Storytelling e Comunicazione Aziendale

Why organisations work with Erik Wahl A live speed-painting keynote that converts creativity from an abstract value into a visible act on stage, giving leaders a shared reference point they can take back into the business. A thesis grounded in two trade-published books, Unthink (Crown, 2013) and The Spark and the Grind (TarcherPerigee, 2017), that argues creativity is a discipline, not a personality trait. A client list that reads as validation for risk-averse buyers: Disney, Microsoft, AT&T, FedEx, ExxonMobil, Ernst and Young, XPrize, London Business School. TED2012 selection and a keynote slot at Ernst and Young’s World Entrepreneur of the Year, signalling that the content stands up in front of rigorous business audiences. A philanthropic record of over USD 1.5 million raised through art auctions, which gives the performance a credible backbone beyond corporate entertainment. Biography highlights Author of Unthink: Rediscover Your Creative Genius, Crown Business / Random House, 2013. Named CEO Reads Book of the Year. Author of The Spark and the Grind: Ignite the Power of Disciplined Creativity, TarcherPerigee, 2017. Selected speaker for TED2012: Full Spectrum. Keynote speaker at Ernst and Young’s World Entrepreneur of the Year and Entrepreneur Magazine’s Growth Conference. Clients include Disney, Microsoft, AT&T, FedEx, ExxonMobil, Ernst and Young, XPrize, London Business School. Raised over USD 1.5 million for charitable causes through art auctions including One Fund Boston, Linda’s Voice, and Miracle-Ear Foundation. Biography Creativity is the one capability most organisations claim to prize and systematically suppress. Erik Wahl spent eight years inside a corporate firm, rising to partner, before the dot-com collapse made that point unavoidable. He rebuilt his working life around the question: why is the thing everyone says they want the hardest thing for companies to actually do? The answer became a two-book argument. Unthink: Rediscover Your Creative Genius, published by Crown in 2013, took the position that creativity is a recoverable discipline, not a fixed trait, and was named CEO Reads Book of the Year. The Spark and the Grind, published by TarcherPerigee in 2017, extended the thesis into the operational layer: how leaders pair inspiration with the unglamorous work of sustained execution. The keynote is where the argument becomes legible. Wahl paints live on stage, usually a recognisable face such as Steve Jobs or Michael Jordan, while making the case that organisations need to rebuild the muscle their systems quietly erode. The format has carried him to TED2012 and to client rooms at Disney, Microsoft, AT&T, FedEx, ExxonMobil, Ernst and Young, XPrize, and London Business School. It is also how he has raised over USD 1.5 million for charity through auctioned work, including One Fund Boston and Linda’s Voice. What he gives a leadership audience is not motivation. It is a disciplined case for why the innovation strategy on the wall keeps failing, and a visible demonstration of the capacity the room has forgotten it has. Key speaking topics Disciplined creativity in large organisations Innovation capacity and execution Creative leadership Change and reinvention Peak performance and creative discipline Storytelling and business communication Ideal for CEO, COO, and strategy leaders running innovation or transformation mandates Sales and commercial leadership conferences opening a new growth cycle Talent and learning leaders building creative capability at scale Annual kick-off audiences where the brief calls for a sharp creative reset rather than a process lecture Audience outcomes A concrete argument for why creativity is a business discipline, not a personality asset Language and imagery leaders can reuse back in the business to frame innovation conversations A direct experience of what creative risk looks like when it is executed, not described A set of practical habits drawn from The Spark and the Grind for pairing ideas with sustained execution

Why organisations work with Eunice Olumide A first-hand authority on what fast fashion looks like inside the industry, with parliamentary testimony that fed into the UK’s first inquiry on its environmental impact. A published voice on exploitation and sustainability in fashion through How To Get Into Fashion (Luath Press, 2018), drawn from a career walking for Vivienne Westwood, Alexander McQueen, Mulberry and Christopher Kane. An MBE-recognised broadcaster across BBC, ITV and Sky, comfortable holding a room of senior leaders without losing the substance of the argument. A curator and gallery founder whose programme links contemporary art with social and environmental causes, useful for organisations whose brand strategy intersects with culture. A V&A Design Champion with credibility in design, production and sustainability conversations that most fashion-adjacent speakers cannot match. Biography highlights MBE, 2017 Birthday Honours, for services to broadcasting, the arts and charity. Honorary Doctor of the University, The Open University, 2024. V&A Design Champion, 2018; permanent display at the National Museum of Scotland. Author, How To Get Into Fashion (Luath Press, 2018); contributor, Loud Black Girls (2020), edited by Bernardine Evaristo. Founder, Olumide Gallery, representing artists including Sokari Douglas Camp CBE, Richard Wilson, The Connor Brothers and Bradley Theodore. Acting credits include BAFTA-winning Trouble Sleeping, BAFTA-nominated Middleman, Star Wars: Rogue One, The Last Jedi and Noughts and Crosses. Biography Fashion is one of the largest polluters on the planet, and the people best placed to say so are the ones who have worked inside it. Eunice Olumide MBE walked for Vivienne Westwood, Alexander McQueen, Mulberry and Christopher Kane before turning her attention to the industry’s harder questions. Her testimony at the Houses of Parliament fed into the UK’s first inquiry on the environmental impact of fast fashion. Her 2018 book How To Get Into Fashion, published by Luath Press, is the long form of that argument. It treats exploitation, sustainability and diversity not as separate brand campaigns but as connected supply chain problems. The book sits alongside her V&A Design Champion role and her work with the Centre for Social Justice as evidence that her sustainability work is operational, not aesthetic. Olumide is also a broadcaster across BBC, ITV and Sky, an MBE recipient for services to broadcasting, the arts and charity, and an honorary Doctor of the University from The Open University. She founded Olumide Gallery in 2016 and represents contemporary artists including Sokari Douglas Camp CBE, Richard Wilson and The Connor Brothers, with a curatorial line that returns regularly to inclusion and environmental responsibility. For organisations, the value is the combination of access and argument. She has lived inside the commercial machinery she critiques, and she has put that critique on record in Parliament, in a published book, and through institutions including the V&A and the National Museum of Scotland. Key speaking topics Sustainability and ethics in fashion Fast fashion and supply chain accountability Diversity and inclusion in creative industries Art, culture and social impact Climate action and the consumer economy Women of colour in media and fashion Brand purpose and authentic advocacy Ideal for Boards and CSOs in fashion, retail and consumer brands working through ESG substance versus narrative. CMOs and brand leaders building sustainability and inclusion into commercial strategy, not communications. Cultural institutions, arts funders and philanthropic boards engaging with diversity in the creative sector. Conferences and leadership events seeking a credible voice on fashion, climate and social justice in one speaker. Audience outcomes A clearer view of how fast fashion actually operates, including the labour and environmental trade-offs that rarely surface in public discourse. A sharper sense of where corporate sustainability narrative diverges from supply chain reality. Practical reference points for inclusion in creative industries from someone who has worked at the top of one. Renewed confidence that ethics and commercial strategy can be argued together rather than traded off.

