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Chancellor Jeremy Hunt delivered the government’s 2024 Spring Budget on 6 March. Here’s a round-up of measures and announcements relevant to businesses in the creative industries.

Spring Budget 2024 measures for creative industries

During his Budget speech, Jeremy Hunt referenced the creative industries. He said:

Audio-visual expenditure credit for UK independent films

A new UK independent film tax credit (IFTC) will be introduced at a rate of 53% on qualifying film production expenditure. It will be available for films with budgets under £15m that meet the requirements of a new British Film Institute (BFI) test.

Productions will be able to make claims from 1 April 2025 if the film started principal photography from 1 April 2024.

Audio-visual expenditure credit

Following a consultation at Autumn Statement 2023, the credit rate for visual effects costs in film and high-end TV will be rise by 5% to 39% from April 2025. The 80% cap will be removed for qualifying expenditure for visual effects costs.

Film studios business rates relief

A 40% reduction on gross business rates will be provided to eligible film studios in England until 2034. The government said the relief will be implemented “as soon as possible” with bills backdated to 1 April 2024.

Tax relief for theatres, orchestras, museums, galleries and exhibitions

From 1 April 2025, the rates of theatre tax relief (TTR), orchestra tax relief (OTR) and museums and galleries exhibitions tax relief (MGETR) will be permanently set at 40% (for non-touring productions) and 45% for touring productions.

National Theatre funding

Funding of £26.4m will be provided to upgrade the National Theatre’s stages and infrastructure.

General measures of interest to the creative industries

The following are announcements not specific to the creative industries but are of interest to businesses in the sector.

National insurance cut for self-employed

From 6 April 2024, the main rate of Class 4 National Insurance Contributions (NICs) for the self-employed will be reduced from 9% to 6%.

The government claimed that combined with the abolition of the requirement to pay Class 2 NICs announced in the 2023 Autumn Statement, the measure will save an average self-employed person on £28,000 around £650 a year.

National insurance cut for employees

From 6 April 2024, the main rate of employee NICs will be cut by 2p from 10% to 8%.

The government claimed that combined with the 2p cut announced at Autumn Statement 2023, the measure will save the average worker on £35,400 over £900 a year.

VAT threshold increase

The level at which businesses must register for valued added tax (VAT) will increase from £85,000 to £90,000 from 1 April 2024. The government said around 28,000 businesses will benefit in 2024-25 from no longer being VAT registered.

The deregistration threshold, at which businesses can deregister from VAT, will increase from £83,000 to £88,000.

Recovery Loan Scheme extended

The government’s Recovery Loan Scheme, which launched in 2021 to support businesses to recover from the impact of the COVID-19 pandemic, will be extended to 31 March 2026. It will be renamed the Growth Guarantee Scheme.

The government guarantees to the lender up of 70% of funding provided to businesses through the scheme. Loans of up to £2m are available for businesses in Great Britain turning over up to £45m. For Northern Ireland businesses, the maximum loan is £1m.

Full expensing

Full expensing allows companies to claim 100% capital allowances on qualifying plant and machinery investments. In the 2024 Budget, the government said it will publish draft legislation and seek to extend the scheme to assets for leasing “when fiscal conditions allow”.

If you’re after a bit of inspiration from creative leaders across the globe then take a gander at The Changemakers brought to you by Shaped By. It’s a series of talks with amazing and brilliant minds driving forward creativity.

It started as a podcast picking the brains of brand, creative and marketing leaders in the world of B2B tech. Dave Corlett our Business Director was the original host and he’s delved into some belter of discussions on:

We then morphed it into different formats with multiple guests, got other Shape-lings to join hosting, and hit record on the video. While it’s been a privilege to chat with people from brands like Microsoft, Stripe, Zapier, Drift, and Webflow, we wanted to bring a new flavour to the series. So we’re looking outside of the norm, and interviewing people who are super interesting from a creative and design perspective. We’re talking sound designers, illustrators, artists and so on.

