Each year P+S hosts the South West Design + Digital Student Awards.
The Design Awards were launched by Roger Proctor MBE, Founder and Chairman of Proctor + Stevenson, as part of an ongoing campaign to tackle the way institutions approach design education. Roger wanted to give students the opportunity to stretch their creative talents beyond academia. He recognised the need for hands-on industry experience and commercial briefs. But he also noticed a frustrating lack of creative recognition outside of London, which is why he chose to celebrate talent specifically in the South West of England.
For final-year university students, the SWDDS Awards offer unparalleled opportunities – industry exposure, advice from an expert panel of judges, and valuable creative connections.
Last year Jessica Stiddard, a graphic design student from the University of Gloucestershire, was one of our top 10 finalists with 24 Karat Coffee – a sustainable and ethically sourced coffee branding project.
Jess has gone on to become Junior Creative at Dyson. We sat down with Jess to find out what she’s been up to since the South West Design + Digital Student Awards 2022.
So, how did you find out about the South West Design + Digital Student Awards?
As part of our course, one module included submitting our work to a design award. Our lecturer presented a selection of opportunities to choose from, and she had mentioned the South West Design + Digital Student Awards.
I had also heard about a previous graphic design student from the University of Gloucestershire who had won the SWDDS Awards and the opportunities that followed for her.
What project did you enter, and what category did that fall under?
I entered my third-year brand identity and packaging project for an ethical coffee brand 24 Karat Coffee, which was on a mission to make coffee better. The brief was set by Bulletproof – a design agency in London.
I entered it into the Graphic Design category, and the fact there is no brief meant I was able to enter work I had already completed, which made it a lot easier for me to enter the Design Awards alongside my university deadlines.
Since entering the Design Awards, what have you been up to?
After the awards, I graduated with a First Class Honours and had a one-month apprenticeship with Bristol agency Outlaw, where I worked alongside Emma Proven, winner of the 2019 South West Design + Digital Student Awards.
“…I have now been working at Dyson in Malmesbury for 4 months and I’m loving every minute…”
I then went on to work at Dyson as a Junior Creative. I had been in contact with Chris Roberts, Creative Director at Dyson and judge at the SWDDS Awards, who offered me the role. I have now been working at Dyson in Malmesbury for 4 months and I’m loving every minute.
That’s fantastic! Knowing what you know now, do you have any advice for people thinking about entering the South West Design + Digital Student Awards themselves?
My advice to someone entering the awards would be: just throw yourself into every opportunity you’re given. It can lead to amazing opportunities and achievements! If I hadn’t entered the awards, I wouldn’t be where I am today. It has opened many doors for me, including my internship with Outlaw and my full-time role at Dyson.
“…if I hadn’t entered the awards, I wouldn’t be where I am today…”
What was your overall experience with the Design Awards like?
My experience at the awards was great. I had an interview where I had to present my project and my portfolio to a judging panel, which meant my work was seen by some utterly amazing judges. Even though it could have been a nerve-wracking experience, they made me feel so comfortable.
The ceremony was also great. I got the opportunity to meet other creative students who had entered their work, as well as industry professionals that Proctor + Stevenson had invited. They gave me good advice for my first steps into the creative industry.
The South West Design + Digital Student Awards is back for 2023
Think you could be one of this year’s finalists?
If Jessica’s experience has inspired you to enter, what are you waiting for?
If you’re a third-year university student in the South West of England, get your best projects in Graphic Design, Digital Design and Motion and AR (Augmented Reality) ready.
Whether it is a bold new app, a dynamic branding campaign, or an artistic animation, we want to see it.
Find out more and enter now.
Bristol-based creative business collective Istoria Group has launched a competition to find a regional, women-owned Micro Business to support as part of its Incubator Hub programme, whereby Istoria Group houses and helps guide fledgling businesses during their initial period of development. The winner will be selected from applications received online, with the launch of the initiative timed to coincide with International Women’s Day 2023.
The lucky winning business will receive rent-free office space for up to four people for a 6-month period at Istoria Group’s Bristol Paintworks HQ, starting 1 June 2023, as well as a free website design and build, a brand critique/refresh and mentorship from the Group’s Chairwoman and Heads of Finance, Marketing and PR.
Lindie Kramers, Chief Marketing Officer for Istoria Group, commented: ‘As a women-owned SME, we’re actively seeking to support another female-founded business in our region. We want to be as inclusive as possible in our search for the right Micro Business and would particularly welcome applications from traditionally under-represented communities in business, whether by age, class or ethnicity, to help promote social mobility and counter current imbalances in opportunity and representation.’
To help target its search, Istoria Group is working with the support two established local organisations – Black South West Network (BSWN) and Babbasa – to help spread the word and make sure new of the competition offer reaches as diverse and inclusive an audience as possible in the region.