Why organisations work with Dame Evelyn Glennie A first-hand demonstration of how attention works when sound is felt rather than heard, drawn from a 40-year career as the first full-time solo percussionist in musical history. A leadership argument grounded in lived practice: composure, recovery and attention as trainable behaviours, not personality traits. Author of “Listen World!” and Founder of The Evelyn Glennie Foundation, whose mission is to teach the world to listen across business, education, healthcare and the arts. Three GRAMMY recognitions, the Polar Music Prize (2015), the Leonie Sonning Music Prize (2023), Companion of Honour (2017) and DBE; credentials that earn the room before she opens it. Workshop and keynote formats road-tested with corporate teams on internal communication, customer responsiveness and team cohesion. Biography highlights First person in history to build and sustain a full-time career as a solo percussionist. Three-time GRAMMY recipient, including the 1989 award with Sir Georg Solti and Murray Perahia and a 2002 win with Bela Fleck. Companion of Honour (2017), DBE (2007), OBE (1993). First percussionist to receive a DBE. Polar Music Prize laureate, 2015. First percussionist to receive the Leonie Sonning Music Prize, 2023. Chancellor of Robert Gordon University, Aberdeen; President of Help Musicians. TED speaker (“How to truly listen”), author of “Listen World!”, and Founder of The Evelyn Glennie Foundation. Biography Most leaders treat listening as a courtesy. For Glennie it is a working method, developed across four decades of performing music she could not hear in the conventional sense. Profoundly deaf from childhood, she trained herself to read vibration through her hands, feet and body, and built a career as the first full-time solo percussionist in musical history. That practice is what corporate audiences engage with. The Royal Academy of Music graduate has performed in more than 60 countries, commissioned over 200 new works, and led 1,000 drummers in the London 2012 Olympic Opening Ceremony directed by Danny Boyle. The technical achievement is unusual. The transferable insight is the discipline behind it: attention as a whole-body act, repeatable under pressure. Her authority on the subject is institutionally backed. Three GRAMMY recognitions, the Polar Music Prize, the Leonie Sonning Music Prize, a Damehood and the Companion of Honour sit alongside the Chancellorship of Robert Gordon University in Aberdeen and the Presidency of Help Musicians. The book “Listen World!” and The Evelyn Glennie Foundation, established in 2023, take the same argument into schools, hospitals, sport and business. In a leadership keynote she translates this directly. How a team senses what is happening before it can be measured. How a leader steadies a room. How sustained attention, not louder communication, is what shifts behaviour at scale. Key speaking topics Listening as a leadership discipline Attention and presence under pressure Resilience and reinvention after personal shock Communication and team cohesion Inclusive leadership and difference as capability Creativity, craft and sustained excellence Ideal for Boards and executive committees defining their own communication standards CHROs and culture leaders rebuilding internal listening practices Senior leadership offsites focused on composure, attention and decision-making Customer experience and frontline leadership audiences working on responsiveness Audience outcomes A working definition of listening as an active leadership behaviour, not a soft skill A more honest read of how attention is spent in their own meetings and decisions Specific cues from a non-verbal craft they can apply to communication with teams and customers A reframing of personal adversity and reinvention as repeatable practice A clearer view of how presence and composure shape what a team will follow

Why organisations work with Fatima Bhutto New Kings of the World (Columbia Global Reports, 2019) is a named, published, field-reported analysis of how non-Western cultural industries are displacing American soft power globally, giving leaders a specific, documented argument rather than a trend observation, backed by original reporting across three continents. Her personal biography; granddaughter of Zulfikar Ali Bhutto, Pakistan’s first democratically elected prime minister, and daughter of parliamentarian Murtaza Bhutto, who was killed by police in 1996, means her analysis of democratic fragility, political violence, and state power comes from inside those systems, not from a research library. As host of Reframe on Al Jazeera, she has conducted on-record interviews with heads of state and senior political figures, including former French Prime Minister Dominique de Villepin, placing her among interlocutors of consequence rather than commentators at a remove. Her track record across the Financial Times, The Guardian, The New Statesman, Foreign Policy, and Granta, as well as her current column at Zeteo gives her geopolitical analysis a verifiable, editorially scrutinised body of work that self-published commentary cannot replicate. Selected as a World Economic Forum Young Global Leader in 2012 (one of 192 from 59 countries), she holds credibility simultaneously in Global South contexts and at the international forums where Western business leaders set agendas; a pairing that is genuinely rare on the geopolitics circuit. Biography highlights Author of seven books published by Oxford University Press, Jonathan Cape, Penguin, Columbia Global Reports, and Simon & Schuster, spanning poetry, memoir, fiction, and narrative reportage New Kings of the World (Columbia Global Reports, 2019) received a starred review from Kirkus Reviews and was reviewed by the Financial Times as «razor sharp»; described by Shelf Awareness as a «starred» account of a fundamental shift in global pop culture The Shadow of the Crescent Moon (Penguin, 2013) longlisted for the Bailey’s Women’s Prize for Fiction; Songs of Blood and Sword (Jonathan Cape, 2010) a critically acclaimed memoir of Pakistani politics and political violence Host of Reframe on Al Jazeera (2024-2025), interviewing senior political figures including former French Prime Minister Dominique de Villepin World Economic Forum Young Global Leader (2012), one of 192 from 59 countries Writing published in the Financial Times, The Guardian, Granta, The New Statesman, and Foreign Policy; current columnist for Zeteo; BA from Barnard/Columbia University, MA in South Asian Government and Politics from SOAS Biography Bollywood is the world’s largest film industry by output. Turkish