Creativity

Why organisations work with Freddy Wexler A working hit-maker, not a commentator. Ten Billboard number ones with Justin Bieber, Ariana Grande, Post Malone, BLACKPINK and others give him a verifiable claim on how popular taste actually moves. The Billy Joel case study. Coaxing a thirty-year creative silence into a Grammy-stage single, including the full marketing rollout and an AI-directed music video, is a rare example of cultural reactivation that buyers can study end to end. Talent identification with a track record. Wexler scouted and pitched Stefani Germanotta as a future Madonna while she was still unsigned, and signed Rachel Platten before “Fight Song”. Useful for audiences thinking about how to spot signal early. A view on AI and creative work shaped by shipping product. The “Turn the Lights Back On” video was a Webby-winning AI-led production, which gives him a practitioner’s read on where machine generation helps and where it does not. Commercial track record across formats. Founder of The Brain Music with joint ventures involving Disney, Scooter Braun Projects, Warner Chappell and Prescription Songs, plus a first-look television deal with Disney. Biography highlights Grammy-nominated songwriter and producer with ten Billboard number one contributions Co-writer and producer of Billy Joel’s “Turn the Lights Back On” (Columbia Records, 2024), the artist’s first new pop single in roughly thirty years Album of the Year Grammy nomination for Justin Bieber’s Justice (2022); credited contributor on Laufey’s Bewitched, a 2024 Grammy-winning album Co-wrote “Stuck with U” by Justin Bieber and Ariana Grande, a Billboard Hot 100 number one that raised over five million dollars for first responders’ families Founder of The Brain Music, with joint ventures involving Disney, Scooter Braun Projects, Warner Chappell and Prescription Songs; first-look television deal with Disney Webby Award (2024) for direction of the AI-led “Turn the Lights Back On” music video; Golden Globe nomination for “Forbidden Road” from the Robbie Williams biopic Better Man Biography Billy Joel had not released a new pop single for thirty years when “Turn the Lights Back On” arrived in February 2024 on Columbia Records. The song was co-written and produced by Freddy Wexler, who spent more than a year developing the material with Joel from a CD of unfinished sketches. The track debuted at number one on classic hits and classic rock radio, picked up a Grammy-stage performance, and was packaged with an AI-directed music video that later won a Webby. As a worked example of how a dormant creative voice gets reactivated and brought back to market, it is unusually complete. That collaboration sits inside a longer hit-making record. Wexler has ten Billboard number one contributions and Grammy nominations across three consecutive years, including Album of the Year for Justin Bieber’s Justice and contributor credit on Laufey’s Bewitched. He co-wrote “Stuck with U” for Justin Bieber and Ariana Grande, a Hot 100 number one that raised more than five million dollars for first responders’ families during the early pandemic. His writing and production credits span Post Malone, BLACKPINK, Selena Gomez, Halsey, Diana Ross and Celine Dion. He is also a builder of companies. The Brain Music, founded in 2012, runs joint ventures with Disney, Scooter Braun Projects, Warner Chappell and Prescription Songs. The Freddy Wexler Company holds a first-look television deal with Disney and a slate spanning Nickelodeon’s Kid Cowboy, a Broadway production of The Last Five Years, and a Hulu special with Sebastian Maniscalco. The Variety Family Entertainment Impact Report has recognised the operation. For organisations, the relevant point is access to a practitioner who can describe how a cultural moment actually gets made, including the writing room, the artist relationship, the rollout, and the use of AI in production. Few speakers on creativity can point to a specific commercial artefact and walk a senior audience through the craft behind it. Wexler can. Key speaking topics Creativity as a working practice Storytelling across music, film and brand AI in creative production and music video direction Talent identification and early-signal spotting Cultural moments and the commercial rollout behind them Resilience and creative reinvention Philanthropy embedded in creative product Ideal for Marketing, brand and CMO leadership teams thinking about cultural relevance Creative and content function heads inside media, entertainment and consumer companies Innovation and product groups exploring AI-assisted creative production Senior offsites and leadership conferences looking for a practitioner perspective on craft Audience outcomes A working framework for how cultural moments are constructed, drawn from a specific recent case A practitioner’s read on AI in creative production, anchored in a Webby-winning video A more concrete sense of what early signal looks like in talent and ideas, before they are obvious Reference points from a hit-making catalogue that audiences can apply to their own creative briefs