Sibusiso Tshabalala, Business Support Coordinator, Black South West Network, commented ‘If the Creative Industries were as socio-economically diverse as the wider economy, the sector could provide employment opportunities to an additional 263,200 working-class individuals. However, the lack of diversity in the industry remains a challenge. Fortunately, creative agencies like Istoria Group are working selflessly and consciously to diversify the industry. Initiatives like theirs are particularly crucial in areas like the South West, which lack representation in the creative sector. By supporting minority-led agencies, we can foster the growth of diverse creative content that is relevant and engaging to both the local community and beyond.’
Matt Rogers, Head of Development at Babbasa, added: ‘Many of the young people Babbasa supports are interested in entrepreneurship, and starting their own business is a key way for many young people to access an income that enables them to thrive. We’re pleased to support this fantastic opportunity.’
The winning applicant / business will be selected by a team of five judges:
Sam Rowe, CEO, Istoria Group
Lindie Kramers, CMO, Istoria Group
Sibusiso Tshabalala, Business Support Coordinator, BSWN
Matt Rogers, Head of Development, Babbasa
Cecilia Thirlway, Senior Lecturer in Entrepreneurship,
Centre for Innovation and Entrepreneurship, University of Bristol
About The Incubator Hub:
The Incubator Hub idea arises out of Istoria Group’s dedication to start-up entrepreneurialism and business mentorship. The Incubator Hub was set up to house and help guide small businesses until they mature and, to date, Istoria Group has successfully helped to grow and ‘hatch’ two Incubator Hub companies: children’s book publishers i am a bookworm – https://www.iamabookworm.co.uk/ and innovation platform Solverboard, which was purchased in Summer 22 by AIM-listed technology and innovation experts Sopheon (and now rebranded as ‘Acclaim Ideas’) – https://www.sopheon.com/products/acclaimideas
The focus on micro-businesses this time around was inspired by an article on the International Women’s Day’s 2022 website, which noted how often women have a particular gift for spotting opportunity-based gaps in the market for products and services, but how, through lack of capital – which is often generationally-available, gender-biased and slow to adapt to contemporary needs – women often start small, which makes micro-businesses a great area to focus on to aid and encourage new business growth.
Details of Offer:
Istoria Group is offering the competition-winning business free and self-contained office space on the mezzanine level of its Bristol Paintworks HQ for 1-4 people, with dedicated toilets and access to all shared office facilities, from a kitchen to bookable meeting rooms, as well as free electricity and WiFi, for a six-month period from 1 June – 30 November 2023.
Istoria Group is additionally offering mentorship and in-house creative services as follows:
How to Apply:
Applicants can be a business in any market and at any stage of early growth, as long as female-founded and based in Bristol or the South-West region.
The deadline for applications is midnight on Wednesday 19 April 2023 and the simple application form can be found at: www.istoriagroup.com/micro-business-competition-2023
Istoria Group, which last year became a B Corp, says applicants should ideally share at least some of its corporate values, which include the EPIC values (entrepreneurial, personable, intelligent and collaborative), as well as standing for the inclusive and ethical treatment of staff; innovation in business; a strong commitment to sustainability and creative re-use and a commitment to the local Bristol region and economy.
What is a Micro Business?
In the UK, a micro business is defined by Companies House as a business of 1-9 employees, with turnover of less than £632,000 and £316,000 or less on its balance sheet.
Bristol Creative Industries has teamed up with Bristol-based social enterprise Babbasa and 15 creative businesses to launch a city-wide internship programme.
The programme is aimed at Bristol-based young people aged 18-24 from an ethnic minority and/or from a low-income background who want to gain insight and experience in the creative industry.
The scheme will see many of the city’s most well-known creative companies offering six-month full time paid placements to applicants in roles covering advertising, marketing, design, animation and digital.
Two of the biggest challenges currently facing the creative industries are a long-term skills shortage and a lack of diversity in the sector.
A Creative Force to Be Reckoned With, our report released in September 2022, found that although increasing diversity and inclusion was a significant priority for six in 10 creative firms, almost half said they want more help with finding diverse talent from underrepresented groups.
We’ve been working hard to create a solution and are delighted to launch the Bristol Creative Industries Internship Programme.
Babbasa, which supports diverse young people to achieve their aspirations, is leading the recruitment process. We are working closely with them and the brilliant participating creative businesses to match applicants to one of the available roles.
Chris Thurling, chair of Bristol Creative Industries, said:
“We all want to make our industry more diverse and inclusive, but when you run a small business it’s not always easy to know how to make a practical difference. By coming together as the Bristol Creative Industries community to support the internship programme, members can do their bit to help young people get that all important foot in the door.
