Written by Chris Naswari this article has previously appeared on the ADLIB Blog.

We speak with Heather Hepburn, Head of Accessibility at Skyscanner, where she’s spent the past five years embedding inclusive design across one of the world’s leading travel platforms.

In this conversation, she shares her journey into accessibility, practical ways to design more inclusively, and how the Champions of Accessibility Network is helping drive change across the industry.


Could you please introduce yourself, describe your role, and share your experience in accessibility?

Hey, I’m Heather Hepburn, Head of Accessibility at Skyscanner. For those of you who don’t know Skyscanner, we’re an online global travel brand. We find great flights, hotels, and cars for our travellers. We translate our services into 37 different languages. We have over 10 million travellers a month who use us.

I run the accessibility programme and I’ve been doing that for five years. Internally, my responsibilities include creating the accessibility strategy for the business, planning our work and roadmaps, raising awareness and understanding of accessibility and disability inclusion, running our champions network, and building accessibility into our processes. I also advocate for accessibility externally, working with our airline and online travel agent partners, and speaking at various events. I also co-run the Champions of Accessibility Network (CAN) with Gareth Ford Williams and Charlie Turrell.

When I started at Skyscanner, I joined as a content designer. During my interview process, I was asked to do a UX critique of the Skyscanner app, and that’s when I realized how inaccessible it was. I had some knowledge from my previous job at RBS, where we considered accessibility when designing our products, but not loads. I ended up writing a job description for myself to start an accessibility programme at Skyscanner, and that’s how it all started. I’ve learned an awful lot in the last five years!


I think content design is such a common way to get into accessibility because so much of what you do is making things easy to navigate and get to the right information. It lends perfectly to making things accessible for everyone, right?

It really does. One of the biggest things in accessibility is making your content easy to understand. The role of a content designer carries significant accessibility responsibilities. If you’re writing visible content, you should also write any hidden content for screen readers at the same time and in the same tone of voice, so inclusion has always been something I’ve had to consider. The content design team at Skyscanner is now heavily involved in accessibility as well and help keep the rest of the designers in check, which is great.


How important is inclusion to your work?

Super important – it is my work. Every project or conversation I have is about improving accessibility, mainly in our traveller-facing products like our websites and apps. I also speak to our brand marketing teams about making their output accessible. We’re a team of two in a large company, so we have to shout loudly and often. We talk at town halls, other teams’ meetings, and have one-to-one conversations with designers and developers all the time. These range from getting people on board with accessibility to reviewing work and helping make elements or features more accessible.

Skyscanner runs global induction sessions for new staff every two months, which now include an empathy lab where we simulate different disabilities and get participants to carry out simple tasks. Empathy labs can be controversial, as the best way to understand disability is by speaking to someone with lived experience, so we do caveat these sessions very strongly that they are just simulations. However, they are easy to set up and can be repeated, and they start great conversations to get people thinking differently. So many people say things like “I’d never considered how someone might use a phone if they can’t see” and those conversations and considerations are so important to making them think in an inclusive way. It’s a great start for our new staff to then go on to learn how to create accessible products for our travellers, or how to be more inclusive with the way they communicate internally.


How are you promoting inclusive design through your work and what are some challenges?

Our efforts to promote inclusive design begins with training product and content designers and we’re always looking to improve on what training we provide.
In addition to our accessibility training courses, we run hands-on workshops, including screen reader workshops with Adi Latif, an accessibility consultant who uses a screen reader himself. We’re also striving to implement accessibility practices into design processes by default. User testing is important, and we try to get designers to talk to disabled users early and are also trying to promote more co-designing with disabled users.

We also do what we can to ensure accessibility is considered as early as possible in the concept and design process, so we try to make this as easy as possible for our designers. We’ve introduced an accessibility checklist, as well as a semi-automated accessibility annotations tool called Include, which is eBay’s open-source toolkit. On top of this, we have weekly drop-in sessions for designers to ask questions and review their work with us.

There are plenty of challenges to this. Designers have a lot to think about and so we need to make accessibility feel like something they want to do rather than extra work to get buy-in from them. And accessibility is difficult! There are so many elements to it, and while it’s easy to start making positive changes, it’s hard to consider everything and be very good at it. That’s why we’re always looking to upskill and make the improvements we can.


What are two to three tips you’d share with other designers trying to design more inclusively?