Why organisations work with Jon Carmichael He brings a single, verifiable feat that anchors every claim he makes about creative ambition: the 2017 “108” photograph, captured aboard Southwest Airlines flight 1368 after the captain secured FAA approval to perform five 180-degree turns mid-flight. The story has been covered by Good Morning America, the Wall Street Journal, USA Today and Inc., which gives the keynote external validation few inspirational speakers can match. He has presented at NASA’s Hubble Auditorium and at TEDxManchester, two audiences with low tolerance for thin material, which signals he can hold a room of senior or technical attendees. His “Eclipse Mindset” gives sales conferences, innovation summits, and culture events a non-corporate frame for talking about ambition, alignment, and risk without sounding like internal-comms language. Biography highlights Astrophotographer; sixteen years documenting corporate and political events. Photographed the 2017 total solar eclipse from 39,000 feet aboard Southwest Airlines flight 1368, image titled “108”. Has spoken at NASA’s Hubble Auditorium and at TEDxManchester to an audience of around 2,500. Eclipse work featured by Good Morning America, Wall Street Journal, USA Today, Inc., and Weather.com. Visual storytelling engagements with Twitter, Dell and ESPN; collectors of his fine art work include Sir Elton John. Unveiled the “108” image at a Twitter company event at the invitation of Jack Dorsey. Biography In August 2017, a commercial Southwest Airlines flight from Portland to St. Louis made five 180-degree turns at 39,000 feet so a single passenger in seat 1A could photograph a total solar eclipse over the Snake River. That passenger had spent two years mapping flight paths against the moon’s shadow, persuading an airline and a captain to accept the risk, and securing FAA approval the morning of the flight. The resulting image, titled “108”, is the spine of Jon Carmichael’s keynote work. Buyers do not commission him for technical photography. They commission him for what the project demonstrates about how teams attempt things that are not yet possible. The “Eclipse Mindset” he draws from the story is a practical frame, not a metaphor: identify the constraint, recruit unlikely partners, accept that the plan will change in execution, and prepare so that when conditions narrow to a two-minute window, the team can act. His credibility for serious audiences comes from where the work has been received. The image was covered by Good Morning America, the Wall Street Journal, USA Today, Inc. and Weather.com. He was invited to present at NASA’s Hubble Auditorium, with the talk broadcast to other NASA centres, and at TEDxManchester to roughly 2,500 attendees. Jack Dorsey invited him to unveil the photograph at a Twitter company event. For sales conferences, innovation kick-offs and culture moments where the brief is to lift the room without resorting to standard motivational fare, Carmichael offers a verifiable feat, a named project, and a usable frame, anchored by a story that audiences can recall and repeat months later. Key speaking topics The Eclipse Mindset Creativity and perspective shift Bold execution under constraint Visual storytelling Innovation through ambition Team alignment around a high-stakes vision Ideal for Sales conferences and annual kick-offs seeking a non-corporate opening or closing keynote Innovation, R&D, and product leadership offsites Culture, brand and marketing events CMOs and creative leadership audiences Audience outcomes A specific story they can quote, with named brands and dates, to anchor internal conversations about ambition A practical frame (“Eclipse Mindset”) for identifying which constraints are real and which are inherited Renewed appetite for projects that require unlikely partners and mid-execution adjustment A reminder that bold work is rarely solo: the eclipse image required an airline, a captain, a regulator, and years of preparation

Why organisations work with Jade Simmons A mainstage moment that combines a Steinway, live performance and a structured keynote, rather than a podium talk. Few speakers can carry that format credibly at scale. A classical performance pedigree that holds up under scrutiny: Sphinx Medal of Excellence, performances at the White House and the US Supreme Court, repertoire from Rachmaninoff to contemporary crossover work. Author of an Amazon bestseller, Audacious Prayers for World Changers, and host of American Public Media’s Decomposed, a podcast named to best-of lists by Time, Esquire, BBC America and IndieWire. A track record headlining for Dell, NBCUniversal, Raytheon, Pfizer, Intuit QuickBooks, Nationwide, Hershey’s and Royal Bank of Canada at sales kick-offs, leadership summits and culture events. Biography highlights Recipient of the Sphinx Organization’s Medal of Excellence, with the ceremony hosted at the US Supreme Court by Justice Sonia Sotomayor. Concert performances at the White House, Ravinia, Chicago Sinfonietta at Symphony Hall, New York’s Town Hall and the Detroit Institute of Arts. Host of Decomposed on American Public Media, recognised by Time, Esquire, BBC America and IndieWire. Author of Audacious Prayers for World Changers (Amazon bestseller, English and Spanish editions) and Purpose the Remix. CEO and founder of Jade Media Global; ran as an independent candidate