“We are delighted to formally announce this internship programme in partnership with Babbasa. The creative industry in Bristol is one of the best in the country, and we want to help open this up to as many young people in the city as we can.
“Our aim with this programme is to work closely with the fantastic team at Babbasa to connect bright young talent with some of the city’s best and well-established businesses.”
Starting on 15th May 2023, each successful applicant will work for six months. During that time participants will undergo two placements for two different agencies, both lasting three months each.
The programme provides a mix of professional skills training, creative skills training, inspirational talks, networking events, mentoring and opportunities for future employment.
The deadline for applications is 28th March 2023, with interviews taking place on 4th and 5th April at Watershed in Bristol. There will be an informal group workshop which will give applicants a chance to come and hear a bit more about the participating businesses, their internship offers and meet some of the team.
Applicants will then be given a 30-minute slot to chat to the interview panel to give us a chance to explore applications in a bit more detail. Bristol Creative Industries will cover costs for travel to the interview for every candidate.
The businesses and Bristol Creative Industries members participating in the programme are:
Big thanks to them all!
Poku Pipim Osei, CEO and founder of Babbasa, said:
“Last year, we consulted with a range of city partners and underrepresented communities to better understand how Bristol can close the inequality gap for the next generation, in a report called the OurCity20230: Socioeconomic Analysis Report.
“What was striking is that over 38% of the young people surveyed had aspirations to pursue a career in the creative industries. This is why we are excited to be part of this partnership, as a demonstration of our commitment to work collaboratively and unlock doors for those who would not have otherwise had the chance.”
To apply, applicants already registered with Babbasa can send a video/audio recording that’s around one minute long, or a written piece to recruitment lead Mikhaila at [email protected] explaining why they want to be part of the programme.
Those who aren’t yet registered with Babbasa can sign up here and the organisation will be in touch to help progress the application.
For more information on the programme, visit the Babbasa website and for more details on the businesses participating in the scheme, go here.
An outstanding achievement and something we are very proud of.
Back in 2019, ADLIB Recruitment was one of the first recruitment businesses to certify as a B Corp with a score of 82.8. Our belief is that B Corp provides a structure and measurement to improve, certification is the start of the journey. We set out our intentions publicly through annual impact reports and set the bar high. This approach ensured we maintained the focus and accountability needed to make change happen.
Since our initial certification, we’ve held ourselves accountable to improve year on year. We’ve become a 100% employee-owned business, created a Trust Board, Employee Council and gifted each of our existing employees share options with a clear route to realisation.
We’ve donated many thousands of £ to charities and NFPs, including Feeding Bristol, Grassroots Activation Project, St Mungo’s, Julian Trust and Forest of Avon Trust to name a few brilliant organisations.
Internally, we have created MotherBoard, a business charter, community and event series that drives tangible change for mums working in the tech industry. We’ve also vastly improved our maternity leave policy and delivered D,E&I training, lived out through a healthily balanced team. The team have played lead roles in advancing GreenTech South West and Tech Ethics meet up groups. And that’s just for starters.
Today we celebrate the hard work that has gone into achieving our recertification. Focus will soon turn to our next recertification and setting the standards to a whole new level.
We are proud to share the first annual impact report from MotherBoard – the non-profiting initiative that is powered by ADLIB and sponsored by Not On The High Street. MotherBoard is a Business Charter, Event Series and Community that is creating real long-term change for mums working in the tech industry.
Over the past 12 months the MotherBoard Community and Charter have offered a platform for people to connect and discuss taboo subjects, whilst our growing signatories have committed to, and achieved change. Topics include:
• Mentorship • Promotion & leadership • Coding courses & funding • Infertility • Pregnancy • Sexism • Racism • Parental bias • Miscarriage • Menopause • Toxic cultures • Still birth • Redundancy in pregnancy • NDAs
Within the report you will see the positive impact MotherBoard have achieved since launching in 2021, we are excited to see what the next year holds!
We hope you enjoy having a read, if you would like to hear more about MotherBoard please email the team at [email protected].
MotherBoard is a Business Charter, Community, Event Series, and Podcast driving tangible change for mums working in the tech & data industry. We are on a mission to transform the industry to be more inclusive of mothers by tackling stigmas and supporting employers who want to create real change.
With climate change on the agenda at COP27 in Egypt, a major new report has examined the steps different sectors within the UK’s creative industries are taking to reduce carbon emissions and what more needs to be done.
Published by Creative Industries Policy and Evidence Centre, Julie’s Bicycle and BOP Consulting, the Creative Industries and the Climate Emergency study describes the the creative industries as an “economic powerhouse” which delivers £115.9bn GVA to the UK economy, accounts for 2.2m jobs, and exports more than £50bn per year.