It’s very, very hard to make things perfect, but considering these three areas will help designers make something great. It’s so much easier to do things right from the start than to fix them later.


Tell us about the Champions of Accessibility Network (CAN) you started and how it can help people in the industry.

I heard Gareth Ford Williams and Charlie Turrell, both ex-BBC, were thinking about starting a champions network, so I got in touch and asked if I could help. We had a steering committee with big names in accessibility which was exciting – I was pinching myself about actually being there! After initial work with them to set the direction, Gareth, Charlie and I got CAN up and running.

It started a couple of years ago as a LinkedIn group. It’s a network for anyone involved in accessibility, with over 2000 members from various sectors, from accessibility specialists, to designers, to developers, and everyone in between. The idea of the group is that it’s a safe space for support and advice, with such a wealth of experience amongst our members to provide guidance. We run monthly online meetups and some face-to-face meetups on topics ranging from accessibility strategy or the European Accessibility Act to setting up your own accessibility champions networks or burnout in the industry.

It’s a very supportive, collaborative group which anyone can join. A great part of the online meetups are the breakout rooms at the end for people to connect – it’s a lovely way to network with others who care about accessibility. So that’s what we’re trying to do – get people together, share all the wins and the struggles, and learn from each other. It’s just such a positive group of people. We absolutely love running it and feel very honoured to do that.


Accessible Design Resources
Following the insightful recommendations from our Design For All participants, we’ve curated an extensive collection of tools, guides, articles, books, blogs, and videos. This resource is specifically designed to support accessibility and inclusion specialists at every stage of their journey.

View Accessible Design Resources

Written by Chris Naswari this article has previously appeared on the ADLIB Blog.

In this article, we chat with Matt Thomas, Design and User Experience Manager at Motability Operations. With over a decade at the organisation, Matt shares how he and his team are embedding inclusive design across a range of internal and B2B products, supporting over 800,000 people with limited mobility.

From weekly “Accessibility Surgeries” to department-wide learning, Matt gives a practical look into what it really takes to make accessibility a core part of how a business designs, builds and delivers.


Can you please introduce yourself, what you do, and tell us about your experience?

My name is Matt Thomas, and I’m the Design and User Experience Manager at Motability Operations. We work in the Commercial Operations division. I lead a team which is responsible for design across a range of products, including our B2B commerce platform which sells vehicles to dealerships across the UK, and all the supporting products and services which our colleagues use that help make this happen.

I’ve been at Motability Operations for 11 years. Early on, I worked in internal communications and marketing before moving into design. Reflecting on my career, whether at MO or previous companies, I’ve always been focused on improving experiences, whether with software or physical services. I guess I’m just one of those people who believes there’s always a better way of doing things and I’m keen to explore new ideas.

Motability’s main customers are people with limited mobility or disabilities, and everything we do ultimately aims to improve the experience for them – it’s great to work in a role in such a purpose-driven environment. My team specifically work on products which are used by car dealers in the motor trade, and our colleagues we work with each day. Quite a broad range of users and needs!


How important is inclusion to your work?

It’s really important. We work for a company who help over 800,000 people access independent mobility. As a leader in the design and product space, inclusion must be core to what we do, and part of that is bringing other people on that journey to show them the value of inclusion as well. It’s also simply the right thing to do.

We design for accessibility as a core principle, not just for customers but internally for our colleagues too. It’s about embedding accessibility across the board into how we design and work.


How are you promoting inclusive design through your work? And what challenges have you faced?

I think of it on three levels: individual, team, and departmental.

At the individual level, I expect designers to be comfortable and confident with accessibility. I set that expectation and support them through providing one-on-one coaching, learning through others in the team, and other resources so they can embed that learning within their product teams. I want them to get excited by accessibility, and encourage them to bring interesting new accessibility things they to share with the rest of the team.

At the team level, we hold an “Accessibility Surgery” every week — a dedicated session with specific actions focused on accessibility. This can involve exploring new tools or resources, tackling a particular problem that someone from the product team is facing, or discussions around how to embed accessibility into a new feature or product. We also look at how the designers can work more closely with their colleagues in each of their product teams to help build their knowledge and transfer their accessibility knowledge to other disciplines.