dizi, a form of serialised drama, reaches 200 million viewers across 43 countries. South Korean K-pop commands fan communities on six continents. Fatima Bhutto’s New Kings of the World (Columbia Global Reports, 2019) was among the first serious analyses to document what this redistribution of cultural power means for the assumptions that sit beneath most global business strategy. Her argument is specific: American soft power was not dismantled by geopolitical rivals, but outpaced by cultural industries that offered billions of consumers something Hollywood could not; familiarity, traditional values inside modern formats, and aspirational content that matched their actual self-image. The book drew on original reporting, exclusive interviews with figures including Bollywood star Shah Rukh Khan, and field research across India, Turkey, and South Korea. The Financial Times called it «razor sharp.» Kirkus gave it a starred review. Fatima came to this argument through a life lived inside the geographies that Western strategy tends to flatten into abstractions. Born in Kabul and raised between Damascus and Karachi, she holds an MA in South Asian Government and Politics from SOAS and has reported from Pakistan, Iran, Lebanon, Cuba, and Israel. Her personal biography also gives her analysis of political risk a dimension that institutional research rarely carries. She is the granddaughter of Zulfikar Ali Bhutto, Pakistan’s first democratically elected prime minister, executed in 1979. Her father, Murtaza Bhutto, was an elected parliamentarian killed by police in Karachi in 1996. Her memoir Songs of Blood and Sword (Jonathan Cape, 2010) is as much a document of democratic fragility and state violence as it is a personal narrative. Her recent work has widened the frame. As host of Reframe on Al Jazeera (2024-2025), she has interviewed heads of state and senior political figures on record, including former French Prime Minister Dominique de Villepin. Her writing appears in the Financial Times, The Guardian, The New Statesman, Granta, and Foreign Policy; she is a current columnist for Zeteo. Her 2026 memoir The Hour of the Wolf, published by Simon & Schuster, extends her work on power, coercion, and resilience into the personal register. Key speaking topics Western soft power and the rise of non-Western cultural industries Geopolitics of the Global South Democracy, political violence, and state fragility Women’s leadership in contested political environments Cultural identity in a multipolar world Press freedom and the politics of narrative South Asia and the Middle East Ideal for Senior leadership teams and boards navigating global market expansion in South Asia, the Middle East, and emerging economies Risk and strategy functions managing political instability, fragile democracies, and governance uncertainty in developing markets CHROs and DEI leads seeking perspectives on women’s leadership and voice from outside the Western corporate tradition International relations, communications, and policy teams at multinationals with significant exposure to the Global South Audience outcomes A specific, field-reported framework for understanding how cultural power has redistributed away from the West and what this means for where aspiration and consumer loyalty are actually formed A sharper reading of identity, aspiration, and brand relevance in South Asian, Middle Eastern, and emerging market contexts A more precise vocabulary for assessing political risk in environments where Western governance assumptions do not apply A first-hand account of navigating political violence, state failure, and democratic collapse that reframes organisational resilience beyond its corporate usage A challenge to the premise that Western cultural norms remain the universal benchmark for influence in global markets

Why organisations work with Faye Dicker A professional broadcaster trained at BBC Radio Bristol who hosts awards, conferences, and panels with the production discipline of live radio rather than the improvised feel of a guest MC. Built Freelance Mum from a Bristol meet-up in 2014 into a national network with hubs across the UK, giving her a working understanding of how self-employed parents actually engage with business communities. Recognised on the Top 100 Most Influential Women in the West list in 2018 and 2019, named Freelance Ambassador of the Year, and listed in the f:Entrepreneur #iAlso100 in 2025. Voiceover and presentation craft built across Channel 4, BBC Radio 4’s Education Matters, and BBC Radio Bristol, which makes her credible on the practical realities of freelance media careers. Biography highlights BBC-trained broadcaster; presented the early breakfast show on BBC Radio Bristol. Equity Card holder from a speaking role on BBC’s Casualty at 16. Theatre graduate of Dartington College of Arts. Television production credits on Channel 4’s Collectors’ Lot and The Chelsea Flower Show. Founder of Freelance Mum (2013), described as the UK’s child-friendly business network for self-employed parents. Top 100 Most Influential Women in the West (2018, 2019); f:Entrepreneur #iAlso100 (2025). Biography The shape of work for self-employed parents has changed faster than the institutions around them. Freelance careers, school-run logistics, and business-building rarely fit the format of a standard networking room. Faye Dicker built Freelance Mum in 2013 to address that gap, starting with a facilitated walk around Bristol’s Harbourside with fifteen women and their children, and growing it into a UK-wide network of hubs run by local organisers. Her broadcasting work runs in parallel. Trained at BBC Radio Bristol, where she presented the early breakfast show, she has carried the discipline of live radio into corporate hosting, conference chairing, and awards MC work. Her television production background includes Channel 4’s Collectors’ Lot and The Chelsea Flower Show, and her early reporting work was on BBC Radio 4’s Education Matters. That dual track, professional broadcaster and community-builder, is what organisations engage her for. She brings the timing and warmth of a trained presenter to the room, and a working understanding of self-employed life to the content. Recognition on the Top 100 Most Influential Women in the West list, the Freelance Ambassador of the Year award, and the f:Entrepreneur #iAlso100 reflects both halves of the work. Key speaking topics Freelance careers and self-employment Community-building and networking Working parenthood and entrepreneurship Event hosting and live broadcasting craft Voiceover and broadcast media careers Personal brand for freelancers Ideal for Conference and awards organisers seeking a professional broadcaster as host or MC Networks and communities serving self-employed and parent workers Internal events on flexible working, freelance talent, and returner programmes Marketing and communications teams hiring a presenter for branded content or live activation Audience outcomes A clearer view of how self-employed parents actually engage with work and community Practical reference points from the growth of Freelance Mum from local meet-up to national network Insight into the craft of professional hosting and live broadcast as a business skill A sharper sense of how to build participation in events designed for non-traditional workers