The government’s strategy for the UK economy to achieve net zero carbon emissions by 2050 says “everyone will need to play their part”. With the creative industries representing 6% of the GVA of the overall UK economy, the study stresses that it’s vital the sector works with the government to achieve its goals.
The sector has responded dramatically to that call to action with the report highlighting how businesses and organisations of all sizes and in all sub-sectors of the creative industries innovating in production, design and supply to reduce their impact on the environment.
Several carbon calculators have been developed for businesses to measure their carbon footprint, and industry associations are forming alliances to produce reports, campaign groups and other activities to tackle climate change.
There are extensive challenges for all sectors though, the report said, and much more action is needed including government support to encourage and more investment for applied research.
Hasan Bakhshi, director of the Creative Industries Policy and Evidence Centre, said:
“We are calling for a change to the definitions of research and development (R&D) used by the HMRC for tax relief, which currently excludes arts, humanities and social sciences. Without this we risk under-incentivising creative industries companies who want to experiment with new production and supply methods to reduce carbon emissions.”
The call for R&D tax relief to be extended to the creative industries is also something higlighted by Bristol Creative Industries board member Gail Caig, and the issue was highlighted in Bristol Creative Industries’ recent report on creative businesses in Bristol and the wider south west region.
We found that almost half (46%) of respondents to our survey stated they have not applied for R&D tax credits because they are not eligible.
Another significant barrier is the lack of knowledge of R&D tax credits, the report found. Although these barriers are higher among freelancers, 38% of commercial business respondents believe they are ineligible for R&D tax relief, and 17% admit they lack knowledge.
The BCI report said:
“While progress is being made to strengthen the links between the tech community and the creative industries, we need to raise our game in terms of research and development across the sector. There is a major UK Research and Innovation (UKRI) cluster programme in Bristol as well as the Catapult Network in the South West, but the research shows that these initiatives are not cutting through to BCI members. The challenge is on to build even stronger connections between creative and tech, educate more businesses about R&D and ensure programmes delivered at a national level deliver more for our members.”
Alison Tickell, founder and CEO of Julie’s Bicycle, said:
“For so long we’ve asked what is needed to motivate the political, economic and social change urgently needed. This report provides an answer; culture. Not only do the arts motivate change through storytelling and the unique ability to inspire connection and empathy but on a very practical level; it is these industries that across all sub-sectors are adapting their processes and monitoring impact. We find clear evidence of a willingness to learn and change from CEOs, boards, employees and artists themselves; it is clear culture is ready to prioritise change.”
Professor Christopher Smith, executive chair, Arts and Humanities Research Council, said:
“Climate change and environmental issues are now at the top of the agenda for creative businesses, from international corporations to start-ups. There are dozens of innovative projects and tools to help reduce carbon emissions, and some are supported through UKRI. But there is so much more to do. This report is a starting point and a call to action.”
The full report is jam-packed with useful information on how the creative industries are tackling climate change, the challenges that remain and what needs to be done to solve them. We urge you to read it.
In the meantime, here are some sector-by-sector highlights from the report of net zero schemes and initiatives with links to useful resources:
The advertising sector is largely computer-based work in offices but approximately 20% of its carbon footprint is generated through production. According to the Advertising Association, the largest footprint of a single production shoot was over 100 tonnes of CO2.
The sector also has a significant environmental impact through media distribution including tens of thousands of advertising billboards across the country and a million tonnes of leaflets, brochures and flyers.
Efforts taken by the advertising sector to reach net zero include the Advertising Association’s Ad Net Zero initiative, with several well-known brands, advertising agencies, media titles and industry bodies signing up to achieve net zero carbon emissions by 2030. It also launched a report with guidance for measuring and reducing emissions through advertising, including how to enable consumer behaviour change.
The Institute of Practitioners in Advertising has launched its Ad Net Zero course.
Like other creative sectors, architecture has relatively low direct environmental impacts due to mostly being computer-based work undertaken in offices.
However, its role within the wider built environment is crucial to the climate agenda. Estimates suggest that the construction sector as a whole contributes as much as 40% of all global carbon emissions, with the production and use of concrete alone responsible for 8% of all emissions.
The Royal Institute of British Architects (RIBA) launched the 2030 Climate Challenge to support architects to “design within a climate conscious trajectory”. It provides performance outcomes targets for architects in how they design for energy use, water use, embodied carbon etc.
With Architects Declare, RIBA also produced the Built for the Environment report which makes the case that the built environment must drastically reduce its carbon emissions to work towards net zero.
The Architects Climate Action Network (ACAN) was established in 2020 as a “network of individuals within architecture and related built environment professions taking action to address the twin crises of climate and ecological breakdown”.