At the departmental level, we share accessibility learnings during town halls and product days, which are days dedicated to working with all the product teams across the department. We’ve also hosted talks about inclusive design at internal tech conferences too, helping spread knowledge across the wider company. It’s really important not to just keep our learnings within the team, but to take those learnings and push them across the whole department and broader organisation.

One of the challenges is that while our team has chosen to go deep into understanding accessibility, other teams and disciplines haven’t always reached the same depth. When we suggest the changes needed to meet accessibility standards, it can sometimes seem like a lot of extra effort if they haven’t already got the knowledge in place. Sometimes that means it takes longer for teams to implement those changes, which might lead to accessibility being perceived as slowing down delivery and make it harder to get teams to make accessibility changes in future.


What two to three tips would you share with other designers trying to design more inclusively?

Again, thinking at those three levels:

· Individual: Dive in and learn all you can. There are so many resources online now that make it easy to learn a lot quickly. Early on in your inclusive design journey, looking for gaps where you can make a difference with small changes is great. Finding smaller, quick wins add up over time, and help you dive in and understand those things further.

· Team: Set up a recurring accessibility meeting like an Accessibility Surgery. There was a point where I just had one designer in my team, and I put it in the calendar at that stage, so we had that time, even if it was just an hour a week, dedicated to accessibility. Now, years on with a bigger team, it’s still in the calendar every week and makes sure we’re always thinking about how to design inclusively, makes sure we’re building knowledge and solving problems. Dedicating time weekly builds momentum and knowledge over time so I’d definitely recommend this.

· Department: Share your wins. If you make accessibility improvements to a feature or product, do a bit of a write-up to show the before and after, what difference it makes, and share these with managers or in broader meetings. People won’t know it’s happening unless you tell them about it, so it’s really important to show people the improvements you’re making to build that attention and understanding of accessibility.

Also, don’t wait to be asked. Start doing, start sharing — even small actions matter.


What resources have you found helpful in developing your understanding of accessibility and inclusion?

· Craig Abbott’s blog — particularly his guidance on the European Accessibility Act given that’s coming into effect so soon.

· Mobile app testing resources — like Andrew Hickory’s guidance on mobile app testing and an accessibility handbook by a Dutch company called Appt.org. Doing accessibility right on mobile can be really tricky, and a lot of issues that come up in our Accessibility Surgeries are on the mobile side of things, so it’s great to have

· Accessibility card deck because everyone loves card decks! This is a visually engaging resource that’s being improved over time, and is really easy to dip into and get to grips with accessibility.

· WCAG in Plain English – This is our new favourite accessible thing to share! Really nicely broken down and easy to understand and consume. It’s made it really easy to collaborate closer with our content and engineering colleagues around accessibility, too!


Anything else you’d like to add before we wrap up?

Accessibility is hard and there’s no quick fix. It’s not a case of just getting a list of things you need to do to make a website accessible and implementing them in one go – it’s regular, ongoing work. Even if you build a fancy design system with accessibility built in, that’s just to the level of the components. You still need to do accessibility testing once you put those jigsaw pieces together. A design system like this isn’t a replacement for an accessibility focussed mindset.

It’s a long and enduring commitment, but it’s the right thing to do, and there’s a great community out there to support you. It’s tough, but it’s worth it.


Accessible Design Resources
Following the insightful recommendations from our Design For All participants, we’ve curated an extensive collection of tools, guides, articles, books, blogs, and videos. This resource is specifically designed to support accessibility and inclusion specialists at every stage of their journey.

View Accessible Design Resources

Open to third-year design students in the South West and Wales, the South West Design + Digital Student Awards is an annual competition that champions commercial thinking in creative higher education.

Hosted by Bristol-based creative agency Proctor + Stevenson, the Awards have been inspiring students to make and submit exciting, commercially viable work since 1986.

With categories for Graphic Design, Digital Design, and Video & Motion Graphics (including 3D and CGI), these awards can really kick-start design careers.

Entries close on midnight on Friday 13th June 2025 so hurry and enter, or share this with any students you know who could be crowned the next Ultimate Creative Champion!

Championing the next-generation of talent in the South West

The South West Design + Digital Student Awards were launched by P+S founder Roger Proctor MBE as part of his ongoing campaign to tackle how institutions approach design education.

Previous winners include Charles Golding – Senior Creative at Hello Charlie (now a regular on the SWDDS Awards judging panel) and Emily Hawkins, who went on to start her career by winning an internship at P+S. The internship led on to a full-time position in the Proctors Studio back in 2022, and she is now Digital Designer at Inside Travel Group.

