hand professionals.
Studios that so far have signed on for the weekend are:
How to apply
Applications open on 2nd September and close on 1st October, but if you for any reason need more time to finish, please contact Halo at [email protected] and they’ll do what they can to accommodate you.
The Werkshop Weekender team has made it clear; the weekend isn’t for those with experience. It’s for those with an interest in communications, design, and commercial creativity. They aren’t looking for professionals, they’re looking for those with a curious attitude and drive, who want to gain insight into agency life.
“If you’re passionate, if you have ideas, if you’re curious, we want to hear from you. Good ideas come from every aspect of life, and the experiences and the way people perceive life right from day one are what forms rounded ideas. We know life isn’t linear, and your journey into the creative space may not be either (mine wasn’t), so if you have even an inkling to apply, please do!” ~ Bryony Greenwood, People & Studio Coordinator at Halo
Go to the Werkshop Weekender website to find out more and to access the application when it opens.
On Thursday 29th August the very talented Hetty Blair will be hosting a tie-dye workshop at Gather Round’s Brunswick Square location, Bristol.
Come and join a community of creatives and discover the secrets to revamping your old stuff using tie-dye techniques.
It’s crazy how much waste is created by the fashion industry – a staggering 92 billion tonnes of waste each year, with 87% of purchased clothes ending up in landfills.
Let’s make a difference by getting creative and up-cycling our old items. Tie-dyeing your old clothes is just one of the many ways to revamp old stuff.
We will be doing demonstrations on reverse dying and coloured dying techniques.
Please bring two items that you’d like to dye. One item should be white and the other should be dark. Your options for items to bring include a tea towel, t-shirt, hat, socks, or canvas bag.
This event is open to both Gather Round members plus also the wider creative community and of course all BCI members. It’s also conveniently the same day as our end of month drinks so the fridge will be stocked with free drinks for all who attend, come and join us we’d love to see you there!
Sign up on Eventbrite to get your tickets.
We want to take a moment to acknowledge that many of our members may feel vulnerable as a result of the distressing events which have happened in our community recently.
The riots and disorder remind us of the work that must be done to create a truly inclusive and equitable society.
However, the large crowds who gathered on Wednesday to protest against the violence show us what can be achieved when the city and our communities pull together in true Bristol spirit.
As a membership organisation, we would like to signpost to groups and resources that can help to support the safety and wellbeing of those impacted.
If you have your own recommendations, please share them in the comments so that others can benefit too.
Let’s continue to support one another and stand together as a united sector.
Stay safe and take care.
Race Equality Matters has shared some ways you can ensure safety and support for ethnically diverse colleagues.
Stand Against Racism & Inequality has resources on its website explaining what you can do if you encounter or witness a hate crime. You can report a hate crime here.
On 26 August, Bristol Creative Industries internships programme manager Clare Leczycki joined other people from the creative and culture sectors for a walk from Bath to Bristol.
The walk was an act of togetherness and to raise money for Hope Not Hate and SARI (Stand Against Racism & Inequality). Over £4,800 has been raised and you can still donate here.
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Bristol-based CRM specialists Flourish have today joined forces with the creative services agency Curious and The Harbour Collective, in what is the first step in the development of a new marketing company – the Harbour Group.
The group will be led by Paul Hammersley. Previously founder of Harbour Collective, Hammersley will become the CEO of Harbour Group, with Hugo Varney taking on the role of CFO. Before forming Harbour, Hammersley was a chief executive of DDB and Cheil. He launched Harbour in 2017.
Hammersley said, “For some time we have been discussing with a number of our Collective member agencies how to more closely align their shared interests and create a more connected plan for future growth and value creation… central to those discussions has been our desire to allow for the continued autonomy of the agency Brands.”
Founded in 2004, Flourish built its reputation in CRM and Customer Journey marketing, working for clients such as Nissan, Twitch and ASOS. Today, the agency employs over 50 people and operates from offices in Bristol and Dubai.
Of Flourish’s three founders, Neil Hecquet and Rich Hartson will be departing the agency, whilst Keith Nichol will remain, taking a position on the Harbour Group board. Nichol said, “The last 20 years have been such an incredible personal experience. I couldn’t have hoped for better partners than Neil and Rich and both have been instrumental in Flourish’s success. The time has come to push on and this opportunity with Harbour enables us to add our strength to a wider group proposition.”
