Chancellor Rachel Reeves delivered the 2024 Autumn Budget 30 October, the first from the UK’s new Labour government. Here’s a round-up of measures and announcements relevant to businesses in the creative industries.
Describing it as a Budget “to fix the foundations”, the Treasury said “difficult decisions” had to be made “on tax, spending and welfare to restore economic and fiscal stability” to deal with a “£22bn black hole” in the public finances left by the previous government.
The announcements included £40bn in tax rises, with the big headline the increase in employer National Insurance which will add significant costs to many businesses.
We’ve listed the measures relevant to most businesses at the end of this article. Firstly, here are the announcements specific to the creative industries in the West of England region.
The Budget confirmed that the government will continue to fund the following creative industries programme:
The government said it will provide £3m in funding to expand the Creative Careers Programme, which raises awareness of career routes and tackles skills gaps in the key sector.
The Creative Industries Clusters programme, which has supported creative businesses in nine regional hubs, will continue to provide support over the next six years, with more clusters to be announced. Bristol and Bath was one of the regions supported between 2018 and 2024 through Bristol and Bath Creative R+D.
The Autumn Budget confirmed that the creatives industries is one of eight sectors of focus in the government’s vision for its new industrial strategy.
It has published a green paper and launched a public consultation. Read more details here.
The government said it is providing tax reliefs for the creative sector worth £15 billion over the next five years, and confirmed announcements from the previous government’s Spring 2024 Budget:
From 1 April 2025, film and high-end TV productions will be able to claim an enhanced 39% rate on their UK visual effects costs. UK visual effects costs will be exempt from the credit’s 80% cap on qualifying expenditure, with costs incurred from 1 January 2025 eligible.
The previous government proposed that generative AI would not qualify for the additional tax relief for visual effects, but the new government has dropped that measure.
UK Screen Alliance said the move means that the UK is now set to attract an additional £175m per year of spending on VFX for film and TV, an increase of over 45%, and to create 2,800 new jobs.
Adrian Wootton OBE, chief executive of the British Film Commission, said:
“UK film and TV is globally admired, and a key sector driving economic growth. Our VFX sector is one of the jewels in the UK industry’s crown, with a depth of creative and technical expertise. But these are competitive times. Productions are looking globally for the best talent and incentives to guide their investment decisions.
“Any new measures must address intensifying global competition and help us put our best foot forward. Confirmation of the VFX tax credit increase doubles down on UK strengths and will drive up investment. It is not only welcome, but essential to support our sector and wider UK growth.
“We’re delighted that HM Treasury has listened to industry feedback on generative AI, and included these costs in the overall VFX tax credit enhancement. The BFC pressed for this in our consultation response and we believe this will play an important part in keeping our VFX sector future-proofed and globally competitive.”
From 1 April 2025, UK films with budgets under £15m and a UK lead writer or director will be able to claim an enhanced 53% rate of audio-visual expenditure credit. Expenditure incurred from after 1 April 2024 on films that began principal photography on or after 1 April 2024 is eligible.
From 1 April 2025, the rates will be set at 40% for non-touring productions and 45% for touring productions and all orchestra productions.
Culture Secretary Lisa Nandy said:
“The creative industries will play a critical role in helping us turn the corner and deliver on the national missions of this government – driving economic growth into our towns and cities; drawing on the wealth of talent that exists everywhere; and flying the flag for British culture and values on the world stage.
“The chancellor’s Budget underscored just how important these sectors are going to be with funding extended for vital programmes and tax reliefs, an expansion of the Creative Careers Programme and a £25m investment in the CrownWorks Studio in Sunderland that will make the city one of the centres of our TV and film industry for years to come.
“This government recognises that for millions of people, geography has become destiny. That while talent is everywhere, opportunity is not. This Budget has put the creative industries front and centre of how we write those people back into our national story and drive opportunity, jobs and prosperity into every community, in every region.”
The following are announcements not specific to the creative industries but are of interest to businesses in the sector.
To fund public services, including the NHS and education, the government will increase employer National Insurance.
The rate will increase by 1.2 percentage points to 15% from 6 April 2025. The secondary threshold, the level at which employers become liable to pay National Insurance on each employee’s salary, will reduce from £9,100 per year to £5,000 per year.
To protest the smallest businesses from the National Insurance rise, the employment allowance will increase to £10,500 from £5,000 and be extended to all eligible employers by removing the £100,000 cap.
The government said this will allow firms to employ up to four National Living Wage workers full time without paying employer National Insurance.