You can watch the first foray into these as we spoke to Adam Legg, a Bristol-based composer and sound designer who we’ve had the pleasure of collaborating with. We dug a little deeper into the secret art of sound design. What’s the process? How do you ensure it’s relevant to the storytelling? And ultimately, what’s the difference between a ‘meh’ sound design and one that makes you stand out and take notice? Check it out here.

We’re lucky to have had so many smart, insightful chats with genuinely good people over the 40+ episodes we’ve got in the can; and we’re excited to take this to the next level.

We’re excited to announce that Square Works is now home to a stunning new mural, painted by none other than local muralist and illustrator Dave Bain.

Last week we had the pleasure of hosting local creatives Dave Bain and Jess Knights to paint a mural in the outside area of Square Works. We wanted a bright and fun mural that tied the collaborative and creative community of Square Works with our love for nature and wildlife. Dave certainly delivered, producing a fantastic design and executing it to perfection.

If you haven’t seen the mural yet, what are you waiting for?! We’ve shared some snaps on our social media (click here), but you can’t beat seeing it in person!

We want to extend a huge thank you to both Dave Bain and Jess Knights for their amazing work on this piece!

To celebrate World Book Day, we aked members of the Bristol Creative Industries LinkedIn group to share their favourite books for creative businesses and entrepreneurs.

I highly recommend Time to Think by Nancy Kline. It taught me a lot about the value of listening and giving others positive space to develop their own thinking.

Heather Wright, Bristol Creative Industries co-chair and founder of Springboard Creative

How to be Everything. A useful insight into wearing many hats and making all the hats into a career which works for you.

Feel The Fear And Do It Anyway by Susan Jeffers is great for the procrastinators amongst us, and I quote The Secret by Rhonda Byrne pretty much on a daily basis! I’m a big believer in the power of a positive mental attitude.

Alli Nicholas, Bristol Creative Industries membership and operations manager

For me, effective creative work should be based on an understanding of how the audience thinks. Kahneman’s book really opened my eyes to a whole new way of understanding customer behaviour, i.e. the importance of psychology.

Survival Skills for Freelancers by Sarah Townsend. A great book covering every aspect of freelancing that you can think of and more! Love all the comments from real freelancers that are included too acknowledging that different freelancers have different experiences, likes and dislikes and that’s OK.

I also like The Freelance Introvert because it gives me hope when I have regular wobbles about whether I’m confident enough to make a freelance writing business work.

I was recently at the Arnolfini and came across my current read in their bookshop. Creative Hustle is a real gem for those curious about blazing your own path whilst making work that matters. Highly recommended. Enjoy!

Julian Davis, Curiosity UnLtd and Bristol Creative Industries board director

If you haven’t already, read Steal Like an Artist by Austin Kleon. It celebrates creativity with total honesty about how it “happens”. Short, punchy and simple. That’s always good in my book!

In my experience, we creatives are generally a quiet bunch. That can cause problems for freelancers in particular who generate most of our business from our connections. So many hate the idea of networking, but know it has to be done. It’s why I wrote Meet, Greet and Prosper, a short practical booklet about how to meet people at networking events.

When you analyse where most of your business comes from, it’s invariable by recommendation and introductions. Traditionally, new clients just seem to come from no where, but it can happen a lot more when you know how. That’s what my book, Rapid Result Referrals, focusses on. It explains in simple language how to discreetly let everyone in your network know you’re on the lookout for new clients.

Roy Sheppard, conference facilitator and founder of FreelancerSupport.online. (see Roy’s BCI profile here)

Bristol-based communications and marketing firm Purplefish has become employee owned. Joanna Randall, who formed the award-winning business in 2012. has sold 100% of shares to the new trust.

The Living Wage business, located in Bristol’s creative business community at Paintworks, was awarded B Corporation certification two years ago and becomes the first PR agency in Bristol to make the transition to employee ownership.

As part of the transition, a new board has been appointed and Joanna Randall will remain an active executive board director of the business which sees associate director Lucy McKerron promoted to the role of managing director. They are joined by two employee trustee directors, senior account manager Jonathan Adams and account manager Zoë Fawcett.