for US President in 2020. Northwestern University undergraduate; Master’s as a Provost Fellow at Rice University; first runner-up at Miss America 2000. Biography Corporate audiences sit through more keynotes in a year than most of them care to count. The hardest brief a programme committee inherits is the opening or closing slot at a large convening, where the room needs to lift, not settle. A piano on stage and a performer who can also hold a leadership argument is one of the few formats that reliably moves a thousand people from neutral attention to engagement. Simmons built that format from the classical concert hall. She holds the Sphinx Organization’s Medal of Excellence, awarded in a ceremony at the US Supreme Court hosted by Justice Sonia Sotomayor. Her concert resume includes the White House, Ravinia, the Chicago Sinfonietta at Symphony Hall and New York’s Town Hall. She trained at Northwestern and Rice, where she held a Provost Fellowship. The keynote work extends the performance into a structured message about purpose, reinvention and what she calls “Maverick Behavior.” She has headlined for Dell, NBCUniversal, Raytheon, Pfizer, Intuit QuickBooks, Nationwide, Hershey’s and Royal Bank of Canada. Her book Audacious Prayers for World Changers is an Amazon bestseller in English and Spanish, and her American Public Media podcast Decomposed has been named to best-of lists by Time, Esquire, BBC America and IndieWire. She also runs Jade Media Global, the company that produces her live experiences and content. Buyers commission her when the brief is to make a single moment in a long agenda the one people remember. Key speaking topics Purpose and reinvention Leadership and self-leadership Creativity and personal innovation Performance and mainstage entertainment Diversity and inclusion as a culture lever Personal branding and creative identity Resilience and breakthrough Ideal for CEO town halls, sales kick-offs and annual leadership conferences that need a mainstage opener or closer Chief People Officers and culture leads programming purpose, inclusion or engagement events Awards nights, customer summits and recognition events where the room needs to feel something specific Industries booking marquee music-led keynotes (financial services, pharma, tech, professional services) Audience outcomes A shared mainstage moment the room references for the rest of the agenda A direct, personal message on purpose, reinvention and creative courage A live concert performance that sits inside, not alongside, the keynote argument Practical language for leaders to talk about reinvention with their own teams

Why organisations work with Mark Schulman He has spent decades performing in front of stadium crowds with P!NK, Cher, and Foreigner, and translates that experience into specific attitude and focus habits a workforce can use the next morning. His keynote includes live drumming and audience participation, which moves a conference room out of passive-listening mode and produces engagement that in-house speakers cannot replicate. He carries the Certified Speaking Professional designation from the National Speakers Association, a credential held by a minority of working keynote speakers, signalling consistency at the level Fortune 500 buyers expect. His Conquering Life’s Stage Fright framework gives audiences a named three-step model (Clarity, Capability, Confidence) for managing performance anxiety, not a generic motivation message. He pairs the music-industry story with a working business voice, having co-founded and run West Triad Studios in Venice for over a decade. Biography highlights Touring drummer for P!NK from 2006 to 2021, Cher from 1999 to 2017, and Billy Idol from 1993 to 2001 Performed with Foreigner, Stevie Nicks, Sheryl Crow, Simple Minds, and Velvet Revolver Author of Conquering Life’s Stage Fright: Three Steps to Top Performance, and co-author of The Attitude Equation with Dr. Jim Samuels Cover feature, Modern Drummer Magazine, May 2019; voted Top 3 Pop-Rock Drummer in the Modern Drummer Reader’s Poll Awarded the Certified Speaking Professional (CSP) designation by the National Speakers Association in 2021 Co-founder of West Triad Studios, Venice, California Biography The difference between a strong team and a top-performing one is rarely talent. It is whether people can switch on under pressure, recover quickly when something goes wrong, and stay engaged on the night the room actually matters. That is the territory Mark Schulman works in. His credibility comes from the stage. Schulman spent more than two decades as the touring drummer for P!NK, Cher, Billy Idol, and Foreigner, performing in front of stadium audiences where there is no second take. The performance-mindset content he now delivers to corporate audiences is drawn directly from that environment, not borrowed from a leadership textbook. The work is anchored by his book Conquering Life’s Stage Fright: Three Steps to Top Performance, which sets out a Clarity, Capability, Confidence framework for managing performance anxiety. He co-authored a second book, The Attitude Equation, with Dr. Jim Samuels, focused on the attitudinal habits that separate consistent performers from one-off ones. In 2021 he was awarded