The government will increase the lower and higher main rates of Capital Gains Tax (CGT) to 18% and 24% respectively for disposals made on or after 30 October 2024.
Business Asset Disposal Relief, which entrepreneurs pay when they sell all or part of their business, and Investors’ Relief, which reduces CGT on a disposal of shares in a trading company that is not listed on a stock exchange, will increase to 14% from 6 April 2025, and to 18% from 6 April 2026.
The National Living Wage for employees over 21 will increase by 6.7% to £12.21 an hour from April 2025. The government said this represents an increase of £1,400 in the annual earnings of a full-time worker
The National Minimum Wage for 18-20 year olds will rise by 16.3% to £10 an hour, the largest ever increase in both cash and percentage terms.
The government said that intends to create a single adult wage rate over time.
The cap on bus fares in England, due to end on 31 December 2024, will be retained until 31 December 2025, but with a 50% increase from £2 to £3.
From 2026-27, “permanently lower” business rates rates for retail, hospitality and leisure properties in England will be introduced. The government said “this will be funded sustainably by introducing a higher multiplier for the most valuable properties, including distribution warehouses used by online giants”.
Business rates relief for retail, hospitality and leisure businesses in England, up to a cap of £110,000 per business, due to end in April 2025, will be retained for 2025-26. However, it will be cut from 75% to 40%.
The small business multiplier will be frozen in 2025-26.
The government confirmed continued funding for small business finance schemes provided by the British Business Bank including £250m in 2024-25 and 2025-26 for Start Up Loans and the Growth Guarantee Scheme. To boost access to finance for women entrepreneurs, the bank will also invest £50m into female-led funds.
The Budget confirmed that the UK Shared Prosperity Fund, the government’s replacement for EU funding which was due to end in April 2025, will be extended for another year but with reduced funding of £900m.
The government will also continue to fund the Help to Grow: Management course and Growth Hubs in England in 2025-26.
A “Small Business Strategy Command Paper” will be published in 2025 that will “set out the government’s vision for supporting small businesses, from boosting scale-ups to growing the cooperative economy, across key policy areas such as creating thriving high streets, making it easier to access finance, opening up overseas and domestic markets, building business capabilities, and providing a strong business environment”.
By Tracie Leahy, Assistant Principal for Apprenticeships, Weston College
In the evolving landscape of workforce development within the creative industries, businesses are constantly seeking innovative ways to attract, develop, and retain top talent. Degree apprenticeships have emerged as a powerful solution, offering a unique blend of practical experience and academic learning. At Weston College and University Centre Weston, we have witnessed firsthand the transformative impact that degree apprentices can have on businesses. Here’s why integrating degree apprenticeships into your talent strategy is a game-changer for the creative industries.
Secure the Best New Talent
In a competitive job market, securing top talent is more challenging than ever. Degree apprenticeships provide an opportunity to attract high-calibre candidates who are eager to learn and grow within your organisation. These individuals bring fresh perspectives and are equipped with cutting-edge knowledge from their academic studies, combined with practical skills honed through on-the-job training. By investing in degree apprentices, you are investing in the future leaders of your industry.
Upskill Existing Employees
Degree apprenticeships are not just for new hires. They offer a valuable pathway for upskilling your existing workforce. Many employees have untapped potential that can be unlocked through further education and training. By supporting your employees in pursuing a degree apprenticeship, you are fostering a culture of continuous learning and development. This not only enhances their skills and job satisfaction but also improves overall organisational performance.
Build a Culture of Learning and Development
A learning-oriented culture is a cornerstone of innovative and resilient organizations. Degree apprenticeships instil a commitment to personal and professional growth within your team. Apprentices bring new ideas and approaches, inspired by their academic learning, and share this knowledge with their colleagues. This creates a dynamic environment where learning is valued, leading to increased engagement and retention.
Reduce Recruitment Costs
The traditional recruitment process can be costly and time-consuming. Degree apprenticeships provide a cost-effective alternative by allowing you to train and develop talent tailored to your specific business needs. Apprentices are often more loyal to the organizations that invest in their development, reducing turnover and the associated recruitment costs. Furthermore, you can evaluate an apprentice’s fit within your company culture and operations throughout their apprenticeship, ensuring a smoother transition to a permanent role. Also, we do all the advertising, shortlisting, and recruitment support for your vacancies – saving you time and expense.
Maximise Government Funding
One of the significant advantages of degree apprenticeships is the availability of government funding. This financial support can substantially offset the costs of training and development. By leveraging these funds,
you can invest in your workforce without straining your budget. It’s a smart financial decision that benefits both your business and your employees.