Why organisations work with Fee Mak She holds a live room across formats that very few hosts move between credibly: BBC daytime radio, the MOBO Awards mainstage, in-game presenting for London Spirit at The Hundred, and literary festival chairing at Hay and Cheltenham. Her BBC 1Xtra Sunday Breakfast residency means she is in front of a national, multi-generational, culturally diverse audience every week. That muscle transfers directly to award shows and internal events trying to land with the same audience. She chairs interview content as a working craft, not as decoration. The Business Book Awards, Ditto X Meet the Music Industry, and book festival panels are formats that expose hosts who cannot follow a guest’s argument in real time. Her event roster includes inclusion-led briefs that organisations frequently get wrong: the Diana Award Anti-Racist Bullying showcase, Inclusive Books for Children Awards, BBC Bitesize Tour. She is a credible voice for clients who need a host who can carry that tone without performing it. Biography highlights Host, BBC Radio 1Xtra Sunday Breakfast Show, since July 2022. Selected through the BBC Radio 1 Presenter Search 2019; presenter credits include Christmas Drivetime, Early Breakfast, and daytime cover on Radio 1. Awards host credits: MOBO Awards, AIM Awards, Business Book Awards, Diana Award Anti-Racist Bullying showcase, Inclusive Books for Children Awards. Live event host credits: Red Bull BC One UK Cypher, Move It, Breakin’ Convention, U.Dance National Showcase, BBC Bitesize Tour, Ditto X Meet the Music Industry, Earl’s Court International Film Festival. In-game host for London Spirit at The Hundred (Lord’s). Chair at Hay Festival, Cheltenham Festival, Chiswick Book Festival, and Brighton Festival. BA (Hons) French and Business Administration, University of Kent. Former junior associate, The Royal Ballet School; West End child cast of Billy Elliot the Musical. Biography The hardest job at a live event is the one people only notice when it goes wrong. Holding a 90-minute awards ceremony together, moving between sponsors, winners and a writers’ room of jokes that may or may not land, takes a craft that broadcast hosts spend years building. Fee Mak has built it across an unusually wide range of stages. Her weekly residency is the Sunday Breakfast Show on BBC Radio 1Xtra, where she has hosted since July 2022. The route in was the BBC Radio 1 Presenter Search in 2019, followed by Christmas Drivetime, Early Breakfast and daytime cover on Radio 1 before moving across to 1Xtra. That is a competitive route into BBC daytime broadcasting and gives her a working relationship with a national, multi-generational, culturally diverse audience that organisations pay agencies a great deal of money to reach. The event work runs alongside the broadcast role and is the reason most corporate buyers commission her. Awards: MOBO, AIM, Business Book Awards, Inclusive Books for Children, the Diana Award Anti-Racist Bullying showcase. Live events: Red Bull BC One UK Cypher, Move It, Breakin’ Convention, U.Dance National Showcase, BBC Bitesize Tour, Ditto X Meet the Music Industry, Earl’s Court International Film Festival. Sport: in-game host for London Spirit at The Hundred. Literary festivals: chair at Hay, Cheltenham, Chiswick, and Brighton. The thread across those rooms is one specific capability: she can read an audience that does not share a single demographic and find a register that works for all of it. That is why she lands in inclusion-led briefs, youth audiences, music industry rooms, and corporate award stages with the same composure. Key speaking topics Awards and ceremony hosting Conference and summit MC work Panel chairing and interview moderation Literary festival and book event chairing Live sport and entertainment presenting Inclusion-led event hosting Broadcast voiceover Ideal for Brand and marketing leads commissioning a national awards ceremony, brand launch, or industry gala Internal communications and culture leads running town halls, recognition events, or all-hands moments that need a credible external voice Organisations running inclusion, education, or youth-audience programmes that need a host who can carry the tone authentically Conference programmers needing a moderator who can chair interviews and panels live without losing the thread Audience outcomes A live event that runs on time, with energy held from open to close Sponsor, winner and guest moments that land cleanly without dead air between them Interview segments where the guest is drawn out rather than walked over A host presence that connects with audiences across generations, cultures and seniority in the same room

Why organisations work with Fehinti Balogun He brings a working screen actor’s craft to climate communication, with credits across HBO, Netflix, BBC and Paramount+ that buy attention from audiences who tune out conventional sustainability talks. His one-man show Can I Live?, produced by Complicite with the Barbican, is the rare piece of climate work that has been taken seriously by both theatre critics and climate organisers, giving him a methodology he can adapt for corporate audiences. He has spoken to policy and scientific audiences at UN COP26, the Scottish Parliament and Cambridge University, which means his climate content stands up in rooms beyond entertainment. His TED talk on finding your voice for climate action gives organisations a direct entry point for staff who want to act but do not know how to begin. Biography highlights Graduate of the Royal Academy of Dramatic Art (RADA), 2016. Screen credits include I May Destroy You, Dune, A Gentleman in Moscow, The Bastard Son & The Devil Himself, and Down Cemetery Road. BAFTA nomination for Supporting Actor for Down Cemetery Road. Writer and lead performer of Can I Live?, produced by Complicite with the Barbican, directed by Daniel Bailey and Simon McBurney. TED speaker: “How to find your