Working across technology, property and leisure sectors across the South West, nationally and internationally, the business joins the ranks of a growing number of UK businesses making the move to employee ownership.

As an employee-owned business, the team will have greater input into the running of the business and its future, benefiting from a share of the profits.

The company is also celebrating a clutch of new client wins in recent months including experience business Yuup and agency collective firm Istoria.

The move is celebrated with a new website for the business which reflects the value of harnessing emerging and generative AI technologies while maintaining a human-centric approach to communications and marketing.

Commenting on the move, Randall said: “This is a really exciting time for the business. As a sole owner and shareholder it can often be an isolated role so I’m really looking forward to being part of the new management team in defining our future direction.

“I believe our traditional business structures are becoming outdated where companies are run for the sole benefit of owners and shareholders – employee ownership offers a more authentic way of running a business where commercial growth is still a focus but the benefits can be shared more equitably.”

New managing director Lucy McKerron said of her new role and the future direction for Purplefish: “I’m incredibly excited to be stepping into the role of Managing Director here a Purplefish, an agency I’ve come to know so well and love in the last two years since joining the team. The business is perfectly aligned with my personal values of integrity, creativity, and compassion, providing rewarding work for both myself and the wider team – something which will only be emphasised as we move into our EOT model.

“I’m looking forward to continuing to innovate as a business, both for our existing and new clients as we grow and evolve. We’re committed to leaning into the opportunities emerging technologies can bring while maintaining our human-centric approach to creativity, our connection to the issues that matter, while continuing to help our clients stand out and thrive.”

The government’s 2024 Spring Budget takes place on 6 March. Bristol Creative Industries members share what they would like to see in chancellor Jeremy Hunt’s speech for creative businesses.

“One thing we’re not looking for from the spring budget is a handout. After many conversations and hearing discussions at industry events, I don’t believe most businesses want this either. I set Distinctive up about three months before the not-so-mini budget in 2022. That single event made trading harder for our clients and us, deterred investment and had real life impacts on our colleagues.

“Given this context, another tax cut won’t touch the sides. What I’d like to see from the spring budget, first and foremost, is firm commitment to supporting things vital for sustainable economic growth and enabling us to plan effectively. Whether you call the state we’re in a ‘technical’ recession or not, that’s clearly not happening yet.

“If the economy is to stand a chance of growing sustainably, it needs investment in sectors like green technology, renewable energy, affordable housing, skills, and education. We also need a sustainable funding settlement for local authorities who are on the brink of financial collapse. Handouts grab the headlines, but they won’t address these fundamentals.

“It’s going to take more than one budget to change things for the better. But the government has a crucial opportunity with this budget to set a positive path, for an innovative, resilient creative sector and the broader economy.

“As with many businesses in the South West, recruiting exceptional talent is a key priority for Varn, so investments in digital skills training programs are crucial going forward. We are focused on the impact of artificial intelligence (AI), innovation and how search marketing will be evolving, so I hope to see initiatives from the government around education and investment to recognise that we are in an era of constant change.

“Allocating resources to establish AI-focused programs in schools and universities will help prepare our future creative and digital workforce. I’d love to see initiatives and apprenticeships tailored to AI and technology fields, in order to incentivise students to pursue learning in these critical areas.”

“While the past few years have been an incredibly exciting time for the creative sector in Bristol, we are currently grappling with navigating emerging technologies, rising costs, and increased competition.

“I’m hoping for more grant provision for evolving businesses to invest in team training and development, specifically in use of AI, automation and new tech. This is critical to helping Bristol retain its innovative creative reputation on a national and international stage, while helping to continue to attract and retain talent in the city.”

“Working within the digital space, we’re always striving to innovate, particularly to bridge the gap between tech and physical, providing people with new and personalised experiences. As tech evolves at pace, the creative industries within the South West must have access to the new techniques, new languages and innovations needed to ensure they remain relevant.

“Our hope for the Spring Budget is that there will be further investment into supporting access to that tech, not just for those already working in the industry, but also ensuring inclusive access to the critical emerging talent coming into the sector.”