Meeting the Demand
Weston College and University Centre Weston offer a diverse range of degree apprenticeships tailored to meet the needs of modern businesses, including those in the creative industries. Our programs include:
Attracting the Best: The Appeal of Degree Apprenticeships
There is a growing trend among students to choose degree apprenticeships over traditional degrees. This pathway allows them to avoid substantial tuition fees and student debt while gaining practical experience and earning a salary. As a result, employers have the opportunity to access ambitious, motivated individuals who are eager to start their careers sooner. By offering degree apprenticeships, you can attract the cream of the crop—talented individuals who are ready to contribute to your business from day one.
A Proven Pathway: From T Levels to Degree Apprenticeships
We are seeing a growing trend where employers begin by offering T Level student placements, which involve 315 hours of work experience annually, before progressing these students to degree apprenticeships. This approach allows employers to identify and nurture talent early, providing a seamless transition from education to full-time employment. It’s a strategy that not only ensures a steady pipeline of skilled workers but also strengthens the bond between the employer and the apprentice.
Speak to Us
Investing in degree apprenticeships is a strategic move that delivers long-term benefits for businesses. By securing new talent, upskilling existing employees, fostering a culture of learning, reducing recruitment costs, and making the most of government funding, you position your business for sustained success. We are committed to supporting businesses in unlocking their potential through our comprehensive T Level and Apprenticeship programs.
Discover how degree apprenticeships can transform your business. Learn more about our offerings here or give us a call at 01934 411594 or email [email protected].
Digital PR and traditional PR have the same goals and objectives; they both are about increasing brand awareness and building a brand’s reputation.
The difference between digital PR and traditional PR is in the inputs and tactics.
A digital PR campaign will use all the opportunities and channels that digital offers, from simple social media strategies and tactics to more technical and complex strategies like SEO and technical SEO strategy.
Consistency is key
A key part of digital PR is to have consistent messaging across all platforms to have coherent communication and brand recognition. Digital PR allows brands to reach more people and build more authentic relationships with an audience.
As long as you approach with authenticity and develop strategies that engage and enable the consumer to access your brand online.
So brands can build credibility, brand awareness, relationships and trust. Digital PR is no longer a nice to have for brands. It’s a must-have to raise awareness and grow.
Digital PR Benefits
Digital PR is powerful.
It can help you reach your audience, increase brand awareness and boost your reputation and visibility in the digital age. Digital PR is built to improve your brand’s presence in the digital age and this is how:
More website traffic
By increasing your website traffic you’re widening your scope, growing your audience and generally increasing your brand awareness. More traffic means more digital footfall which can bring in new customers and brand awareness.
More traffic means more digital footfall and more footfall and web traffic means more chance of conversion.
More engagement on social media
Real-time messaging, direct interaction with audiences and plenty of opportunities to build credibility and monitor social media channels and brand mentions helps to make your PR stronger. An engaged social media presence and positive following is a great trust signal to new prospects.
More leads more sales
Digital PR isn’t about selling your products but it can create the environment to nudge customers to buy. PR can increase brand awareness and build brand trust which is key to increased customer loyalty and sales. Trust is the key to sales.
Better brand image
A good reputation and online presence is good for you. People like to engage with businesses and brands. They don’t like faceless organisations that don’t care about their audience or user groups.
Digital PR Strategy & Tactics in Action
So we’ve looked at the outcomes of digital PR strategies. But what does it look like, in terms of tactics and deployment
Social Media
You need an active social media presence to maintain and grow your brand reputation. It’s part of building your online identity and part of your digital PR strategy.
While also being a major part of your digital PR strategy, social media is a major part of your overall customer service arm.
It’s your shop window. But it’s also more than that.
This is a place where potential customers can be influenced by your existing audiences. So positive, honest and authentic engagement is a must.
Content Creation
What does content creation mean to you? White papers? Blogs? News stories? writing press releases? Producing video content? Tweets (or should we say X’s) Instagram posts, even TikTok content?
To us, it means all of the above.
Content helps to build emotional connections with your audience. Great content engages, entertains and ultimately converts prospects into loyal customers. Building campaigns around great content, leveraged across multiple channels and formats is the most effective way to engage with your tribe
Link building strategies
Digital PR and link building go hand in hand. But this is a long-term game.
These strategies also help to differentiate your brand from other businesses in the industry.
These strategies increase overall visibility of your website through the placement of backlinked content on third-party sites with relevant links. This could be a simple press release, a news story on relevant websites and online media, or thought leadership in key sector titles.