voice for climate action” (2022). Climate platforms include UN COP26, the Scottish Parliament, Cambridge University and the YouTube Creator Summit. Biography Climate communication inside organisations runs into the same wall again and again. The science is settled, the targets are public, and the workforce still does not have a shared language for any of it. Fehinti Balogun has spent his second career building that language through performance rather than policy. Trained at RADA, Balogun is a working actor with screen credits across HBO, Netflix, BBC and Paramount+, including I May Destroy You, Dune, A Gentleman in Moscow and Down Cemetery Road, the last of which earned him a BAFTA nomination for Supporting Actor. The technical command he brings to a stage or a camera is what gives his climate work its unusual reach. Can I Live?, written and performed by Balogun and produced by the theatre company Complicite with the Barbican, is the centre of that work. It combines spoken word, hip-hop, theatre, animation and scientific fact, and it became one of the few climate pieces taken seriously inside both the UK theatre scene and the climate movement. The same instinct shapes his TED talk, “How to find your voice for climate action.” His climate platforms include UN COP26, the Scottish Parliament, Cambridge University and the YouTube Creator Summit. He is most useful to organisations that have a credible climate position on paper and a workforce that has not yet found a way to talk about it. Key speaking topics Climate communication and storytelling Sustainability and employee engagement Diversity and inclusion in the climate movement Purpose and voice for early-career talent Creative practice as a tool for organisational change Ideal for Sustainability and ESG leads who need internal communications that move staff, not just stakeholders. CHROs and employee engagement leads building purpose-led programmes for early-career and creative talent. Internal D&I and ERG sponsors working at the intersection of climate and inclusion. Communications and brand leads in consumer-facing organisations who need a credible cultural voice on climate. Audience outcomes A clearer sense of why staff disengage from climate messaging that reads as compliance. Language and examples leaders can use to talk about sustainability without sliding into jargon. A working model for how creative practice can carry organisational messages that policy memos cannot. A more honest picture of how race, class and access shape who feels invited into climate conversations at work.

Why organisations work with Felipe Gomez A working framework, the Virtuoso Code, built on three pillars (Method, Attitude, Passion) that gives leaders a concrete vocabulary for what separates technical competence from sustained excellence. Operating credibility behind the metaphor: tripled revenue at Compass Group Colombia, built Farmacity Colombia from launch, and scaled an e-business consultancy across seven Latin American countries. A separate, codified entrepreneurial-mindset model (Attitude-E, six levers) published as a bestselling book in 2019, usable as a standalone keynote for growth and innovation audiences. A live grand piano performance integrated into the keynote, which makes the content memorable in a way a slide deck cannot replicate. Useful when the brief calls for emotional anchoring of a strategy message at a leadership conference or kick-off. Bilingual delivery in English and Spanish, with substantial reach across Latin American corporate audiences. Biography highlights MBA, IMD Lausanne; advanced training in Leading Digital Business Transformation. Author of Attitude-E (2019) and Bitácora De Una Pandemia En Quince Conversaciones (2020). Former Managing Director, Compass Group Colombia; founding president, Farmacity Colombia. Founder of Ink./Azurian, scaled to seven Latin American countries. Speaker at TED, Global Peter Drucker Forum, WOBI, World Business Forum, Oslo Business Forum. 1,000+ keynote engagements across 33 countries on five continents. Biography The habits that produce a virtuoso musician are remarkably specific. Hours of structured practice, an attitude toward error that treats mistakes as information, a relationship with a craft that survives long after the early thrill has gone. Felipe Gomez has spent the last decade arguing that the same habits produce sustained performance in business, and using a grand piano on stage to make the case. The argument has operating weight behind it. Before turning to speaking full time in 2014, Gomez ran Compass Group Colombia as Managing Director, tripling revenue and lifting operating profit 130%. He was founding president of Farmacity Colombia, opening twelve stores in twenty months. Earlier he had built Ink., later Azurian, into the first significant e-business consultancy in Latin America, with offices in seven countries. The Virtuoso Code, his current keynote framework, organises that experience into three pillars: Method, Attitude, Passion. Method is the discipline of consistent, rigorous practice. Attitude is the empathy and humility that make collaboration possible. Passion is the courage to keep going when the work stops being easy. Attitude-E, his 2019 book, applies the same lens to entrepreneurship through six levers: Envision, Energy, Endurance, Ensemble, Elasticity, Engagement. Gomez has presented at TED, the Global Peter Drucker Forum, WOBI, the World Business Forum, and the Oslo Business Forum, in 33 countries on five continents. He delivers in English and Spanish, and his Allegro non-profit brings live therapeutic music to hospital settings in Colombia. Key speaking topics Peak performance and sustained excellence Entrepreneurial mindset and operating discipline Leadership, empathy, and collaboration Innovation culture Active listening and communication Resilience under pressure Ideal for C-suite and senior leadership conferences anchoring a year-long performance or culture programme. Sales and commercial kick-off events where a leadership message needs emotional anchoring. Latin American and Hispanic corporate audiences requiring senior bilingual delivery. Entrepreneurship and scale-up forums where Attitude-E is the relevant frame. Audience outcomes A shared vocabulary, Method, Attitude, Passion, for what separates sustained performers from talented amateurs. The six Attitude-E levers as a working checklist for entrepreneurial behaviour inside a corporate setting. A specific, memorable anchor for a leadership or kick-off message, reinforced by live piano performance. Practical cues for active listening drawn from Gomez’s 5Ts approach.