And the coveted paid design internship isn’t the only prize on offer. Students could win up to £2,000.

“Finalists of the SWDDS Awards join an elite group of graphic and digital designers, animators and film-makers, many of whom have gone on to become leaders of our industry.

“And that’s’ why the Awards are so special. They’re not just a celebration of outstanding creativity. They’re a genuine opportunity for the best talent in our region to begin their professional journeys.”

Ailsa Billington

Managing Director, Proctor + Stevenson

Finalists will be asked to present their work to a friendly panel of esteemed judges, including Bristol Creative Industries’ Membership Manager Alli Nicholas, before attending the awards ceremony.

Students, what are you waiting for? Find out more and enter now.

Bristol Creative Industries was delighted to be part of the Culture and Creative Industries Summit organised by the University of the West of England at Bristol Beacon. The event brought together people from cultural and creative businesses and organisations from across the region to discuss the government’s UK creative sector plan which will be published soon.

Officials from Department for Culture, Media and Sport (DCMS) and Sir Peter Bazalgette, co-chair of the Creative Industries Council which advises the government, set the scene including outlining how the West of England is one of the government’s priority areas for the creative industries.

A panel (Ben Shorrock from techSPARK, Charlotte Geeves from Bristol Old Vic, Fiona Matthews from Super Culture, and Nimesh Joshi from ITV News West Country, chaired by Annabel Smith from Centre for Progressive Policy) then discussed the key issues, before, grouped into tables, delegates discussed ideas for strengthening the economy in the west.

The conversations have been summarised into the brilliant list of ideas below. It has been shared with DCMS and West of England Combined Mayoral Authority. 

1. Investment and infrastructure

Regional Production Fund and screen agency: Establish a dedicated fund and agency to match creative funding levels in other UK nations. Functions include soft money support, local employment stimulation, retention of post-production services, and enabling regional intellectual property (IP) ownership.

Addressing funding gaps: Ensure long-term, strategic investment to overcome inconsistencies and short-termism in current funding models.

Public-private partnerships: Promote and expand collaborative investment models, taking cues from Creative Wales. Encourage cross-sector funding initiatives.

Bristol Music Fund: Introduce a regionally managed fund sourced from a small percentage of ticket sales to bolster the music sector.

Creative tech investment: Develop a sustainable, large-scale funding pipeline for creative technology ventures beyond the pilot stage.

2. Collaboration and coordination

Cross-sector collaboration: Encourage stronger relationships among creative organisations, universities, local governments, and adjacent sectors.

Higher education partnerships: Foster collaborative projects between higher education institutions and the creative industries, overcoming resistance to commercial partnerships.

Shared data strategy: Develop coordinated, standardised data collection and impact measurement across the sector.

Creative cluster hub: Create a physical and strategic hub to promote connectivity, knowledge-sharing, and sector resilience.

3. Skills, education and talent pipeline

Creative education reform: Advocate for more modular, skills-based learning at further and higher education levels, with links to primary/secondary outcomes.

Freelancer support: Fund paid development and training opportunities to support freelance creatives.

Film/TV entry pathways: Clarify and promote inclusive, sustainable pathways into screen industries.

Talent retention: Tackle affordability and infrastructure issues to retain local talent.

4. Identity and narrative

Place-based storytelling: Highlight regional strengths such as the BBC Natural History Unit, social innovation legacy, and cultural diversity.

Unified regional narrative: Promote a cohesive story across urban, coastal, and rural areas to avoid intra-regional competition.

Valuing creative process: Emphasise the importance of creative processes and R&D alongside final products.

Global positioning: Market the region internationally as a cultural hub with strong geopolitical and creative links.

5. Innovation and creative health

Creative innovation culture: Elevate visibility of values-driven, socially-conscious innovation. Align with broader innovation strategies.

Creative health: Support initiatives at the intersection of arts, health, and policy for societal benefit.

Cultural placemaking: Embed creatives in city planning and infrastructure development.

Creative tech coordination: Improve storytelling, infrastructure, and investment strategies to scale regional creative tech.

6. Governance and strategic leadership

Sustained leadership: Build consistent leadership in both civic and business sectors to guide long-term cultural strategy.

Regional coalitions: Establish strategic alliances across key geographic hubs like Bristol, Cardiff, and Cheltenham.