Small scale crafts businesses, such as designer making and jewellery, have a relatively small carbon footprint. It is the creative sub-sector with the smallest economic size according to government figures.
The Crafts Council produced a report in 2010 promoting environmental sustainability in crafts, which remains an active part of the organisation’s programme. The Crafts Council is also part of ‘Ecological Citizens’, a project with the Royal College of Arts and commercial partners such as IKEA, which explores the digital preparedness of the sub-sector for net zero including manufacturing of surplus materials and helping people digitally exchange knowledge and resources.
Research by the Crafts Council in 2020 found that almost 50% of consumers said that buying from sustainable businesses using sustainable materials and local supply chains is important.
Design is not a single creative sub-sector with a distinct value chain, but a set of creative practices and skills applied across industries and contexts. Environmental impacts depend on the type of work being undertaken. For example, graphic design and visual communications is linked to advertising, while product design is associated with engineering and manufacturing.
In 2021, the Design Council launched Design for Planet which “aims to turn policy into practice and allow us to design our way to net zero”.
The Design Council also runs the Design Value Framework, which helps designers and commissioners to identify and assess the wider social, environmental and democratic impacts of their work.
The report said that designer fashion “has almost certainly the largest environmental footprint of all the creative industries”. It added:
“Due to the complexity of international supply chains, estimates can vary widely – one study by McKinsey estimated the entire fashion product life cycle is responsible for up to 4% of total global greenhouse gas emissions. Such is the extent of the problem that London Fashion Week, the UK industry’s flagship event, has been specifically targeted by activists, with high-profile campaigns by Extinction Rebellion for it to be cancelled.
“At the same time, controversies about ‘greenwashing’ and potentially misleading claims from fashion businesses have led to an investigation by the UK Competition and Markets Authority.”
In 2020, the British Fashion Council helped to establish the Institute of Positive Fashion, with an ambition for the fashion industry to be “more resilient and circular through global collaboration and local action”.
There are various organisations and commitments encouraging voluntary sign-ups such as Textiles 2030. Signatories collaborate on carbon, water and circular textile targets, and contribute to discussions around policy development for textiles in the UK.
Other initiatives include the UN’s Fashion Charter for Climate Action and The Fashion Pact.
The BFI collaborated with BAFTA albert and Arup in 2020 to measure carbon emissions from film and television. There are significant impacts, particularly for big budget productions which are estimated at 2,840 tonnes of CO2 for an average film production with a budget of over US$70m. Around half of emissions are linked to transport, 30% of which is air travel. There is also considerable onset energy consumption, with electricity and gas use accounting for 34% of emissions, while diesel generators contribute 15%.
In 2011, BAFTA launched albert, an online tool that calculates the amount of greenhouse gases as a direct result of a production. The tool has been used by more than 1,300 television production companies, with 7,500 production footprints calculated.
Other tools include the Green Book of Sustainable Buildings which has resources for cinemas, the Independent Cinema Office Green Cinema Toolkit and Green Screen, an online tool that supports environmentally friendly filming in London.
“The environmental impacts of the music industry are probably better understood than the impact of any of the UK’s other creative industries,” the study said.
A study by Julie’s Bicycle into the UK music industry found that the annual greenhouse gas emissions from artists touring in the UK and British acts touring overseas was approximately 85,000 tonnes of CO2e in 2010. Research by campaign group Powerful Thinking in 2018 found that the UK festival industry generated 25,000 tonnes of CO2e (excluding audience travel), created 26,000 tonnes of waste and used million litres of diesel.
Spotify estimated in 2021 that it had a carbon footprint of 353,054 tonnes CO2, and that 42% of its GHG emissions come from listeners streaming.
In 2019, Music Declares Emergency was launched as a call to action backed by more than 3,000 UK music artists. It is now also a campaigning entity that issues guidance, co-produced with Julie’s Bicycle, on how artists and businesses can create change, such as pressing lighter weight 140 gramme vinyl instead of 180 gramme.
LIVE (Live music Industry Venues & Entertainment) was established in October 2020 to bring the UK trade associations under one umbrella group as a single, united voice. It launched the LIVE Green programme.
All 14 association members of LIVE have ratified its declaration to deliver measurable and targeted action on climate change, with the ultimate aim of reaching net zero emissions by 2030.
Vision: 2025 is a network of over 500 outdoor events and businesses taking climate action.
Smaller independent companies in the recorded music industry can measure their carbon footprint using a custom carbon calculator developed by IMPALA and Julie’s Bicycle.
The Music Climate Pact is a global platform, initiated by the UK’s Association of Independent Music (AIM) and record labels association the BPI, that was launched as a response to COP26 and the urgent call for collective action to combat the climate crisis.