It’s a traditional PR approach, engaging with media through press releases and putting a digital PR spin on it.
But the content and placement have to be relevant. Credible, high-quality backlinks – meaning backlinks to relevant and trustworthy – quality links will build brand credibility and authority.
Content and Channel Optimisation
Effective brand communications means all channels and assets are optimised for maximum visibility.
Everything needs to be connected for maximum online visibility. Whether it’s your Google My Business Profile, or making sure your social tags and handles are on your site, your social media presence is also optimised to boost organic rankings and increase your presence in the SERP.
You can’t build on your search ranking score if your owned channels aren’t optimised. To get more awareness and reach online PR requires a holistic approach, everything needs to be in sync.
Showing up to Google
This could get lengthy so we’ll try to keep it brief.
Google monitors and ranks online publications, websites, pages and content against its own set of rules. These are the E-E-A-T guidelines, they are a set of indicators that determine whether any given piece of on-page content is experienced, expert, authoritative and trustworthy – hence E-E-A-T. Consistent messaging across all content is key to meeting Google’s E-E-A-T guidelines.
E-E-A-T — or Double-E-A-T became part of Google’s search rater guidelines in 2022.
The main challenge with Google is it likes to move the Goalposts.
Core updates and other changes to the practice and protocol can make it hard to keep up with the latest best practices and requirements around search engines and content.
You can spend all the time in the world developing a digital PR strategy and digital marketing strategy. But if you’re creating content that Google won’t or doesn’t like, all that work will be for nothing. The further down the SERP you go, the more your website, organic traffic and brand visibility suffer.
This is where it pays to have an expert in your corner.
Conclusion
Ultimately, digital PR is a key part of any PR strategy.
Digital PR can lead to customer loyalty by building trust and credibility.
It may seem like a big ask to keep up with the ever-changing search engine algorithms and best practices. But the rewards of well-executed digital PR campaigns and strategies are worth it.
Google’s E-E-A-T guidelines say to create content that is Experienced, Expert, Authoritative and Trustworthy.
Build brand credibility, build relationships and build trust with your audience. By producing high-quality, relevant content and earning links from other reputable sources you’ll increase your website visibility, authority and overall search engine rankings.
But digital PR needs a long-term approach. It is not a quick win.
It requires a strategic and sustained effort. Which in turn requires patience and an ongoing commitment to the overall process on online brand building.
On 24th September, the Prime Minister announced plans to change apprenticeships to provide greater flexibility – in response, we had a great roundtable at the Engine Shed, with inputs from all aspects of the apprenticeship picture. This article focusses on support.
There are important steps leading up to apprenticeships, from work experience to more formal bootcamps. Jane Coulter previously worked for IntoFilm, and now runs the West of England Film/High-End TV Workforce Development Programme from The Bottle Yard studios. It is designed to de-mystify the industry and open up those craft roles that range from camera, lighting and locations to set building and costume. It’s just started its 3rd round with an Intro Webinar on October 7th with 100 participants, and a process that whittles those down to provide a 5-week course for the 20 top candidates, hosted online and at The Bottle Yard. So far, 15 people have been taken on by the production companies working at the Studios or other businesses servicing production in the region .
The programme is funded by the West of England Combined Authority, but this funding ends in March 2025 and other sources are currently being explored. Can we identify the natural next step for public-sector support?
Jane Deane and Katie Green from the Western Training Providers Network connects training and education providers across the West of England to share opportunities, best practices, and collaborate for maximum impact. It also operates the region’s Levy Share scheme, in which companies with a payroll more than £3m and thus subject to the Levy can gift their payment to other companies.
They will support the crucial 5 steps to success :
Research: identifying apprenticeship standards and crafting a bespoke Apprenticeship Development Plan tailored to the company needs.
Find a Training Provider: arranging meetings, facilitating handovers, and assisting with paperwork once the provider has been selected.
Advertise: helping to write ads to attract diverse applicants, creating promotional materials, and sharing vacancies via the WTPN network and social media.
Funding Options: exploring available funding based on the apprentice’s age.
Set Up for Success: Supporting with shortlisting, interviews, and contracts to ensure a smooth start
And they’re easy to find – based in Engine Shed, and with regular drop-in sessions :
Engine Shed, Temple Meads, Bristol – Every Wednesday, 9am – 1pm
Future Space, Stoke Gifford, Bristol – The first Thursday of the Month, 10am – 12.00pm
The latest addition to the WTPN support network is the BBC! – Louise Brown is their Industry Partnership Manager.