Why organisations work with Fiona Armstrong Forty years of live broadcast experience means autocue, running-order changes and long awards formats hold no surprise. Organisers typically notice that reliability only after being burned by the alternative. Former ITN newscaster on News at Ten and News at 5:40, giving her automatic standing in front of senior business audiences who still recognise a national news face. As His Majesty’s Lord-Lieutenant of Dumfries, the King’s personal representative in the region, she brings genuine ceremonial weight to awards evenings, civic occasions and royal-linked events. Former foreign correspondent who has reported from Uganda on AIDS orphans, Cambodia on landmine clearance and West Africa with the Mercy Ships, able to moderate panels on international development from direct field experience rather than briefing notes. Holds a history doctorate from the University of Strathclyde and an honorary doctorate from the University of Glasgow, which suits academic, cultural and heritage hosting roles where a celebrity presenter would feel out of place. Biography highlights Former ITN national newscaster, presenter of News at Ten and News at 5:45/5:40; launch team on GMTV. Presenter on the BBC News Channel from 2010; current presenter of Border Life and Lookaround for ITV Border. Outstanding Contribution award, Royal Television Society North East and Border Awards, 2017. His Majesty’s Lord-Lieutenant of Dumfries since 2016; royal representative across Nithsdale, Annandale and Eskdale. Honorary Doctorate, University of Glasgow; Honorary Fellowship, University of Cumbria; board member, University of Central Lancashire. Past President of the Royal Highland and Agricultural Society of Scotland; Chairwoman of the Clan Armstrong Trust; author of two fishing books and two cookbooks. Biography A long awards ceremony is one of the least forgiving stages in corporate life. Twenty prizes, tight timings, a room that cooled off an hour ago, and a single person at the lectern expected to keep it moving. Fiona Armstrong has hosted enough of them to know why organisers come back. She spent the late 1980s and early 1990s at ITN, presenting News at Ten and the 5:40 bulletin when those programmes still set the national news agenda. She covered the Lockerbie air disaster and filed a series on AIDS orphans from Uganda. Later assignments took her to Cambodia for landmine clearance and to West Africa with the Mercy Ships. The BBC News Channel brought her back as a network presenter in 2010; ITV Border has retained her in current affairs through Lookaround and Border Life. The Royal Television Society North East and Border gave her its Outstanding Contribution award in 2017, recognising a career closely associated with Border Television. The University of Glasgow has granted her an honorary doctorate; the University of Cumbria elected her an honorary fellow in 2018. She has served as His Majesty’s Lord-Lieutenant of Dumfries since 2016, representing the Crown across Nithsdale, Annandale and Eskdale. Alongside the newsroom work, she has written two fishing books, two cookbooks, and more than twenty films on Scottish clan history. She chairs the Clan Armstrong Trust, was President of the Royal Highland Show in 2020, and sits on the board of the University of Central Lancashire. Corporate clients typically book her to host awards evenings or moderate senior panels. Specialist subject matter, from international reporting to Scottish heritage and rural affairs, is available when a brief calls for it. Key speaking topics Event hosting and awards presentation Panel moderation and conference chairing Broadcast journalism and live news presentation International humanitarian and field reporting Scottish clan history and Borders heritage Civic leadership and royal representation Fly-fishing and rural life Ideal for Corporate awards organisers and event leads booking an experienced on-stage host Conference chairs and event directors are hiring a senior-panel moderator Civic, heritage and ceremonial occasions requiring a royal representative or recognised public service figure Cultural, agricultural and rural-sector organisations in Scotland and the Borders region Audience outcomes An evening kept on schedule, with prize categories moved at pace and all sponsors and winners given their due on stage. Panel conversations that stay on the brief, with questions that push participants past prepared answers without derailing the session. Inside accounts of covering major international stories, including Lockerbie, AIDS orphans in Africa and landmine clearance in Cambodia. Context on Scottish cultural life and clan history delivered with the specificity of a working historian, not a celebrity interest.