Devolved powers: Advocate for devolved powers in cultural development to local and combined authorities.

Civic engagement: Pilot a Citizen’s Assembly for Culture as a model for inclusive, democratic cultural strategy-making.

7. Barriers and challenges

Funding complexity: Simplify access to funding, reduce reporting burdens, and diversify beyond dominant bodies like Arts Council England (ACE).

Inclusion gaps: Prioritise equity-focused strategies to support underrepresented groups.

Leadership fatigue: Address burnout and recruitment issues within the creative sector.

Infrastructure deficits: Invest in new and upgraded venues, studios, and support spaces.

Strategic opportunities

Next steps

Related content

 

We are delighted to announce an amazing new benefit for Bristol Creative Industries members this summer. You can enjoy free access to the brilliant Origin Workspace in Berkeley Square, Bristol.

Here are all the details direct from Origin:

This summer, we’re opening our doors to Bristol’s creative minds — for free!

Every Friday throughout June, July, and August 2025, Origin Workspace invites members of Bristol Creative Industries to enjoy a complimentary, inspiring, and productive workspace in the heart of the city.

Whether you’re a designer, writer, artist, or innovator, this is more than just a free desk – it’s a chance to thrive with no strings attached. Our lounge and lobby provide the ideal setting to focus, connect, and create, with unlimited coffee, reliable Wi-Fi, and a welcoming atmosphere designed to support your productivity and wellbeing.

We know many creatives are navigating the challenges of securing consistent work. That’s why we’re offering more than just space, we’re a community, offering solidarity, and creating a space where local talent can connect and collaborate.

Surrounded by like-minded professionals, you’ll have the chance to be part of a vibrant network that values support and shared success. As a proudly independent Bristol business, nurturing our Bristol ecosystem is at the heart of what we do. Whether you’re looking for a change of scenery, a spark of inspiration, or simply a place to get things done, Creative Fridays is your opportunity to be part of something bigger.

Want to join us?

Spaces are limited, so fill in this form to secure your spot and make Fridays your most creative day of the week. We can’t wait to welcome you to the space. Terms and conditions apply.

Not a Bristol Creative Industries member and want to take advantage of this brilliant offer? Join today.

Standard benefits packages won’t cut it for Gen Z. Here’s how they’re raising the bar and what you can do to meet it in 3 easy ways.

The generation that won’t settle for more of the same. Gen Z is here and they’re changing the game.

Born between 1997 and 2012, they’ve grown up digital, purpose-driven, and ready to challenge how work works. By the end of 2025, they’ll make up a quarter of the global workforce

And here’s the thing: standard benefits packages aren’t cutting it anymore.

If you want to attract, engage, and retain Gen Z talent, you’ll need a benefits experience that feels as personal, digital, and values led as they are.  So being part of the Bristol Creative’s network let’s explore how this generation is raising the bar for benefits and what you can do to meet it.

Firstly, digital Natives Expect Digital-First Benefits!  Gen Z grew up with smartphones, social feeds, and instant everything. So, when they join your workforce, they expect the same seamless experience from your benefits. A company’s tech influences whether they want to work there. They expect business tools to be as intuitive as TikTok and as mobile-friendly as their banking apps. If your benefits platform feels clunky or old-school? You’ll lose them before they’ve even logged in.

Secondly, they care deeply about purpose. For Gen Z, work isn’t just a job. It’s a platform for impact. Often, purpose at work matters more than a pay cheque. If your benefits don’t reflect your social and environmental commitments, you’re missing a massive engagement driver.

Then there’s the whole avenue called “flexibility”. Gen Z doesn’t measure success by hours logged. They care about outcomes and flexibility of schedules. In addition, there’s flexibility with regards to personalised benefits which I have mentioned numerous times. Forget biscuit-cutter packages. Gen Z expects choice: mental health support (which is non-negotiable being essential not optional), help their sustainability goals/carbon footprint, help with student loan repayments, help with community impact…all good examples.

Why? Well, it’s not rocket science – lower turnover, higher engagement and it makes you stand out in the crowd as an employer.

Gen Z is raising the bar for what great benefits look like. If you’re still offering one-size-fits-all packages, you’re missing a huge opportunity to engage the workforce of tomorrow.

If nothing else just look at

Because if your benefits aren’t easy to access, easy to understand, and easy to love, they aren’t working hard enough.