the Certified Speaking Professional designation by the National Speakers Association, the standing credential of full-time keynote speakers. What organisations book is a session that changes the energy of a room. Schulman drums live, brings the audience into the performance, and ties the story back to specific attitude shifts a team can apply on Monday. The format is unusual; the underlying argument, that consistent high performance is a learnable discipline, is what keeps Fortune 500 buyers returning. Key speaking topics Performance mindset under pressure Attitude and personal accountability Confidence and stage fright Team engagement and collaboration Peak performance habits Creativity and reinvention Ideal for Sales kickoffs, annual conferences, and leadership offsites looking for an opening or closing keynote that shifts the energy of the room CHROs and culture leads programming for engagement, motivation, and people-performance themes Leadership development audiences working on confidence, presence, and personal performance Audience outcomes A named three-step framework (Clarity, Capability, Confidence) for managing performance anxiety in high-stakes moments Specific attitude practices borrowed from world-class touring musicians and adapted to a business setting A shared, high-energy experience that resets the tone of a conference and gives teams a common reference point A clearer sense of how individual presence and preparation feed collective team performance

Why organisations work with Patrick Chappatte He has spent thirty years drawing on deadline for serious newspapers, including a two-decade run for The New York Times International Edition. That gives audiences a reading of global affairs that almost no other speaker can offer: not commentary about journalism, but the work itself, performed live. He is the only non-American to win the Overseas Press Club of America’s Thomas Nast Award, and he has won it three times. That is the senior credential in his field and it is verifiable from a named external body. He chairs the Freedom Cartoonists Foundation, founded with Kofi Annan and Jean Plantu. That places him at the centre of the international press freedom conversation in a way few keynote speakers can match. His live-drawing format gives a room something it rarely has: an unrepeatable visual record of the conversation, produced in real time. It works as keynote, as conference closer, and as graphic facilitation of a leadership meeting. He brings firsthand graphic reportage from Gaza, Nairobi, Central America, death row in the United States, and Silicon Valley. The material is specific, not generic, and gives a corporate audience an honest view of issues it normally only reads about. Biography highlights In-house editorial cartoonist for The New York Times International Edition, 2001 to 2019. Three-time winner of the Overseas Press Club of America Thomas Nast Award (2011, 2015, 2018); the only non-American to have done so. Current publications include The Boston Globe, Le Canard enchaine, La Tribune Dimanche, Le Temps and NZZ am Sonntag. Honorary Doctorate from EPFL (the Swiss Federal Institute of Technology in Lausanne), awarded 2022. Named a Young Global Leader by the World Economic Forum in 2006. Chairs the Geneva-based Freedom Cartoonists Foundation, which awards the Kofi Annan Courage in Cartooning Award. Two TED talks: “The power of cartoons” (2010) and “A free world needs satire” (2019). Biography The New York Times stopped running political cartoons in its international edition in 2019. Patrick Chappatte had drawn there twice a week since 2001. He used the moment to argue, in a TED talk that has since been viewed millions of times, that a free press needs satire, and that the retreat from cartooning is one of the quieter signals of where public discourse is heading. That argument is grounded in three decades of work on serious deadlines. Chappatte’s drawings appear in The Boston Globe, Le Canard enchaine, La Tribune Dimanche, Le Temps, and NZZ am Sonntag. He has won the Overseas Press Club of America’s Thomas Nast Award three times, in 2011, 2015 and 2018, the only non-American to have done so. EPFL, the Swiss Federal Institute of Technology in Lausanne, awarded him an honorary doctorate in 2022. He is also a pioneer of graphic journalism. Since 1995 he has produced long-form comics reportage from Gaza, the Nairobi slums, Central American gang territory, death row in the United States, and Silicon Valley. His 2009 work on cluster munitions in southern Lebanon became an animated documentary that aired on Swiss and French television. The Inside Death Row series, produced with the journalist Anne-Frederique Widmann for the Times in 2016, remains one of the most cited examples of the form. Chappatte chairs the Freedom Cartoonists Foundation in Geneva, founded with Kofi Annan and the French cartoonist Jean Plantu. The foundation awards the Kofi Annan Courage in Cartooning Award. For senior audiences, he draws live, in real time, against the conversation in the room, and uses that work as the basis for an argument about why visual thinking, satire, and free expression matter to organisations that operate in contested public space. Key speaking topics Press freedom