Why organisations work with Fleur East A working national breakfast presenter on Hits Radio since 2019, on air four hours a morning, five days a week. The reflexes for live radio carry directly into corporate stage moderation. Co-host of BBC Two’s Strictly: It Takes Two, where the format demands daily turnaround, guest interviewing, and managing emotional content on a tight clock. Reached the Strictly Come Dancing 2022 final with Vito Coppola and scored the series’ first perfect 40, a credibility line that lands instantly with mass-market UK audiences and partners. Co-founder with her sister of Kurl Kitchen, a textured-hair brand built on West African ingredients, launched in 2024. Useful when the brief includes founder stories, representation, or Black British entrepreneurship. Versatile in register, from awards night spectacle to panel moderation to after-dinner, without needing a different speaker for each format. Biography highlights Host of Hits Radio Breakfast (Bauer Media), nationally networked, since July 2019. Co-presenter of BBC Two’s Strictly: It Takes Two from the 2023 series. Strictly Come Dancing 2022 finalist with Vito Coppola; first perfect 40 of that series during Blackpool week. X Factor 2014 finalist; debut single “Sax” reached UK No. 3 and was certified Platinum by the BPI. Television credits including ITV’s Ant & Dec’s Saturday Night Takeaway, The Void, I’m A Celebrity finalist (2018), and Apple TV’s Ted Lasso. Co-founder with her sister Keshia East of Kurl Kitchen, a natural haircare brand launched in 2024. Biography Hits Radio Breakfast goes out from 6am every weekday to a national audience, and the host has to be functional from the first link. Fleur East has held that chair since 2019. Live radio at that hour, four hours at a stretch, is the closest training a presenter gets to running a corporate mainstage when the autocue fails. She came up through The X Factor in 2014, finishing as a finalist after her cover of “Uptown Funk” became the first contestant track to reach number one on the UK iTunes chart during a live series. Her debut single “Sax” hit number three on the Official Chart and went Platinum the following year. The music career gave her the stage instincts; the broadcasting career taught her the discipline. In 2022 she reached the final of Strictly Come Dancing with Vito Coppola, scoring the series’ first perfect 40 in the Blackpool week. The BBC brought her back as co-host of Strictly: It Takes Two from 2023, a daily live show that runs across the Strictly season and demands fast guest interviewing and tight format control. Other television credits include I’m A Celebrity, Ant & Dec’s Saturday Night Takeaway, ITV’s The Void, and a guest role in Apple TV’s Ted Lasso. Beyond presenting, she co-founded Kurl Kitchen with her sister Keshia in 2024, a textured-hair care brand grounded in West African ingredients. That gives her something to draw on when a brief calls for a founder story, a perspective on Black British entrepreneurship, or a host who can credibly talk to a CPG or beauty audience without being briefed in. Key speaking topics Live event hosting and awards presenting Conference moderation and stage interviewing Founder story: Kurl Kitchen and Black British entrepreneurship Representation in UK broadcast media Resilience and reinvention in a public career Women in entertainment and media Ideal for Awards nights and gala dinners requiring a recognisable national broadcaster on stage Corporate conferences needing a confident moderator across keynote interviews and panels Brand activations in beauty, CPG, retail, or media targeting UK and Black British audiences Internal events for HR, DEI, or talent leaders looking for a credible voice on representation in media Audience outcomes A live event held together by a host who keeps energy and pace through running-order changes Guest interviews that go beyond the prepared questions and land specific quotes the team can use afterwards A founder narrative grounded in a real, trading consumer brand rather than a generic entrepreneurship story A representation conversation that stays useful for an internal audience rather than slipping into platitudes

Why organisations work with Flex He has built United View from a personal channel into a 130,000-plus subscriber football media brand without a broadcaster behind him, and can describe what actually retains an audience week to week. He sits inside English football’s broadcast ecosystem (Sky Sports, talkSPORT, DR Sports Media) while running an independent platform, which gives him a working view of where legacy media and creator media now compete and overlap. His perspective on inclusion is grounded in lived experience as a Black broadcaster, including a publicly reported racist-abuse incident outside Old Trafford that he chose to confront on the record rather than absorb privately. His career, from SEN teacher to elite-game broadcaster, gives him concrete material on reinvention and on speaking to young audiences, rather than abstract claims about purpose. One of YouTube’s UK Black Voices Class of 2022, a curated cohort selected and developed by the platform itself. Biography highlights Founder and presenter of United View, an independent Manchester United-focused YouTube channel with more than 130,000 subscribers. Presenter and broadcaster for Sky Sports (including Good Morning Transfers), talkSPORT and DR Sports Media. Selected for the YouTube UK Black Voices Creator Class of 2022. Host of the BTEC Awards and of UK Black Business Week; BTEC Ambassador. Former Special Educational Needs teacher; basketball player formerly contracted to the London Lions (previously MK Lions). Working R&B and Garage DJ alongside his broadcast and creator work. Biography Independent fan media has moved from a hobby tier to a structural part of how football is consumed. United View, the channel Flex founded in 2021 and grew past 130,000 subscribers, sits inside that shift. It runs without a broadcaster’s infrastructure and earns its audience by being closer to the matchday experience than legacy outlets can be. That operator vantage point is what makes him useful to a business audience. He can talk concretely about what holds an online community together, how trust is built when there is no studio behind you, and where independent creators and traditional broadcasters now compete for the same attention. His parallel work with Sky Sports, talkSPORT and DR Sports Media gives him a view from both sides of that line. Inclusion is the other live thread. As a Black broadcaster in English football he has had to address racism in his work directly, including a publicly reported incident outside Old Trafford in November 2024 that he chose to put on the record rather than carry quietly. His selection for YouTube’s UK Black Voices Creator Class of 2022 and his hosting roles at UK Black Business Week and the BTEC Awards place him inside the institutional side of that conversation as well. He came to broadcasting via a Special Educational Needs teaching career, basketball at the London Lions, and a continuing life as an R&B and Garage DJ. That track gives him substantive material for audiences thinking about reinvention, young talent and the route into creator-led careers, beyond the football frame. Key speaking topics Audience and community building in the creator economy Independent media and the future of sports broadcasting Diversity and inclusion in sport, media and the workplace Confronting racism in public-facing work Reinvention and non-linear careers Engaging young and digital-native audiences Hosting, panel facilitation and event presenting in sport and culture Ideal for CHROs, DEI leads and internal culture teams looking for a credible voice on inclusion that is grounded in lived experience rather than slideware. Marketing, brand and audience leaders working through the shift from broadcast to creator-led media. Employee network and ERG events, particularly around Black History Month, anti-racism programming and early-careers outreach. Sports, media and entertainment organisations briefing teams on how independent creators are changing fan and consumer behaviour. Audience outcomes A clearer working picture of how independent creators earn and keep audience trust, and what that means for in-house content and brand teams. A more honest framing of inclusion at work, from someone who has had to handle racism in public rather than discuss it in abstract. Material on building careers and platforms outside conventional broadcast and corporate routes, usable in early-careers and emerging-talent programmes. Sharper questions about where legacy media authority sits now that fans and employees increasingly trust people, not institutions.