Imagine this. Instead of writing a traditional article like this one, we shorten our article to a series of headlines and project them onto a famous skyscraper. Outside an advertising awards show. We tease the event. And we invite you and influencers along to it. You take pictures and film parts of the show. You then post it on social media. We film the entire stunt. Afterwards, we edit the vid into different cut-downs for different channels. That my friends is a brand activation in practice.

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So what actually is the definition of a brand activation? ChatGPT defines it as a ‘marketing strategy designed to actively engage consumers with a brand, creating a memorable experience that drives awareness, interaction, and emotional connection’. It’s a decent definition for this recent advertising phenomenon. But for us, it’s an idea worth advertising. Something for your brand to shout about. And right now, activations are becoming more common. They’re taking full advantage of digital capabilities to propagate ideas online which in turn, amplifies brands organically for free. 30 years ago, a Tango ad on a Saturday night was talked about on a Monday morning in the school playground, or at the water-cooler. Today, it’s instant on Whatsapp, TikTok, Twitter and so on.  And great activation ideas that live online, always have the possibility of getting shared time and time again.

Here are some of my favourite brand activations from recent times including an app concept for Toyota that was the no.1 downloaded app in the country it was made for.

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American Outdoor Brand REI Closes For Black Friday

You read right. Sounds bonkers. But it was genius. True to their values, REI closed their doors on Black Friday. Instead of getting caught up in the chaos of the shopping day, they wanted their staff to #OptOutside, have a stress-free day off and enjoy the great outdoors. The feel-good news story was picked up by all the mainstream media outlets in the states, and the brand saw sales, brand warmth and employee retention increase off the back of this one activation.

 

Xbox made the world’s most dangerous billboard

Xbox wanted the world to know how tough their new Tomb Raider game was so they created an interactive billboard that played out like a live game show. Then they subjected the six people on the London billboard to the extreme weather conditions from the actual game. Fans streamed the show via Twitch, where they could even control the weather via their smartphone. Until only the grittiest contestant was left. The results were off the charts, from 450k+ views on Twitch, 2 million views on Facebook and 18 Cannes Lions.

 

IKEA created furniture truly for all

How? By flipping disability around and creating ThisAbles. Ikea found 1 in 10 people in the world live with a disability. So they hacked their most iconic IKEA products by developing 13 open-source 3D printed add-ons, each solving a different accessibility issue. Besides the 5M$ worth of earned media from PR, 4,625 people downloaded the 3D models. One of the great brand activations, that intrinsically links to their vision and genuinely make people’s everyday, wonderful.

 

Human-sized candles battle burnout

Education groups came together to launch Denmark’s Mental Health Day and create awareness about the increase of youth burnout. How? They crafted human sized candles and erected them all over the country to start a nationwide conversation. Each of the statues were made from wax that symbolised inaction leading to an entire generation burning out. They also targeted policy makers with small versions of the burnt-out youth, and produced a series of solutions to help address the growing issue.

 

Adidas created the world’s first liquid billboard 

The global sports brand discovered that 32% of women around the world feel uncomfortable swimming in public. In the Middle East, it jumps to a staggering 88%. So adidas created the world’s first swimmable billboard in Dubai, encouraging every woman in the city to dive in and become ambassadors for its new inclusive swimwear collection, regardless of their shape, ethnicity or ability. It sparked a global conversation across 60 countries about making swimming more inclusive as a sport for women.

 

Toyota faced down driver distraction

Put your phone down while you drive and pick up rewards. That was the simple award-winning idea for Toyota in Ireland.

The app topped the Irish app charts, received national TV, radio and press coverage worth nearly £350k. But above all Irish people drove over 13 million miles with their phones faced down. And Toyota showed how “built for a better world” made a real tangible difference in people’s lives.

 

Calm changed how we looked at suicide

People think they know what ‘suicidal’ looks like: crying, anger, despair. In the absence of these signs, nobody intervenes. With 125 people taking their own lives each week, long-term partners Campaign Against Living Miserably (CALM) and ITV, the UK’s largest commercial TV station, urgently needed to highlight the fact that ‘suicidal’ doesn’t always manifest the way people expect. So on the happiest day of the year, they created The Last Photo, a hard-hitting campaign that started a vital national conversation and empowered the UK to help prevent suicide.