A study by the GLA and the Theatres Trust found that London’s theatre industry generates 50,000 tonnes of CO2e emissions a year, with audience travel estimated at an additional 35,000.
The Act Green report examines audience attitudes towards the role of cultural organisations in tackling the climate emergency.
The Creative Green Tools, developed by Julie’s Bicycle, underpin the Arts Council England’s environmental reporting programme for more than 800 annually funded organisations.
The Theatre Green Book outlines a new standard for environmental action in the performing arts.
Choreographer Matthew Bourne piloted the Julie’s Bicycle Creative Green Touring Certification with its 2018-19 Swan Lake tour of the UK.
The sector’s environmental impact is linked to printing and paper production. The UK produces more than 180,000 new book titles each year (more per capita than any other country), and is home to more than 10 national newspapers, hundreds of local papers and several thousand consumer and trade magazines.
The report said:
“Producing virgin paper from timber for all of these is highly energy intensive, and the print industries are thought to represent up to 4% of global energy consumption. Added to this is the large amount of water required in producing virgin paper – estimated to be 10 litres of water per A4 sheet. Pulp and paper mills, with their extensive use of bleaching agents and other chemicals, are also significant polluters.”
The Publishers Association (PA) has a Sustainability Taskforce, the Publishing Declares campaign and a carbon calculator.
The Sustainability Industry Forum was launched by six publishing organisations.
The video games design sector is almost entirely digital so the environmental concerns are mainly related to the large amounts of energy required for playing games. London software designer Space Ape calculated that 50% (or approximately 375 tonnes) of their carbon emissions are produced by the cloud servers used to operate their games.
The Playing for The Planet Alliance is a campaign group launched by the United Nations that seeks to create change within the global video games industry.
UK Interactive Entertainment (Ukie) partnered with Playing for The Planet to create the Green Games Guide.
In 2010, a report by the Greater London Authority and Julie’s Bicycle estimated that audience travel accounted for a majority share (56%) of the London visual arts sector’s CO2e emissions. A 2019 report by the Tate Gallery found that audience travel accounted for 240 million tonnes of CO2e, or 92% of the gallery’s total carbon footprint.
The Gallery Climate Coalition has grown from the London arts community to over 900 country-wide members, and an international membership of 20 countries. Its aim is to facilitate a reduction of the sector’s carbon emissions by a minimum of 50% by 2030, as well as promoting zero waste.
If you’re a Bristol Creative Industries member, let us know what you’re doing to tackle climate change by emailing Dan.
What can we learn from Patagonia giving away their firm to fight climate change?
Powerful climate change documentary produced in Bath premiered at COP27
How sustainability is going to change your (working) life
Our predictions (and hopes) for COP27
JonesMillbank, Bristol-based video production company, worked with Matter to help launch a Kickstarter campaign for their product, Gulp; the world’s first microplastics filter for washing machines.
Every time we do our laundry, up to 700,000 microfibres are released from our washing machines and pumped into our waterways.
Gulp captures these microplastics before the ocean does.
It’s the first, sustainable, long-lasting solution, with zero additional filter costs and no disposable parts.
JonesMillbank worked with Matter’s team, including Founder Adam Root and Product Director Lucas Horne to bring Adam’s story and Gulp’s technology to an audience across Kickstarter and social.
“Working closely with the team at Matter was a great experience; it’s always nice to work with a client who are open to and trustful of your ideas” said Russell Jones, Director at JonesMillbank, who was also scriptwriter and assistant director of the production.
“The fact that the story and product is green-purposed and aligned with our strategy and net zero credentials was a benefit to boot”.
Lucas Horne, Product Director at Matter said “JonesMillbank did a fantastic job in pulling together a compelling creative that really told the story of Gulp and Matter’s development in a captivating way and the campaign was fully funded in under 30 minutes.”
You can view and back the campaign at www.kickstarter.com/projects/aroot/gulp-self-cleaning-washing-machine-microplastic-filter and view the campaign content at jonesmillbank.com/work/matter/gulp-kickstarter.
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JonesMillbank are a passionate full-service video production company
They work exclusively in-house with a talented team of multi-disciplined creatives, all the while telling authentic stories long before it was cool for a range of clients such as University of Bristol, IDLES, NHS England, The Royal Mint and Battersea.
jonesmillbank.com
01173706372
[email protected]
In part 1 of this series, we looked at the power of brand storytelling in the wealth management sector. In this second part, we’ll explore the first of the audience segments that winning brands need to address as an integral part of their story: women with wealth.