Ian Reeves, Flourish’s Managing Director, said “The Harbour Group vision is clear and offers our clients tangible value through vertically integrated and complimentary services. We’re excited to start the journey alongside Curious and believe their offering can help push the creative barriers of what can be achieved within CRM.”
For more information, please contact Aimee Blakemore, Marketing Manager at Flourish on 01173 117620 or [email protected].
About Flourish
Flourish, which has offices in Bristol and Dubai, is a CRM agency “specialising in the development and delivery of personalised data-driven experiences, direct communications and content”. Its clients include Nissan, Bet365 and Asos.
About Curious
Curious is a “tech-driven agency that provides design, artwork, photography, video, CGI, and content distribution services”, with clients that include Diageo, Specsavers and Patek Philippe.
About Harbour
Harbour Collective, described as a “standalone company which manages a membership base of a number of independent agencies”, includes Live & Breathe, Pretty Green, Thursday, Platform, Digital Natives, TCO, Just So and Mi Media.
Sir Peter Bazalgette is one of the most influential figures in the UK’s creative industries.
As the former chairman of Endemol UK and creative director of Endemol Group Worldwide, he was responsible for some of the most successful and recognisable television shows of the past 25 years, including Big Brother, Ready Steady Cook, Ground Force and Changing Rooms.
Sir Peter, who was also chairman of Arts Council England and non-executive chairman of ITV, was recently appointed as the new chancellor of the University of the West of England (UWE Bristol).
In an interview with Dan Martin, he discusses his career, the support needed from the new government to grow the UK’s creative industries, how to improve the sector’s diversity, and why he has taken on the role of UWE Bristol’s new chancellor.
For an extra insight, read to the end to discover Sir Peter’s favourite TV show of all time!
Sir Peter Bazalgette officially took up his role as chancellor of UWE Bristol at the university’s graduation ceremonies in July, which were held for the first time at Bristol Beacon following a new partnership between the two organisations.
“Until 1955, there was only the BBC, and until 1982, there was only the BBC and ITV. Then there was Channel Four, and then Channel Five came along in the 90s. So even by the 1990s, there were very few channels. Sky Television and Virgin weren’t there at that point, but subscription TV came along when they arrived.
“Fast forward to recently and when I was chairing ITV, we launched ITV X and to be listed we had to negotiate with more than 30 platforms.
“In terms of production, that has changed a lot too. We used to just have public service media putting money into television production, but now we’ve got Netflix alone spending more than a billion in the UK, not to mention Apple, Amazon, Disney and so on.
“It’s changed massively, and people are consuming their TV when they want and how they want.”
“As much as documentaries are wonderful things, try to have a repeat series, whether it’s factual or fictional, but one that can be repeated and can come back again because that gives you certainty and turnover.
“You should also have a range of clients among both the streamers and the public service media.”
“None of us ever know the night before a show goes out for the first time whether it’s going to be a complete flop or a big hit.
“Big Brother had already become a massive phenomenon in Germany, Spain and Holland before it came to the UK, but not every format works in every country. For example, Survivor has never really taken off in the UK, but it has been a hit in America since the 1990s.
“When Big Brother launched, it was like trying to ride a bucking bronco. It got bigger and bigger. It was on the front page of every newspaper every day, and we had the press on our doorsteps.
“In most of the early Big Brother houses in other countries, the key talking points were two housemates getting amorous with each other. But true to form in Britain, we instead had a class struggle, with working class Craig defeating middle class Nick, who became known as Nasty Nick. Lots of people couldn’t believe we hadn’t set the whole thing up, but we had no idea any of that was going to happen, none at all.”
“It was massively controversial wherever it was broadcast. People thought it was exploitative and invasive, but actually it was interesting in that it had a transsexual woman, a gay man, someone who suffered from Tourette syndrome, and all sorts of extraordinary people who at the time were demonised. But they won because people saw their lovely character shining through, and so it did have a positive element.
“It was also an example of early fusion technology because it was on TV as an edited programme, it was on the internet, people watched it live, and you could vote on the telephone. It represented a convergence of media, and it was part of the process of the generation, who today on their mobile phones shoot and edit videos, becoming media literate. They used to watch the live transmission, and then watch the edited programme, before complaining we hadn’t put certain bits in, or we’d been unfair to certain characters.
“They then realised that the programme was an edited piece that was entirely subjective and what the director thought the story was. There was a big element of the viewer developing media literacy which was groundbreaking.”