Funding covers the training cost, but not the apprentices’ wages. The final thought from the meeting was “Why Not?”
Distortion Creative Group, the parent company of Studio Giggle, has announced the appointment of Rob King as its new CEO and investor. King’s arrival comes as the company embarks on a rebrand and ambitious expansion strategy, targeting growth in Bristol and the South West, with a vision to become a global creative leader.
With a background in senior roles at renowned organisations such as Abbey Road Studios, Zinc Media owned The Edge Picture Company and a number of award-winning creative agencies. King brings a wealth of experience in sales, marketing, and creative strategy. His focus will be on scaling Studio Giggle’s operations in live events, film, animation, and content production, while transforming Distortion Studios into a world-class virtual production hub.
King sees his new role as an opportunity to take Distortion Creative Group to the next stage of its growth and development. “Studio Giggle is entering its 18th year, and this ‘coming of age’ marks the start of an exciting new chapter for the company. We’ve been a maverick creative force in Bristol, but now we’re set on becoming the go-to agency for creative content in the South West as well as for our clients nationwide and beyond,” he said.
Despite a well-documented downturn in the film world, Distortion Creative Group has seen growth over the past year, expanding its staff by 20% following new work for clients and producing events in locations as far-flung as Singapore and the Middle East. “The vision that directors Jonathan Brigden and Steve Garratt have shown crafting the region’s go-to creative agency is phenomenal. I look forward to collaborating with them on the next steps, as well as working with the talented staff base that has made Distortion Creative Group what it is today.”
While Studio Giggle has traditionally worked with clients in London and internationally, its plans include a focus on Bristol’s burgeoning tech and fintech industries, offering creative and technical production solutions that align with the region’s growing reputation as a global hub for creativity.
“Bristol has been our home for 18 years and it’s a great opportunity to now give back and help businesses in the area excel creatively,” King emphasised.
As part of the expansion plan, King will also oversee the development of Bristol’s first permanent virtual production facility, positioning Distortion Studios as a pioneer in sustainable and cutting-edge production technologies. “We have an incredible mix of creativity, technology, and storytelling that puts us in an advantageous position as the world enters a new era of production possibilities. In particular, our early adoption of AI and software, including Unreal Engine, has revolutionised the creative potential for clients of all sizes,” he added
Looking ahead, Distortion Creative Group is preparing to expand its portfolio. “Our rebrand positions us as pioneers in exciting new areas of creative technologies, so expansion is certainly front of mind,” King noted. “We’re keen, however, to stay true to our values of true collaboration with our clients, technical innovation and award-winning creativity.
Distortion Creative Group is preparing to unveil the details of its growth plans, including the addition of new companies to the Distortion Creative Group. “This isn’t just about a rebrand or staying the same size,” King noted. “We’re on a growth trajectory, and in the next few years , we’ll look back at this moment as the time when we transitioned from a boutique agency to a larger creative group.
Steve Garratt, Distortion Creative Group’s Founder and Creative Director, added: “Rob’s addition marks a pivotal point in our on-going plan to grow a world class creative agency and Virtual Production studio in Bristol. Both Jonathan Brigden and I are excited to welcome Rob to the team and draw on his unique expertise.”
Rob King’s move to Bristol further underscores the company’s commitment to investing in the city’s creative future. His appointment marks a pivotal moment as the company positions itself for sustained growth and global reach.
For further information or to arrange an interview with Rob King, please contact:
Tom Hall: [email protected] (07545980782)
Amy Hunter: [email protected] (0117 972 0081)
About Distortion Creative Group:
Distortion Creative Group is a leading creative agency based in Bristol, UK, offering a full range of services across live events, film, animation, and content production. Its flagship company, Studio Giggle, is known for its innovative approach to storytelling and creative production, with clients including Sky and British Airways. Distortion Studios is at the forefront of virtual production technology, delivering sustainable solutions for clients worldwide.
On 24th September, the Prime Minister announced plans to change apprenticeships to provide greater flexibility – in response, we had a great roundtable at the Engine Shed, with inputs from all aspects of the apprenticeship picture. This article focusses on the industry.
James Ellis, Business Development Manager at Creative Alliance talked through their approach. They have a team of 30 people operating from Birmingham, and providing blended learning for the apprentices they support – 1:1 coaching, seminars and peer learning as well as training. It’s part of a “spiral staircase” approach, where each step for the individual leads to an opportunity. James’ slide deck is below.