This has been a challenging audience for the male-dominated wealth management industry to address. But it is an increasingly important segment for wealth managers to address, both in their marketing, and as part of their business model. Here’s why:
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“…43% of the global high-net-worth population are women…”
This wealth is being generated by more women in leadership roles, female entrepreneurs and female-led businesses. There is also a growing proportion of intergenerational wealth being passed to women, and the statistics show that many of them inherit between the age of 25-35. (source: BCG Global Wealth)
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Across the board, Boston Consulting Group found that younger generations of women are taking control of their financial interests.
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However, only two out of five women say they are confident making financial decisions, despite evidence showing that when women are deciding on investments, they often spend more time researching and gathering information than men.
Despite this growing opportunity, according to Ernst and Young, 73% of UK women feel their adviser misunderstands their goals or cannot empathise with their lifestyle. Consequently, the research found that 62% of women are willing to consider switching to another adviser compared with 42% of men.
“…70% of widows sacked their adviser after their husband’s death…”
The most profound of these statistics comes from Boston Consulting Group who found that 70% of widows sacked their adviser after their husband’s death.
So why is this?
You’d be forgiven for thinking that these women might prefer a female advisor, but that’s not necessarily the case.
Whilst wealth management is still a largely male-dominated sector (although this is changing slowly), according to a survey by Canada’s Strategy Marketing consultancy, only 7% actually wanted a female adviser. Across the board, research studies show that women want advice that demonstrates an understanding of their approach and attitude to investing, as it is distinctly different to men.
“…73% of UK women feel their adviser misunderstands their goals…”
There’s been a lot of research published over the last ten years about what women want from a wealth management service. So it’s surprising to see how slow the industry has been in adopting its findings. Especially considering that the audience makes up 43% of the addressable market. Even more so, when you consider how relatively simple it is to understand and address their needs.
Fundamentally women, unlike men, are not interested in investment performance for its own sake. UBS reports that women are more interested in what the money is for, rather than how it is invested. For them, it’s not a competitive pursuit in which data shows how much you’re winning or losing. Investing, for the majority of women, is about achieving their own personal goals.
Boston Consulting Group research summarised these goals as:
The specifics of these goals will change at different points throughout their life.
An overwhelming majority of women want their investments to benefit people, society and the planet. The Center for Talent Innovation (now Coqual) report that 88% of women want to invest in organisations that promote social wellbeing.
Along with these specific goals and aims, women’s mindsets are an important consideration. This means building trust is essential when advertising to women. The WealthyHer report found that:
“…88% of women want to invest in organisations that promote social wellbeing…”
So how are wealth management brands reflecting these facts in their brand story? For us, there are two leaders.
First, let’s look at UBS. They have applied a goal-orientated approach to their brand story, using the ‘questions’ narrative we discussed in Part 1 of this blog series across the customer journey. The photography gives a sense that they are talking to both men and women. The goals and questions raised feel like they apply naturally to anyone. It never feels forced, contrived or patronising.
(view image in blog here)
Having made their brand story broad and inclusive, they also create a specific journey for women. This includes advice services, online content, resources and communities aimed specifically at them.
(view images in blog here)
ABRDN is the second leader, in our opinion. Whilst UBS is subtle and understated in its application, ABRDN is incredibly direct and concise. First, with sustainable investment as its headline message, it taps into the zeitgeist, particularly for women, as the research shows.
But then, look at the body copy. The core points from the research are all addressed. Again, this never feels contrived, forced or patronising. The brand has achieved an egalitarian position, equally appealing to men and women, young and old.
(view images in blog here)
There are a growing number of niche wealth management companies aimed specifically at women, notably Independent Women, Wealth for Women, Women’s Wealth, Eva Wealth in the UK.
However, with increasing competition in the market, we expect to see more brands adopt a more inclusive narrative in their brand stories. The big test will, of course, be whether the service they offer lives up to their brand promise. Walking the talk will definitely be more challenging than creating the story.
“…we expect to see more brands adopt a more inclusive narrative in their brand stories…”
While we can’t necessarily help you practice what you preach consistently, we can certainly help you market to women. Our team of experts can advise you on inclusive storytelling, advertising campaigns and so much more. Get in touch by emailing [email protected]
And don’t miss the next blog in our Wealth Management series, all about marketing to millennials.
South Bristol charitable organisation, Heart of BS13, has been announced as the first winner of the city’s newly launched ‘Noble Deeds’ programme. The initiative will see Heart of BS13 receive a £12,000 package of digital marketing support. This will help it develop its social enterprise work to further support a healthy, thriving community in Hartcliffe and Withywood.
Already well established in North America, the Noble Deeds programme was launched at an event in Bristol in June by the Noble Performs UK team. Local charities and not-for-profits were invited to attend and hear more about the programme before crafting their entries.