“The creative industries, as they say on The X Factor, have been on a journey. We were the first country in the world in 1997 to define an industrial sector called the creative industries, but we then had to catch up because we didn’t have any data about our GVA, our employment etc. In time we had the Creative Industries Council, and we then established an advocacy body that is now called Creative UK, but in many ways, Britain is still playing catch up with the creative industries. With the new government, I hope that the journey and process will continue.
“The creative industries are 6% of the UK’s GVA, but we get 1% of public investment. Clearly that is not aligned with the creative industries as a priority sector for growth which we have been told is the case by both the former Conservative government and the Labour Party.
“Private investment is currently not good enough. The British Business Bank, which encourages investment in small and medium sized enterprises, is not really attuned to the way the creative industries run, the way small creative businesses work, and the criteria by which they have to be judged and invested in. We need to make progress on public and private investment.
“We also need to make progress on research and development tax credit definitions. The UK has a narrow definition of R&D, which is different to the one in other countries in Europe which includes the creative industries so creative businesses can claim tax credits for the innovation that they carry out.
“We need a more flexible apprenticeship scheme because small companies find it difficult to use the apprenticeship levy.”
“The creative industries are naturally and organically arranged into clusters. When I made a proposal for public investment in clusters in 2017, which was enacted in 2018 in the creative industries sector deal, it was going with the flow of where clusters typically are. For example, there’s the fantastic screen cluster in Bristol, an advertising cluster in Manchester, fashion in Leeds and games in Dundee. All of those things were happening organically and I suggested that we got behind it.
“The investment was £56m in nine creative clusters and each of them had an anchor partner of a university which could feed the value of applied research into local SMEs. It was fantastically successful over five years. It was matched by about £260m from industry and other sources. It’s a very good example of how you use small amounts of public money to generate growth and investment. It connected applied research with more than 2,500 SMEs, and created lots of new jobs, products and services.
“We found it incredibly difficult to get clusters two funded, despite the extraordinary success story which underlines my point about public investment not being aligned with the national policy to grow the creative industries.
“In the end, we did get it funded, but it still depends on UK Research and Innovation honouring the commitment in the next Spending Review, which has to be agreed by the new government.
“That’s another example of how Britain has not caught up with the creative sector, and isn’t backing it in the way that we are organised.”
“We need to do a lot better in this area. If we claim that the creative industries is not just an economic powerhouse, but a social and cultural powerhouse, and that what we produce, our music, theatre, films, TV, books and so on, touches the pulse of the nation, then it has to represent the whole nation and all of the communities. It can only do that if all of them find easy career pathways.
“One of the key things to do is defining better career pathways, which was set out in the former government’s creative industries sector vision last year. When I work with Speakers for Schools, the charity set up by Robert Peston, and speak to first year sixth form students, I ask them ‘what’s your favourite music?’, ‘what’s your favourite fashion?, ‘what’s your favourite film?, ‘what’s your favourite TV show?, ‘what games do you play?’. It always leads to a big discussion about who has the best taste.
“I then ask them to tell me about the jobs that all of those products represent and there’s dead silence. As an industry, we have not defined the career pathways properly. If we do, we’ll have a much more diverse sector.
“We also need much better outreach. When I was deputy chair of the National Film and Television School, we greatly increased the money we put into finding people of talent from all communities, such as having bursary funds dedicated to Black and Asian people. These are the sorts of things you can do to make a difference, but we have a way to go.”
🤝 This morning at #UWEGraduation Sir Peter Bazalgette was presented as the new chancellor of UWE Bristol – succeeding Sir Ian Carruthers OBE who has performed the role with distinction for the past 13 years 👏
Welcome, Sir Peter! pic.twitter.com/K6DSUZ5D5u
— UWE Bristol (@UWEBristol) July 18, 2024
“The role higher and further education plays in training, inspiring and producing the next generation of talent in the creative sector is critical.
“The particular thing that interested me about UWE is that the creative industries is one of the key areas in which they specialise.
“Activities that impress me about UWE include The Foundry which encourages collaboration, new ideas and development of technical knowledge. I also like the fact that they have a student ventures centre which encourages graduates to set up businesses, I like the university enterprise zone, and I like that more than 50% of graduates tend to work in the surrounding area after they’ve graduated. This is a very good statistic, and shows the contribution that UWE is making to Bristol and its surroundings.
“Finally, as a TV producer and chair of the Arts Council, I visited the city many times and I love what Bristol has already and its potential for growth.”
“Antiques Roadshow. I can’t get enough of it!