“It would be great to see a clear and strategic plan for the creative industries, notably arts and culture, that supports investment in skills and infrastructure. There needs to be a multifaceted approach across funding, facilities, business development and planning to nourish a thriving local arts and culture ecosystem. This requires collaboration across government agencies and community stakeholders.

‘The government’s creative industries sector vision published in June 2023 needs proper goals and funding if it is not to become an empty promise like Like Build Back Better and Levelling Up.

“At this stage in an election year however, it’s probably too late. The budget will inevitably focus on tax incentives to meet the expectations of traditional conservative voters.”

“I would love to see a centralised portal of financial support available for the UK creative sector. Huge pots of money exist, all managed by separate entities – from Innovate UK to Arts Council England and Digital Catapult.

“We’re creatives at heart, not financiers or MBA holders, and it can be challenging enough to find them, check eligibility, and see what they’re able to fund – and that’s before you’ve even started the application.”

Russell Jones, JonesMillbank
View Jones Millbank’s profile here

Relevant post: Guide to funding for creative businesses in the West of England

“We believe that AI has amazing potential as a complementary tool for the creative industries. We have seen the hype around this technology soften at the start of 2024 – primarily because people are realising that it takes time and effort to learn how to get good results. This is why training is such a vital part of realising the full value of AI.

“We think a fund to support recruitment and training of early careers talent into creative services, targeted on increasing digital/AI skills, would help ensure that the UK’s creative sector remains world leading and provide a valuable avenue for younger generations to acquire the skills they’ll need to navigate a digital future.”

“With ESG and sustainability a key focus for many of our clients, we’d like to see the government put in place measures which will support and incentivise investment in net zero, particularly for smaller businesses who are facing financial constraints.

We’d also like to see research and development tax breaks prioritising sustainability-focused industries, such as renewable energy, mobility and facilitating the circular economy. With the right investment these sectors can be the growth engine of the UK; and Bristol is already leading in many of these areas. The budget is an opportunity unleash more of this potential.”

“We’re officially in recession, but the truth is that we’ve been feeling the effects of a difficult economy for a long time, as smaller business owners as well as consumers.

“What I don’t want to hear in the budget discussion is how many “tough decisions” have been taken. As business owners, we understand tough decisions and take them most days! There are over 5 million businesses like mine which are often called the “backbone” of the economy, so we need to be respected, understood and supported. I don’t want to be used as a political pawn.

“I’d like some policies aimed at helping us to grow. Moves like an increase in corporation tax and a decrease in dividend allowance will affect the smaller business community disproportionately. When I get together with fellow small business owners, there’s a strong sense of support. I’d like to see that sense coming through from the government and wider business community.

“The consistently late payers that put small businesses under pressure are the large corporates, in my experience. I would certainly like a clamp down on late paying, which can be crippling.”

We initially developed our own Abandoned Cart module back in 2019 after researching and testing various that were available. From our tests the modules lacked certain features or didn’t work how our clients would want the module to, and also how we expect the module to work.

The first version of the website was developed and installed on a number of our clients websites, generating them additional revenue that would have been lost without the module.

As the OpenCart platform has progressed and new versions launched we finally switched to using the latest most stable version of 3.0 in 2022 for our ecommerce web design projects, with the new version also included a new code structure which meant our bespoke abandoned cart module would no longer work with any new website that we built.

So, as we continue to upgrade existing ecommerce web design clients and provide ecommerce websites to new web design clients we set about upgrading our abandoned cart module to work with the newer version of OpenCart. The upgraded version was a good opportunity to simplify, streamline and improve the module to benefit our own clients and a wider audience.

Experiential design, the art of creating immersive and engaging environments is at the forefront of innovation as we step into the year 2024. In this dynamic and ever-evolving field, designers are pushing boundaries, utilising new technology and harnessing the extraordinary power of creativity to craft memorable experiences that wow audiences across various industries.