They provide particular support to neurodiverse people – those with lateral thinking and creative brains that may not fit conventional education.They work with corporates who pay the Apprenticeship Levy as well as microbusinesses, with schemes at Level 3 (A Level), Level 4 (Foundation degree) through to Level 7 (Masters) to cover Production Management.Apprenticeships are a great way to develop your established team – local companies such as Our Media currently focus on this benefit. You can watch James’ presentation below.
Lydia Thornton from Professional Apprenticeships talked through how apprenticeships can address issues of Equity, Diversity and Inclusion, and are especially relevant in areas of defined deprivation such as South Bristol. Their apprenticeships focus on Content Creation, Marketing and more technical pathways. They focus on 18-24s, many of whom have studied film and photography. Their advice includes things such as the value of having a driving licence – something many young people don’t consider – or can’t afford.
Nick Young-Wolfe moved for the Creative Youth Network to set up MUTI Live – providing apprenticeships and Skills Bootcamps across a wide range of professions in the live arts & events sector, for people at all stages of their career. He made the point that most careers guides in schools and colleges simply don’t know about the type of jobs in the industry, and that apprenticeships are the only route into the industry that is not debt-laden.
Infact, whilst apprenticeships may lead to university (or university-equivalent qualifications) whilst people are also earning a living, attending university shuts off access to apprenticeships!
Rachel Drummond Hay and Kibibi White from Drummer TV brought the industry perspective.
Rachel pointed out that creative microbusiness need to have 18 months of funded business ahead in order to host an apprentice (something that could be helped by the “flexi-job” approach, with multiple hosts, but is very challenging to organise). Drummer have years of learning from a strong work-experience programme as the first step in the “staircase”, and take on apprentices from that talent pool because they can learn their craft in “the Drummer Way”, when many graduates have to “unlearn” their practices to make their way inside the industry.
A strong learning culture within the company is a key to success. Kibibi is their latest recruit, supported by Cirencester College, and learning both inside and outside the office on an 80:20 model with roughly 1 day per week in the classroom. Duncan Fraser from A Productions pointed out that the “classroom time” can be front-loaded into the apprenticeship period with a 2-week block that can help get the apprentice work-ready.
Carmela Carrubba from Real SFX is also a passionate advocate for apprenticeships. Headquartered in Cardiff but now setting up at The BottleYard Studios, they have adapted the Level 3 Creative Digital Media apprenticeship to include special effects. Bizarrely, this can be done with the Welsh CDM course, but not the one in England… They have an 80% retention rate for their apprentices.
These are the people that are making apprenticeships work for our sector, and their companies are benefitting hugely. With the government also looking to energise skills development, we’ll look at the support that’s available in next week’s article.
Being an Employer of Choice: Mental health and financial wellbeing are inextricably linked!
Sometimes, all it takes to drastically improve your employees’ quality of life is a conversation and guidance that can lead to a positive impact that they feel every day. Nobody is immune to money worries and financial stress. So, let’s get talking, break down taboos and change lives.
Poor mental health and financial problems are often closely tied. Fixing one can often help fix the other. Talking about money worries is a bit of a taboo subject in the UK. The topic is surrounded by stigmas such as debt, poor mental health, and absence from work, so we avoid it. But sweeping things under the rug doesn’t work. Long-term, if we don’t break taboos, taboos can break us.
Financial education plays a huge part in increasing preparedness and reducing stress. But stress and worries can build barriers in people’s minds, a powerful resistance to engaging. They may have the answers but feel overwhelmed or unsure where to start. So, to forge a path forward, we need to be there with them.
To help people see through the haze of financial stress, we need to connect with people as individuals, on their own level.
A vicious cycle
Poor mental health can lead to money problems:
And money problems can lead to poor mental health: Stretched budgets could mean less food, heat, or medicine. Financial communications might trigger feelings of anxiety and panic and persistent worrying could lead to sleep problems and burnout
This cycle can get out of control, spiralling downward and affecting relationships, work, and every other part of an employee’s life. It’s critical we let them know that help is at hand.
Breaking the taboo
If you don’t offer much support yet, it’s a good opportunity to get employees involved. Ask them what they want and need and build around their answers.
Maybe some want private 1-2-1 meetings, while others would prefer group workshops or an anonymous online forum. By starting the conversations here, you’ll already be taking steps to normalising talking about money and financial stress and showing that it’s important to your business.
Why employers should care
Why dedicate resources and people to tackling financial stress? According to UK charity Mental Health At Work, 66% of employees feel like their company doesn’t care about their financial situation, making them more likely to salary hunt elsewhere and less productive in the working day.