and the corporate stake in free expression Visual thinking and graphic journalism Satire as a method for engaging contested issues Live-drawing keynotes and conference closers Global affairs through the lens of a working editorial cartoonist Democracy, polarisation and the limits of public discourse Ideal for Annual conferences and leadership offsites looking for a closing keynote that produces a visible record of the day Editorial, communications and brand leadership teams working through reputational risk on contested public issues Boards and senior groups examining geopolitics, democratic backsliding, and the limits of corporate speech Media, publishing and creative organisations engaging with the future of journalism Audience outcomes A clearer view of why satire and visual journalism still matter inside serious organisations, drawn from a working practitioner A live visual record of the session that can be used afterwards as a communication asset A sharper feel for how global affairs read from outside an American or Anglo-Saxon frame A grounded argument for why free expression is now a corporate risk question, not only a civic one

Why organisations work with Chris Baréz-Brown Twenty-five years working the commercial creativity brief as an operator, first agency-side and then running his own firm. The view is from inside the work, not from a research perch. Five Penguin titles set out a coherent published thesis on creativity as a learnable behaviour, so buyers can read the argument before booking the room. His Unilever programme was written up in Harvard Business Review, a rare credential in this territory. He ships a behaviour-change tool with the keynote. TiO and the Elvis Energy Lab let the room run the method the next morning, not just remember the speech. A repeat-booking record on the brand side that other creativity speakers don’t match. Biography highlights Founder of Upping Your Elvis, a creativity and energy consultancy working with global brands. Former director at innovation consultancy ?What If!, leading offices in London, New York and Sydney. Author of five Penguin books: Shine, Wake Up!, Free!, How to Have Kick-Ass Ideas, and Upping Your Elvis. Penguin’s bestselling author in 2014. Creator of TiO, a workplace mental wellbeing app with research from the University of Bristol. Featured in Harvard Business Review for the impact of his work with Unilever. Media appearances include the BBC, The Guardian, The Sunday Times, Fast Company and Calm. Biography Most creativity programmes inside large organisations fail at the same point. The room leaves energised, the workstreams revert, and within a quarter the operating model has absorbed the change. The problem is rarely a shortage of ideas. It is the absence of a daily practice that lets ordinary employees produce original work under commercial pressure. This is the territory Chris Baréz-Brown has worked in for twenty-five years. He spent over a decade as a director at ?What If!, the innovation consultancy, running the business across London, New York and Sydney before founding Upping Your Elvis in 2010. The premise of the firm is that human energy, not strategy decks, is the variable that determines whether a creative culture survives contact with the operating model. His five Penguin titles, including the bestseller Upping Your Elvis, set out a body of practice that treats creativity as a learnable behaviour rather than a personality trait. The work has run inside Nike, Coca-Cola, Diageo, Unilever, Roche, Microsoft and the WPP agency network on the brand side, with Harvard Business Review featuring the impact of the Unilever programme. What sets the offer apart from a standard creativity keynote is the post-event mechanism. Through TiO, an app developed with research from the University of Bristol, and the Elvis Energy Lab, audiences leave with a method they can run themselves. The thesis underneath all of it is commercial: brave thinking is a function of human state, and human state can be designed for. Key speaking topics Commercial creativity and innovation practice Energy management and human performance at work Mental and emotional wellbeing in high-pressure roles Leadership of creative teams Behaviour change and habit design inside organisations Brand-side innovation case studies Ideal for CMOs and brand leaders looking to lift creative output across marketing organisations Heads of innovation and R&D in consumer-facing businesses Senior HR and people leaders responsible for engagement and wellbeing strategy Leadership offsites where the brief is renewal of energy and creative confidence, not a strategy refresh Audience outcomes A working definition of creativity as daily practice, not occasional inspiration Specific behavioural tools, including TiO, that audiences can use the next morning A sharper read on how their own energy state is shaping the quality of their commercial decisions Case material on what holds up when a creative culture meets the operating model