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Act now on your next brand activation

The next time you brief your creative agency, think about what it is you’re really looking for. If it’s brand awareness, perception, resonance and share of voice, give your agency the license to think bigger. Creativity shouldn’t be squeezed into conventional media formats – let your brand break free and break the mould. That’s what garners coverage, reach and long-term legacy.

It’s where experiential meets content meets stunts meets brand amplification. And in today’s world, that means more bang for your budget. Just remember, the best activation ideas can be summed up in an attention-grabbing headline. If you nail that and get excited about making it happen, who knows? Your brand activation could be talked about for years to come. Building long-term brand awareness and advocacy, that’s some return on investment.

Drop us a line at https://saintnicks.uk.com/contact-us/ and let’s chat about how we can use brand activations to take your brand further.

All About Guitar Partners with Distiller Music Group

Bristol, UK – March 25, 2025 – All About Guitar, the UK’s premier resource for guitar enthusiasts, is excited to announce a strategic partnership with Distiller Music Group. This collaboration aims to enhance the range of services offered to guitarists, combining All About Guitar’s expertise in custom-built instruments and educational content with Distiller’s renowned recording facilities and industry network.

David Gillam, founder of All About Guitar, expressed enthusiasm about the partnership:

“At All About Guitar, our mission has always been to support and inspire guitarists at every level. Teaming up with Distiller Music Group allows us to expand our offerings, providing unparalleled resources and opportunities for the guitar community.”

Expanded Services for Guitarists

This partnership introduces several enhanced services:

David Gillam added:

“This partnership is about more than just services; it’s about building a community where guitarists can thrive. Whether you’re a beginner or a seasoned professional, we’re here to support your musical journey.”

For more information, visit All About Guitar or Distiller Music Group.

Media Contact:

David Gillam

Founder, All About Guitar

About All About Guitar:

All About Guitar is the UK’s leading platform for guitar enthusiasts, offering custom-built instruments, professional setup and repair services, educational resources, and a supportive community for guitarists of all levels.

About Distiller Music Group:

Distiller Music Group is an independent, artist-focused company encompassing records, publishing, live events, and a state-of-the-art  recording studio. Their mission is to support musicians at every stage of their creative journey.

On the evening of April 3rd, students from a range of fashion and creative courses at Weston College came together to showcase their talent at Elevate, a spectacular fashion show held in the Regency Suite on the Grand Pier.  This event gave learners the chance to present their work on a professional catwalk in front of friends, family, and the public.  Also, the £321 raised from ticket sales will be donated to Weston Hospicecare. 

The show featured collections and designs from A Level Fashion and Textiles students, Extended Diploma Fashion, Business and Retail students, and Fashion, Theatre, Special Effects and Media Make-Up students. Hair and makeup were also provided by learners from the HE Hair, Makeup, Prosthetics and Production course. We also had a range of volunteer models from across different subject areas, showcasing the amazing collaboration of the entire college.  

Each collection was the result of months of creativity, research, and technical skill, developing initial ideas, conducting visual and factual research, experimenting with illustrations and media, and refining their concepts before constructing their final garments in chosen fabrics.  

The Extended Diploma in Fashion, Business and Retail students explored themes such as Contrast, Refabrication, and Nostalgia, allowing for various interpretations and unique outcomes. Some examples include explorations of the architectural contrast within the National Trust’s Tyntesfield House, designs focused on the healing potential of flora, and investigations into the psychology of nostalgia through brain scans and synaptic imagery. Others took a more cultural approach, drawing on rock music from the 1970s to early 2000s.  

A Level Fashion and Textiles students brought an equally diverse range of ideas to life, exploring cultural heritage, mental health, and ethical issues in fashion. From intricate Sashiko-inspired patterns to visual critiques of the denim industry’s environmental impact, these students demonstrated powerful, individual visions that reflected deep personal engagement with their themes.  

The creativity didn’t stop at the garments. Students from the Extended Diploma in Fashion, Theatre, Special Effects and Media Make-Up created stunning looks that carried strong environmental messages. Their work responded to themes such as climate change, the ozone layer, California wildfires, and human impact on the planet—resulting in dramatic, thoughtful, and visually compelling headpieces and makeup designs.  

Pat Jones, Principal and CEO of Weston College, expressed her gratitude to both the students and the community for making this event possible, adding, “The Elevate Fashion Show was a true celebration—not just of the incredible creativity and talent of our fashion learners, but also of the community spirit that made it all possible.   