“I love the combination of the personal histories and regional histories that are linked to an object. You learn so much about history, and individual stories of brilliant heroism. There’s also the arts and culture, the wonderful locations they visit and the element of greed when it’s revealed what the item is worth. It’s the perfect TV show. I wish I’d invented it myself.”
Nine Tree Studios in Bristol celebrated their opening earlier this month with an event that saw over 150 attendees from across the creative sector.
The 10,000sq ft facility includes two soundstages for film and photography plus a podcast suite, office space, green rooms and a fully-equipped kitchen studio.
Backed by Bristol-based commercial production company JonesMillbank, the studios have been designed to support both small-scale and broadcast-level productions.
“This has been a long road, but it was amazing to see so many new and old faces, all coming together to support and celebrate our launch.” said Russell Jones, Co-Founder of Nine Tree Studios.
Located in Brislington (BS4), the studios are perched near the centre of Bristol allowing them to service productions mixing studio and on-location filming, aided by its 8,900sq ft secure yard for trucks and trailers.
The studios are now Bristol’s largest independent studio, joining a raft of creative spaces throughout the city including neighbouring virtual production stage Distortion Studios and the established Bottle Yard Studios.
“Like restaurants on a high street, the more there are, the better they are, the more their reputation builds. We’re proud of everything Bristol has to offer and stands for, and the more facilities, talent, crew and creative companies that are based here only goes to benefit the region as a whole” Russell continued.
Nine Tree Studios features:
For more information and bookings please visit www.ninetreestudios.co.uk, call 0117 3706 372, or email [email protected].
Come and try the resident space at our Brunswick Square location for one week, free of charge, no strings attached…
Created by creatives for creatives, Gather Round is more than a co-working space, it’s a growing network of like-minded professionals that go to work everyday and sit, write, design, consult and hang out.
Our residents room at Brunswick Square features beautiful Georgian windows that let in heaps of natural light. Our resident members benefit from their own fixed desk and a space to call their own whilst also having full access to the rest of the building (plus of course the packed events schedule!).
As a creative co-working space, we’re unique in the fact that we’re purposely built to cater for freelancers and businesses in the creative industries.
Fill out the form in the link below tell us a bit about yourself and one of our community managers will be in touch to book you in for your free trial in our resident area at Brunswick Square. We can’t wait to meet you!
For more info on our Brunswick Square location check out our locations page on our website.
Attention all creative canines and artistic aficionados! The much-anticipated Gromit Unleashed 2025 is on the horizon, and this is your final call to submit your portfolio. This is a unique paid opportunity to be part of an iconic public arts trail while supporting Bristol Children’s Hospital. Head to The Grand Appeal website to register your interest.
Gromit Unleashed
Gromit Unleashed is created by The Grand Appeal, the Bristol Children’s Hospital Charity, in partnership with Aardman Animations. Since its inception, Gromit Unleashed has raised millions for Bristol Children’s Hospital and St Michael’s Neonatal Intensive Care Unit and you could help The Grand Appeal raise more.
Nick Park’s Academy Award®-winning character, Gromit, first took to the streets way back in 2013. Now, over 500 sculptures, four trails, and 10 years later, Gromit Unleashed has inspired a legion of fans across the globe.
With the release of the new Wallace & Gromit film, Vengeance Most Fowl, this Winter, Gromit Unleashed is sure to be a hotly anticipated event.
Why participate?
Gromit Unleashed 2025 promises to be a tail-wagging triumph and will include sculptures designed by local artists, celebrities, and major brands.
Participating is not just about showcasing your talent. It’s about being part of an award-winning event that makes a difference to the lives of sick children and their families. Your design could even be one of the standout sculptures that draw visitors from all over the world.
How to apply
Register your interest as an artist on The Grand Appeal website. The Grand Appeal’s design team will be reviewing artists’ applications over the coming months.
Join Gromit Unleashed 2025 and let your creativity off the leash while helping Bristol’s bravest children. For more details, head to grandappeal.org.uk. Let’s make Gromit Unleashed 2025 the most pawsome trail yet!
On a warm June night, we launched our brand new event series with an inspiring and timely talk on “Building Creative Resilience”. Our inaugural event sold out in no time, and it was so motivating to see such a creative and varied group gather with marketers, writers, photographers, agency owners and designers making up the enthusiastic crowd.
To explore this hot topic, we brought together the great and good of the Bristol creative scene to share their rich knowledge and varied experiences on creative resilience. Our panel featured experts from freelance and small and big agency backgrounds to share a wide perspective. With plenty of time to mingle, enjoy complimentary drinks and eat delicious pizza, the atmosphere was lively, open and excited for the evening ahead.