We put our heads together here at Imagineerium HQ to anticipate the experiential trends that we think will shape the experiential landscape in 2024…

As technology continues to advance, immersive experiences are reaching new heights. Virtual Reality (VR) and Augmented Reality (AR) have become integral components of experiential design, transporting users to fantastical realms or enhancing their real-world surroundings. In 2024, we think there will be even more seamless integration of these technologies into physical spaces, without the need for bulky headsets and tether restrictions. Instead, spaces will be ‘hands free’ offering unparalleled levels of interaction and engagement.

Apple’s latest innovation, the Apple Vision Pro, is a great example of this. It seamlessly blends digital content within your physical space, and users only need to use their eyes, hands, and voice to activate different settings. This advancement not only enhances user experience but also opens up a myriad of possibilities across various industries, from entertainment and gaming to education, healthcare, and beyond.

Experiential design is getting even more personalised catering to individual preferences for a tailored visitor experience. As data and facial recognition tech progresses, we expect experiences that can adapt and respond to each person’s unique needs and behaviours. Think of it as experiences that pick up on visitor reactions and give them personalised greetings.

Sustainability has consistently held a prime position in our approach to crafting experiential experiences. Our commitment extends from the utilisation of eco-friendly materials to the integration of energy-efficient technologies, reflecting our continuous efforts to enhance sustainability wherever possible. We anticipate the pledge to sustainable consciousness within event and experiential design will continue in 2024 and beyond.

The line between observer and participant continues to blur as experiences become more interactive with elements such as touch-sensitive surfaces, gesture controls, and motion controls. We think these will continue to evolve in 2024 helping to foster a deeper sense of participation, turning audiences into co-creators of the experiences.

In our perspective, the narrative shared with the audience forms the essence of any experience. Looking ahead to 2024, we anticipate a pronounced shift where storytelling becomes the focal point within the experiential design landscape. This shift is not just about recounting stories but actively crafting compelling narratives that foster deeper engagement with audiences. The emphasis lies in creating experiences that resonate, where the narrative is not just told but woven into the fabric of design, driving a more profound and lasting connection with the audience.

We are in the digital age, where everything is online and information is accessible at the touch of a button. The majority of people own a smartphone or tablet and our appetite for social connection has grown exponentially. However, the authenticity of the connections people are having online often seem questionable.

Due to this, people are wanting real world connections, and want to be part of an experience that leaves a lasting impression. This year, we anticipate a shift in focus towards authentic experiences, something that individuals can truly feel a part of, rather than simply consuming passively through a screen.

This could be done through interactive elements such as voice activations, 5D (meaning the experience is guided by all of your senses, touch, smell, sight and sound) or physical engagement. As technology continues to evolve, we envision a blend of digital and physical interactions that enhance the overall experience, providing opportunities for deeper connections and meaningful engagement.

This year is looking to be an exciting year where we’ll see new technologies being maximised in the experiential sector- watch this space!

In the ever-evolving landscape of experiential design, pop-up experiences have emerged as powerful tools for creating memorable and immersive encounters. From museums and art exhibits to retail spaces and theme parks, the versatility of pop-ups has captured the attention of various industries, making them a go-to strategy for launching new products, fostering collaborations, and fostering authentic human connection.

The roots of pop-up experiences trace back to the attractions industry, where temporary installations and seasonal offerings became integral to engaging audiences. Today, pop-ups have transcended their initial retail-focused reputation and expanded into a diverse array of sectors, including music, film, and start-ups. Their ability to offer a unique, time-limited experience has positioned them as a dynamic medium for creating a buzz and making a lasting impact.

The UK has witnessed a pop-up revolution, with the industry now valued at over £2.3 billion. What was once considered a fleeting trend has grown into a formidable business strategy. Beyond its initial association with retail, the pop-up has become a strategic powerhouse for those seeking to launch products, form collaborations, and strategically curate brand narratives for specific purposes.

In this guide, Natasha Mortimer, Managing Creative Director of Imagineerium, shares her insights on perfecting the art of the immersive pop-up experience. Natasha’s extensive experience in the field makes her a valuable source of knowledge for experiential designers looking to navigate the complexities of crafting impactful and memorable immersive pop-ups.