“Thanks must go to Michelle Michael and the team at the Grand Pier for so generously providing the Regency Suite free of charge, giving our students the unique opportunity to showcase their work in a truly professional setting. Thanks to this support, every ticket sold will go directly to Weston Hospicecare. We’re also grateful to St John’s Church for their kind loan of a lighting system that helped the show come to life. This event is a great example of what happens when education and community come together to lift up the next generation of creatives.”  

Elevate is a great example of how Weston College’s Career Excellence Hubs give our students the career-preparing opportunities to gain first-hand experience in presenting a collection within a professional setting, developing their confidence, communication skills, and understanding of the production and logistics behind a runway event. The evening also offered invaluable exposure to peers, industry professionals, and potential employers which is essential for anyone pursuing a future in fashion or performance industries.  

For many of the student models, walking the runway was a transformative experience. Stepping out of their comfort zones, they rose to the challenge with bravery and confidence, contributing to the energy and spirit of the event and supporting their peers on a night that celebrated creativity, courage, and collaboration.  Elevate was an amazing reflection of the talent and dedication of our Weston College students, enhanced by community to bring this event to life for a great cause.  

Well done to all our students who got involved in designing, creating, and modelling—this night wouldn’t have been possible without your efforts! Also, a big thank you to our fantastic Photography students: Harrison, Ethan, Cerys, Annabel, Taylor, Ellen, Toby, and Cameron for capturing the night perfectly! 

It’s the question every Business and HR leader asks. You’ve rolled out new benefits, negotiated better coverage, even launched a whole new platform. But after all the internal comms, budget cycles, and supplier meetings, how do you know it’s working?

If your first instinct is to reach for usage stats or participation rates, you’re not alone. But true success in benefits design isn’t only measured in dashboards. It shows up in how people feel, how they work, and how they talk about your company when no one’s watching.

Here’s what measuring success really looks like.

Employees are happier (and it shows)

The most successful benefits programmes don’t just boost uptake; they boost morale. When employees feel genuinely supported and valued, that sense of security and appreciation spills into how they show up at work, and how they talk about your business when they’re not at work.

You see it in how confidently people recommend your company to others. You feel it in team energy, reduced attrition, and stronger engagement. In fact, plenty of research shows that benefits are one of the biggest drivers of overall job satisfaction, right behind pay.

Happiness at work is about creating an environment where people feel like their wellbeing is genuinely supported, and where they can bring their full lives not just their job titles to the table.

There is genuine flexibility

A one-size-fits-all approach might be simple to manage, but it rarely delivers what today’s employees need. This is especially true for organisations managing larger workforces with varied cultural norms, regulatory frameworks, and expectations.

Successful programmes prioritise real flexibility: custom allowances, region-specific design, and meaningful choices that reflect employees’ personal lives and priorities.  It’s not about offering everything, but about curating something thoughtful and responsive, and allowing space for people to make it their own.

You hear stories, not just see stats

The most meaningful benefits are the ones people remember for life, not the ones they click on most.

Last week I wrote an example about how people remember getting access to fertility support that led to a baby, receiving healthcare when they needed it most, or being able to visit family because of an annual leave purchase scheme. This stuff is harder to put a number on, but infinitely more impactful.

None of these outcomes show up neatly in a usage report. But their impact? It’s enormous. Not just for the person involved, but for everyone who sees that story unfold, and quietly logs it as a reason to stay.

Storytelling isn’t fluffy. It’s one of the most powerful ways to measure emotional ROI and increasingly, it’s what leadership teams care about. If any business leader can explain the value of their benefits programme through stories, not just numbers, they’re doing something right.

Engagement over spend

Companies are investing huge amounts into employee benefits, but many struggle with low awareness and poor utilisation. This isn’t always a design problem it’s often a communication problem.

If your employees can’t name even three benefits they have access to, that’s not on them. A successful programme is one that people remember. One that shows up in their lives in relevant, timely ways. One they can talk about without needing to consult a portal or policy document.

The bottom line? Focus on impact over optics

A successful benefits strategy isn’t about chasing 80% participation rates or offering the longest list of perks. It’s about building something that matters. That makes people feel supported, empowered, and proud to work for you.

That might look like:

And stories that connect the dots between policy and real life!