Why organisations work with Francesca Martinez She fronted the WOW petition that crossed 100,000 signatures and forced a main-chamber debate in the House of Commons in 2014, which is a concrete democratic outcome rather than an inclusion talking point. Her debut play All Of Us opened at the National Theatre’s Dorfman in 2022 under Ian Rickson, putting disability and welfare politics in front of a mainstream theatre audience, with Francesca shortlisted for the George Devine Award. What the **** Is Normal?! (Virgin Books, Penguin Random House) gives the room a single shared reference point on identity and difference that holds up outside the corporate inclusion vocabulary. She speaks from inside the experience, not about it, which removes the discomfort senior audiences often feel when an external consultant lectures them on disability. She works the room as a stand-up first, which means the message lands in audiences that are sceptical of conventional DEI keynotes. Biography highlights First and only female winner of the Open Mic Award at the Edinburgh Festival (2000), and winner of the Edinburgh Fringe Media Network Award (2011). Author of What the **** Is Normal?! (Virgin Books, Penguin Random House, 2014); Bread and Roses Award runner-up and Chortle Best Comedy Book nominee. Wrote and starred in All of Us, National Theatre (Dorfman), 2022, directed by Ian Rickson; shortlisted for the George Devine Award. Her June 2019 Question Time appearance was called the show’s “best ever moment”, reaching 11 million views in its first week. The first disabled woman to perform on BBC Two’s Live at the Apollo, opening Series 11 in 2015; later featured in the BBC’s Access All Areas special. Fronted the WOW petition and secured a House of Commons main-chamber debate, February 2014. TEDxHousesOfParliament speaker (“Being Happy is a Political Act”) and performer at the World Economic Forum in Davos alongside Emma Thompson. Named to the BBC Radio 4 Woman’s Hour Power List (2014) and awarded two honorary doctorates for work on equality and inclusion. Biography Most inclusion programmes are written in a language that the people they are meant to help do not use. Francesca Martinez calls herself “wobbly”, refuses the medical vocabulary around cerebral palsy, and has spent twenty years showing what happens when someone with a disability narrates their own experience rather than being narrated about. The reframing sounds small. The downstream effect on a room of senior leaders is not. The credentials sit in unusual places for a speaker on this topic. She was the first and only woman to win the Open Mic Award at the Edinburgh Festival, in 2000, and went on to write What the **** Is Normal?!, published by Virgin Books, which was a runner-up for the Bread and Roses Award and a Chortle Best Comedy Book nominee. Her debut play All Of Us, directed by Ian Rickson, opened in the Dorfman at the National Theatre in 2022, and Francesca was shortlisted for the George Devine Award for it. The activism is the part most relevant to senior buyers thinking about substance over messaging. As the public face of the WOW (War on Welfare) campaign, she drove a petition past 100,000 signatures and forced a debate in the main chamber of the House of Commons in 2014, the first time disabled people had secured a main-chamber debate on an agenda of their own choosing. That is a measurable political result, not an inclusion narrative. For an organisation, the value of booking her is specific. Senior audiences hear a writer and performer with mainstream theatrical and broadcast credentials make an argument about identity and belonging that has already been tested in Parliament and at the National Theatre. The conversation that follows tends to be about whether the company’s own inclusion work would survive that kind of scrutiny. Key speaking topics Disability and inclusion at work Identity, difference and self-acceptance Resilience and lived experience Advocacy and the politics of welfare Storytelling as a tool for cultural change Mental health and wellbeing Ideal for CHROs, heads of DEI and ERG sponsors building inclusion programmes that engage sceptical audiences. Leadership offsites and culture events where the goal is to move beyond inclusion language into behaviour change. International Day of Persons with Disabilities, Mental Health Awareness Week and similar moments where credibility of the speaker matters more than topic coverage. Audience outcomes A sharper sense of how disabled and neurodivergent colleagues actually experience the workplace, narrated from the inside. A reference point (the book, the play, the WOW campaign) the audience can carry back into their own inclusion conversations. Permission to question the corporate vocabulary of inclusion without abandoning the work. A break from the standard motivational register; the room laughs first and then commits.