In other words, beating financial stress is in your business’ best interests too. And if you have limited resources, you can partially rely on the government’s Money and Pensions Service.
Can you respond, with impact, to those big industry moments when projecting integrity, trust & credibility becomes key?
On Friday 19th July 2024, the biggest global IT outage to date caught leading service and security providers completely off-guard. Banks, manufacturers, media firms, airports, airlines, rail services, payment systems, the London Stock Exchange, multiple news organisations, and many public and emergency services platforms held up by Microsoft all reported severe interruptions.
Put simply: because resilience is a growing buying priority.
The world’s largest and most industry-critical enterprises are held up by increasingly complex supply chains and vendors.
In the wake of the debacle, thousands of buying groups (including downstream suppliers, partners, industry ecosystems and less-affected but increasingly cautious organisations) will be questioning the reliability of their current IT systems.
And they’ll be asking themselves one thing: do they have the capability to keep the lights on when the next Big Moment hits?
Cutting-edge data from 6Sense reveals that B2B buyers spend 70% of the buying journey doing their own research before talking to vendors.
(view image in blog here.)
Here are the biggest headlines steering optimised B2B content performance in 2024:
Source: 6Sense Point of First Contact Research Summary
If your content and campaigns rely on buyer conversion via a landing-page form or traditional lead generation it’s time to rethink. You won’t be getting your brand in front of key decision makers and influencers when they’re gathering the information that will heavily influence their purchase decision.
It is urgent for B2B sellers to increase their roster of ungated, educational content. You need to remove as much friction as possible for potential buyers wanting fast insights without a form.
Blogs, external product validation, helpful articles, videos, even some higher-value guides/buyers guides should be readily available to your audience without requiring an email. Concerned about tracking conversions when using more ungated content? We can help!
Whether you’re a fledgling startup or an established technology vendor selling into enterprise, Google and LinkedIn are likely your hero channels for paid media. Most organisations have not activated a key superpower: using the two platforms in combination. Deployed correctly, you can build trust with your audience and maximise awareness of your brand during that crucial first 70% of the buying journey.
Installing the LinkedIn Insights Tag on your website pages means you can track visits to specific website pages from your upper-funnel traffic-driving activity. And funnel those people back into LinkedIn. Now you can filter that audience down to your ICP profile (specific companies or industry, job function + seniority), and offer higher-value site visitors a better-connected content experience. Showing them the most relevant assets based on what they have seen and the strength of their engagement. That builds trust faster and accelerates the time between browsing and buying. And it can keep customers loyal when that next big crisis hits.
It this all sounds incredibly complicated, we get it! You want to make sure your content is making an impact on today’s buying journey. That you’re getting the most out of B2B paid media in the do more for less era. And that your digital communications are robust enough to achieve the right impact in a global emergency! That’s where we come in. Talk to us and find out how we can help build you a robust B2B platform.
Bristol integrated brand agency saintnicks has announced a further senior appointment with the hiring of Marcus Culloty as the agency’s new Creative Director.
Marcus joins saintnicks after holding the title of Creative Director at McCann Bristol. Before that, he was the Creative Director of The Mix Dublin, part of Pernod Ricard’s global in-house agency network.
With more than 17 years experience working for some of the UK and Ireland’s leading network and independent agencies including Havas, Publicis, and The Leith Agency, he has created a raft of award-winning campaigns for global clients such as Toyota, O2, Jameson and Dunlop.
Now as saintnicks’ Creative Director, Marcus will be leading the agency’s conceptual output alongside supporting with the mentoring, shaping and development of its creative studio.
On his appointment, Culloty said: “saintnicks has a great philosophy for crafting great work that helps their clients and their brands really fly. That’s why I can’t wait to dive in, be part of this experienced agile independent agency’s senior team and take things further than ever.”
It’s a time of continued growth for the Bristol agency with further new talent joining across the business. This month sees the arrival of Richard Canueto-Cook and Hannah Bain into the Client Services team as Account Directors. Both join with previous careers at Ogilvy, Havas and McCann.
The appointments coincide with another strong year for the agency after a consistent period of new and existing client growth within the automotive, sport and audio sectors and a string of industry award nominations.
Steve Davies, ECD of saintnicks commented: “The quality of talent and the versatility of skills in the agency has enabled us to generate stronger campaigns and deliver better performance metrics across the board. With over 65% of our business from international brands we are always seeking talent who can help us to take clients further, and Marcus is a most welcome and exciting addition to the team.”