Determining the guest experience is the most important aspect of planning an immersive pop-up as it will impact what elements you bring into the experience. This can include things like, how much participation you’ll need from visitors, whether the pop up is something they can walk within or admire from afar, or whether the experience includes many interactive elements that helps the narrative to unfold.

The guest experience should always start with the very beginning, think pre-event. This could start with an email campaign, personalised invite or social media campaign. You then need to think how you want your guests to feel when they first arrive. This is when your visitor will first come across (or stumble upon in some cases) the experience. What is going to catch their attention and make an impact straight away? The second part is how does the visitor then interact or react with the pop up – do they have to follow a certain path, are there puzzles or questions they need to answer before moving into the next part? All of these questions help to establish the fundamental journey each visitor will go on. Lastly, how does the visitor leave the pop-up, what is going to make them remember the experience, and want to either do it again or tell their friends and family.

We designed ‘Money Heist: The Experience’ which took inspiration from the global hit Netflix show. We wanted to create a temporary experience that would have a big impact, therefore, building the concept around a strong guest journey was key.

Participants weren’t just visitors, they became active contributors to the unfolding narrative. Visitors were ‘taken hostage’ and given tasks to complete to help them escape with all the gold. This narrative was guided through immersive theatre and live gaming techniques, where live actors were used to interact with visitors throughout the experience. There were four different escape rooms, one in a security office, in a workshop, in an antiques office and one in an art repair lab. Visitors were split up into smaller groups so that they only completed one escape room each. There were hidden clues, and items each team had to find to move onto the next part of the experience. In another room players needed to hide from a security guard whilst trying to find dynamite.

We went to great lengths to craft an immersive journey that mirrored the suspense and intrigue of the iconic series. Every detail, every nook and cranny, was designed to create an atmosphere of mystery and excitement. One of our key design principles was to ensure that the exit into the next space was not immediately obvious. We wanted to ensure the transitions to and from spaces were either smooth or harsh depending on how we wanted the audience to feel. We made sure each room had its own unique aesthetic to make the audience feel as though they had made their way through various chapters in the narrative.

To achieve this, we took into account the different room sizes and used a combination of lighting settings, decor and textures. Throughout the experience, we kept visitors on their toes, mirroring the suspense that is portrayed in the show. Some spaces featured multiple doors, leading to a sense of uncertainty and decision-making reminiscent of the heist scenarios. Others were secret doors that were cleverly concealed, resembling hidden bookcases or seamlessly integrated into the walls, offering an element of surprise.

A successful pop-up is more than just eye-catching aesthetics, it’s a strategic fusion of creativity and interaction. Each pop-up needs to reflect the brand’s essence while resonating with the intended audience.

The seamless integration of creative elements with strategic business goals is what sets exceptional ventures apart. A pop-up that succeeds not only captures attention but also strategically aligns itself with the overarching goals of the brand.

We designed and installed the ‘Sun Bar’ at Red Bull HQ in Covent Garden. This rooftop bar was a true reflection of the brand’s spirit, cool, fresh, modern and forward thinking.

The ‘Sun Bar’ encompassed the playful energy associated with the brand and was built to serve as a workspace, host VIP events and somewhere staff members could go for drinks after work hours.

For the design, we took full advantage of the generous 270 degree panoramic view of London’s skyline, and accentuated it through our choice of design. Throughout the build we stuck to Red Bull brand colours, using bold blue and yellow accents, and teamed this colourway with sleek furniture and lots of luscious indoor plants which gave the whole space a modern and fresh feel.

We also brought in elements of the Red Bull logo in the form of a sun around the main bar. Its bright yellow semi circular shape, copper arcs and feature halo ring light make it the focal point of the room.

Red Bull were very clear in their brief that they wanted to ensure their brand aesthetic really shone through so that it would feel like an extension of the office, but with a more premium feel. Getting to know the brand well and understanding their needs, really helped us ensure we stuck to the brief and brought their vision to life.

At the heart of a pop-up lies its ability to attract and engage a target audience. Selecting a location with high foot traffic is a strategic move that ensures a broader reach and heightened visibility. Whether nestled in a bustling city centre or at a popular event venue, being in the path of potential visitors increases the chances of spontaneous engagement and discovery.