Despite receiving entries from a number of extremely worthwhile organisations, the Noble Deeds UK committee had to select a winner. Heart of BS13 was chosen due to the crucial role it plays in the community to support people through the cost-of-living crisis and to improve health equality in the area.
Lorenzo Campbell, Noble Performs and chair of UK Deeds committee explains; “It was of course a tough decision to make with so many deserved Noble Deeds winners. However, after seeing the amazing work they are doing and how we could help them really engage people in the local community to build on this, it became an obvious winner.
“Not only does Heart of BS13 strive to become self-funded through social enterprise initiatives such as selling produce from its flower farm, on-site kitchen ready meals and unique outdoor event-hire space, it puts the benefit gained directly back into the community. The community fridge, outdoor volunteering and social opportunities are all focused on improving the health and wellbeing of the local community. There’s also a climate action and community stewardship of the local environment element to Heart of BS13, which really resonates with our own values at Noble Performs.”
The digital marketing support from the Noble Deeds programme comes at pivotal time for Heart of BS13 as it accelerates is social enterprises to offer more to the community.
Georgina Perry, chief executive, Heart of BS13 explains; “We are all thrilled to be the first UK community organisation to become part of the Noble Deeds programme. The past couple of years have seen us take stock of what we’re doing and which of our initiatives will help us most efficiently achieve the health outcomes we want in our local community. There’s so much passion and support for what we’re doing, the next stage in our evolution is about how we harness that and focus our efforts for maximum positive impact.
“Working with outside digital marketing experts will really help us to sharpen up our thinking around this and where we should focus our efforts to promote what we are doing. It’s also a great opportunity for our team here to build their digital skills through working with the Noble Performs team. We’ll be able to retain these skills for the future and make more informed decisions when we’re considering marketing activities.”
Helping clients such as Adobe, Rolls Royce, Air Asia and Yosemite with their international digital presence, Noble’s ambition is to replicate the scale of its Nevada Noble Deeds programme in Bristol as its UK footprint grows.
To find out more about Noble Performs go to https://nobleperforms.co.uk, to find out more about Heart of BS13 please visit https://heartofbs13.org.uk/
The West of England’s first-ever Good Employment Charter has been launched by Metro Mayor Dan Norris as part of a push to develop good jobs, deliver opportunities for workers to progress and help local and regional employers succeed.
First to sign up is the world famous, four times Academy Award winning animation studio Aardman. Others already pledging their support include Visit West as well as Bristol’s Wake the Tiger, Bath’s Storm and Stoke Gifford’s Service Robotics.
The Charter has been designed by trade unions, employers and employees from across Bristol, Bath and South Gloucestershire.
Local firms big and small will be supported by the West of England Combined Authority, led by the Metro Mayor, to raise standards across a number of areas, including regarding recruitment and worker engagement, with a two-tier approach to help them progress.
The two tiers of the West of England Good Employment Charter are:
Tier 1: Supporters – working with aspiring organisations to help them take steps to improve their own practices, including through a personalised action plan, workshops and other events, raising employment standards across the whole region, to meet the requirements of accreditation.
Tier 2: Membership – requiring employers to demonstrate excellent practice in key characteristics of employment practice. These are:
Businesses receiving funding through the West of England Combined Authority’s investment funds will also now be required to become Charter supporters, confirmed the Metro Mayor.
Currently more than 15% of West of England workers take home less pay than the Real Living Wage, while an estimated 111,000 in the wider South West are on zero-hours contracts.
Metro Mayor Dan Norris said: “I’m delighted to see this manifesto pledge fulfilled. No matter what job you do, everyone deserves dignity at work, fair pay and secure work in a safe workplace with clear opportunities to progress and develop. I want to praise the brilliant employers we have in our region such as Aardman.
“Recognising those good employers and seeking to persuade everyone else to do the right thing is what this is all about. We know that employers who are best at properly supporting their employees are usually the most successful. So this a win-win for employers and employees. I welcome the employers ego have started the journey with us today, and I’ve no doubt that many, many more will join them soon.”
Aardman Managing Director Sean Clarke said: “We’re really pleased to support the Good Employment Charter and feel that improving employment standards is crucial for staff wellbeing, retention, engagement and productivity. Many policies such as the Real Living Wage and Secure Work have been in place for some time, which has already made a positive impact to the business.
“As an employee-owned business we are always looking to expand and improve engagement with the ‘partners’ in the studio and have various forums for partners to have a voice on the how the studio is managed and our business planning and priorities. Aardman is committed to providing a workplace where people and their ideas can really thrive.
“We believe that implementing these standards helps us to nurture our most important asset – our people – and ensures we are well placed to attract and retain our talent in an increasingly competitive talent market.”
Employers interested in signing up to the West of England Good Employment Charter should email [email protected]
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