10.09.24: HeyFlow, the female reproductive health inclusion business, which aims to end disadvantage for women in the workplace, has become the founding investment client for Aer Venture Studios, the new SaaS impact-driven venture arm from Aer Studios. The £235,000 investment will support the build and architecture of HeyFlow’s tech platform and employee insight product, enabling it to reach even more enterprise clients.
A majority-female start-up, HeyFlow aims to create meaningful change for women at work globally, at a time when 31% of women experience severe reproductive health symptoms every year: 85% of women face at least four reproductive health conditions and mothers see a 60% drop in earnings following their first child, compared to fathers. HeyFlow transforms organisations through employee experience insight that reshapes workplace behaviour and fuels meaningful change for women’s inclusion, resulting in organisations retaining talent, promoting talent, boosting profitability, and creating an equitable future.
Aer Venture Studios has been launched by creative technology firm, Aer Studios, to help early-stage SaaS tech businesses with funding and creative tech expertise to accelerate their time to market. It aims to create meaningful digital experiences that have an impact on people and planet. It’s set up to deliver the financial backing that early stage ventures need, tech expertise required to develop products to a launch-ready stage and partnerships required for future investment rounds. HeyFlow marks its first investment client.
Following its launch in 2023, HeyFlow has worked with progressive companies including Hitachi Vantara, BIMA and Digitas UK, providing insight into their female employee experiences, management’s ability to support at all levels, informing leadership gender inclusion strategies and empowering them to create change. The funding will enable the development of its technology platform to deliver on a national and global basis, as well as providing progress measurement and on-demand industry benchmarking.
HeyFlow is now actively seeking an additional pre-seed investment of £250,000, to allow the firm to take the employee experience and diagnostics platform to market. A future roadmap introduces Artificial Intelligence (AI) to provide on-demand learning solutions and delivering against mandated gender pay and ESG reporting, globally.
“We’re honoured to secure Aer Venture Studios’ investment and trust in HeyFlow’s vision. Its backing is a testament to our early success and powerful validation of our mission to champion reproductive health inclusion and close workplace gender gaps. At a time where only a small percentage of investment goes to female-founded companies, Aer Venture Studios’ belief in HeyFlow sends a clear message that innovative, women-led start-ups are worthy of investment. Their support strengthens our ability to scale globally, and together, we’re set to shake up the future of work,” comments Sophie Creese, Co-Founder, HeyFlow.
Geoff Wells, director, Aer Venture Studios; “Our mission is to help organisations realise their vision for digital experiences that have a positive impact on people and planet. Our ambition and values are perfectly aligned with HeyFlow’s, making it the ideal collaboration and partnership. We are excited at the opportunity to bring the full force of our creative and technical talent in Aer Studios to realise HeyFlow’s vision and accelerate its impact.”
HeyFlow is a majority female-founded and owned business, launched by Sophie Creese, Nick Dean and Sabrina Walls, with Kate Thompson, an applied behavioural scientist and co-founder of businessfourzero, recently joining as NED. With financial backing by ADLIB Recruitment, the team brings together many years of expertise in gender equality work and talent solutions. Aer Venture Studios’ Directors Geoff Wells and Tom Harber will play active roles in the future of HeyFlow, with Wells taking a seat on the board. Wells and Harber bring extensive expertise in delivering award winning creative technology solutions for organisations including BBC, Breast Cancer Now, Diabetes UK and Women’s Aid.
For media enquiries, please contact Sabrina Walls on [email protected] / contact Jess Morgan on [email protected] or on 07947 008 071.
Ending disadvantage for women in the workplace. 31% of women experience severe reproductive health symptoms every year. If not supported properly they can have a massive impact in the workplace and become a hidden burden leading to a lack of inclusion, increased absenteeism, and reduced retention.
Through insight, learning and action for female* reproductive health inclusion in the workplace, HeyFlow empowers businesses to create change and build a truly inclusive companies.
*We actually mean people with internal reproductive health organs, it’s just not as catchy.
You can read our full inclusion statement here: https://heyflow.co.uk/inclusion-statement
Aer Venture Studios works with impact driven founders and their teams, bringing creative technology expertise and financial backing to progress their concept to MVP and launch. Aer Venture Studios’ mission is to create meaningful digital experiences that have an impact on people and planet. Launched by creative tech firm Aer Studios, Aer Venture Studios bring financial backing that early stage ventures vitally need and combine this with the expertise required to develop the product to a launch ready stage, as well as partnerships required for future investment rounds to scale fast.
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