Understanding the environment you are working with and adapting it to fit the message is vital. It’s important to read the space you’re going to use and see how you can use it to your advantage, whether it’s indoors or outdoors, an enclosed space or somewhere with square footage. The size, shape, location of your space will all have an impact on the experience you are trying to create.

A good example of this is the pop-up ‘mini city’ we created for El Dorado festival inspired by the art-deco style of Miami Vice. The experience included 8 building facades (6 venues, a bar, toilets and an arena stage) The venues included: Motel Dorado (arena stage), Blue Tit Salon, Good Life Hotel, The Diner, The Boudoir and the LGBTQIA+ venue, Sue Veneers.

The ‘mini city’ was in the heart of El Dorado leading on from the main food court which was hard to miss, giving festival goers a chance to explore the space.

We built each of the venues meticulously so that each would fit into a coherent landscape, designed not just as standalone structures but as interconnected elements within a larger immersive environment. Each of the street facades were built situated back and forth from the main street, this helped to create the illusion of a real street of buildings.

Each building was carefully crafted to encourage festival-goers to step up and wander in and around each structure, unlocking layers of experiences within the small city we had created. Palm trees lined the centre pathways, with each angle and viewpoint meticulously designed so that the experience continued, never breaking the illusion to ensure full escapism.

The ‘mini city’ served as a bridge, seamlessly connecting the pop-up venues with the main festival site. This architectural set-up wasn’t just a collection of structures, but a dynamic space that facilitated a seamless visitor journey for attendees, enhancing the overall festival experience.

We designed both entrances to the street so that they were visually appealing, grabbing the attention of festival goers as they passed by. To achieve this we used bright pastel colours and neon lights and had performers on various platforms and balconies.

The pathways and interconnected spaces within ‘Vice City’’ were purposefully designed to guide visitors through a curated journey, fostering a sense of exploration.

Interactivity is a key element in creating successful pop-up experiences as it enhances user engagement by providing a more dynamic and participatory experience.

Interactivity can be created through integrating VR/AR, gamification, touch screens and 5D experiences. Whether solving puzzles, making choices, or experiencing multisensory stimuli, interactivity transforms the pop-up into a communal adventure where every participant becomes an integral part of the unfolding tale. This engagement not only captivates but ensures that the pop-up experience lingers in the visitors memory, leaving a lasting connection between the audience and the narrative they helped bring to life.

Ultimately, the mastery of pop-up experiences lies in the ability to transform a moment into a lasting impression. By mixing creativity with business, experiential designers can elevate pop-ups from temporary novelties to influential touchpoints that shape brand perception and foster meaningful connections with the audience.

To find out more about Imagineerium’s work, check out their website: www.imagineerium.co.uk

Bristol Beer Factory stands as a brewing icon in the city and beyond. Bristol-based design agency Rhombus Studio is excited to announce its new creative partnership with the independent brewing giant, crafting a new chapter in BBF’s beer branding story.

Rhombus is excited to draw inspiration from the city to continue Bristol Beer Factory’s incredible design work across cans, kegs, casks, merchandise, and more. The partnership will encompass the core beers and the brewery’s special releases, pouring a fresh touch into every new brew.

Rhombus Studio, a proudly independent design agency from Bristol, crafts identities, and websites for progressive businesses, change-making charities and forward-thinking people. Their commitment to creativity and community aligns with Bristol Beer Factory’s vision, a brewery that lives, breathes and brews Bristol.

This collaboration is more than design; it’s about values and a shared commitment to the local community. BBF has always looked for ways to give back – recently, the brewery launched Brewed to Give – contributing 2% of their total brewery sales to activities that uplift people and places across Bristol.

Brewed to Give supports a range of vital community services across the city, from primary school play equipment, subsidised sporting activities for young people from deprived areas, cooking classes for asylum seekers and refugees, and mental health therapies for men to care and support for people with terminal illnesses.

Bristol Beer Factory and Rhombus Studio are raising a toast to community, creativity, and collaboration – cheers to giving back!