Spencer Buck, the talented co-founder of Bristol-based design agency Taxi Studio, inspired and entertained the crowd with advice on the importance of remaining resilient in tough times. In an uncertain economic climate, it is easy for clients to be hesitant and opt for an easier path, but Spencer called on creatives to be bold, to stay true to themselves and to believe in the power of their creative integrity.
A memorable quote ‘Beware the lollipop of mediocracy, lick it once and you’ll suck forever’. A powerful metaphor of the perils of complacency!
After Spencer’s inspiring talk, the event transitioned into a dynamic panel discussion featuring Kendra Futcher of Writing + Thinking and Gareth Evans of 18Sixty. This immensely talented panel tackled a range of questions from the audience, delving into topics such as managing budgets, preserving the essence of creativity, maintaining a balance between client demands and creative integrity, and the controversial issue of whether or not to pitch for free. The conversations were genuine discussions, and the panel fostered an open environment for engaging insights.
The evening kicked off with ample opportunity for attendees to mingle and network before the main event. Stimulating conversations soon worked up everyone’s appetites, leading us to call on Bristol favourites, Pizzarova, to provide fresh margarita pizzas for all. Meanwhile, the fully stocked bar served up chilled beers and drinks. A special shout-out to our event sponsors Positive Drinks, for sharing their refreshing alcohol-free IPA and cider to a very grateful crowd!
Our event space is light, airy full of character and flexible. For information on private hire costs and availability get in touch.
Bristol creative agency SIM7 has taken home a prestigious ‘Búho’ award for Brand Strategy at Spain’s Educafestival. The agency was recognised for its work creating the Real Leadership brand campaign for IESE Business School.
The Búhos (Owls) are awarded to the best global creative campaigns in the education sector, welcoming entries from Europe, Latin America and the USA. They are part of Spain’s Educafestival, an annual event (20 June 2024) held in the Centro CaixaForum de Madrid.
Simeon de la Torre, owner and creative director of SIM7 says, “As an agency that works with higher and business education clients around the world, winning a Búho is a huge honour for us. And we did it by creating something really different with a big dollop of humour and heart.
“The Real Leadership campaign for IESE has been a huge strategic branding exercise that brought together all our skills in messaging, design and positioning. It spawned a slightly insane video featuring unicorns and gorillas that has been watched over two million times, a hit podcast, billboard ads in Germany and Spain, and more.”
The Real Leadership brand campaign was conceived as an antidote to the clichéd ‘business speak’ creative that has dominated the sector in recent years. By using an authentic narrative and tapping into the genuine concerns and motivations of business leaders, it resonated with IESE’s
core audiences and has delivered substantial results in the form of awareness, enquiries and admissions.
Oriol Gil, IESE’s Brand & Content – Senior Manager (pictured, above) says: “The world of MBA and executive education is changing fast, with a more nuanced audience profile and expectations. SIM7 created a major campaign for us that pushed the boundaries of our brand guidelines and created a completely new strategy. The Real Leadership campaign features an honest, authentic and human approach that playfully mocks the outdated ‘hustle’ culture.”
SIM7’s Búho award was judged by a panel that included celebrated Spanish film director Daniel Sánchez Arevalo, as well as creative leaders from Google, Coca-Cola and Clear Channel. The Real Leadership campaign was scored for:
• Educational value and content
• Developed strategy
• Idea and execution
• Obtained results
Says SIM7’s Simeon de la Torre, “We knew from the start that this had to be a campaign with cut-through, and that pure creativity wasn’t enough. It had to be built on the foundations of solid strategy and an understanding of the sector. This is what our team does best and it’s superb to see all our hard work recognised. On a personal level, it’s been great working on something that my Spanish father can be proud of and talk to his family in Spain about – he’s always been a bit clueless about what I do for a living!”
Notes
SIM7 is a Bristol-based creative agency that works with clients around the world in sectors including education, property, technology and more: sim7creative.co.uk
Founded in 2017, the agency uses language to empower design and drives growth by creating brands, campaigns and strategy. SIM7 currently employs six people, has increased its turnover significantly in the past 12 months and is set to build its international client base even further in 2024/25.
IESE Business School is ranked #2 in the world (Financial Times).
For interviews, quotes and further images contact: Simeon de la Torre, [email protected]
For more information on the awards, visit educafestival.org/2024-edicion (Spanish language)
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