Why organisations work with Christian Byrge He treats creativity as a skill that can be coached into a team, not a culture project. Leaders leave with specific habits they can run on Monday morning, not a manifesto. He has a working position on AI in the creative process, grounded in current research, that goes beyond the prompt-engineering surface most innovation talks stop at. His research base is unusually deep for a speaker in this category: 70+ academic publications and a full professorship, paired with operational training inside LEGO, Maersk, Novo Nordisk, Grundfos, and the Danish Armed Forces. He is comfortable in front of an executive audience and inside a workshop room. Same content holds at both altitudes, which makes him useful when the brief is a keynote that has to seed follow-on internal work. Biography highlights Full Professor of Business Creativity, Vilnius University Business School. PhD in Creativity and Business, Aalborg University. Author of Everyday Innovator (BIS Publishers), How to Teach Creativity, and Enhancing Creativity for Individuals, Groups and Organizations. 70+ academic publications across creativity, team creativity culture, creative self-efficacy, and AI creativity. Worked with LEGO, Maersk, Novo Nordisk, Velux, Grundfos, Danfoss, Siemens, Kompan, TotalEnergies, and the Danish Armed Forces. Trained creative practice with practitioners across engineering, law, healthcare, software, education, and film production. Biography Innovation programmes inside large organisations tend to fail in the same way. They start with energy, produce a portfolio of pilots, and stall when the original sponsor moves on. The diagnosis is usually written as a cultural problem. Christian Byrge’s research argues something more precise: the failure point is that idea generation was never built as a team skill in the first place. That argument is the core of his three books and seventy-plus academic publications. Everyday Innovator, published by BIS Publishers, names four habits that turn creative output into a repeatable behaviour rather than a mood. How to Teach Creativity and Enhance Creativity for Individuals, Groups, and Organizations extends the same logic into education and organisational design. The thread across all three is treating creativity as a trainable capability with named components, not an ambient quality of the workplace. He holds a full professorship in Business Creativity at Vilnius University Business School and a PhD from Aalborg University. The academic base matters because his recent work on AI in the creative process is one of the few executive-level treatments grounded in current research rather than vendor framing. He has trained creative practice inside LEGO, Maersk, Novo Nordisk, Velux, Grundfos, Siemens, and the Danish Armed Forces, which gives the research weight in front of an operating audience. The room he is most useful in is the one where leadership has decided innovation matters, but cannot describe what their teams should actually do differently on Tuesday. He gives them the answer in specific behaviours, not in a vision deck. Key speaking topics Team creativity as a trainable discipline Innovation capability inside operating teams AI-supported creative process Creative confidence and self-efficacy Idea generation and development practice Creative culture in regulated and engineering environments Ideal for CHROs and L&D leaders building innovation capability across the workforce Heads of innovation, R&D directors, and transformation leads Executive teams in engineering, life sciences, and industrial sectors, where creativity is treated as soft Educators and learning system leaders are responsible for creative competence development Audience outcomes A working definition of team creativity is a set of named behaviours, not a personality trait The four habits from Everyday Innovator are mapped to the audience’s own operating context A grounded view of where AI helps and where it flattens the creative process Specific practices senior leaders can install in standing meetings to lift idea quality A clear separation between creative culture rhetoric and creative output discipline

Why organisations work with Ozwald Boateng He rebuilt Savile Row’s relevance to a younger global market without abandoning its craft. Few living designers have shifted a 200-year-old category that decisively. He was the first black designer to lead menswear at Givenchy under LVMH, a working case study in taking a personal aesthetic into a heritage luxury house. He co-founded the Made in Africa Foundation and helped launch the $2bn Africa50 infrastructure fund with the African Development Bank, giving him a track record few creative figures can match on capital and continental development. His commercial collaborations span Coutts, Johnnie Walker, Virgin and British Airways, alongside film work for Marvel’s Black Panther. The brand reach is unusually broad for a fashion founder. Biography highlights First English tailor to present a catwalk show at Paris Fashion Week (1994). Creative Director of Menswear at Givenchy, LVMH (2003 to 2007). OBE for services to the clothing industry (2006). Best Menswear Designer, Trophees de la Mode, Paris (1996); Best Menswear Designer, British Fashion Awards (2000). Subject of a V&A Fashion in Motion event (2005), one of a small group including Vivienne Westwood, Stella McCartney and Alexander McQueen. Co-founder, Made in Africa Foundation; co-launched the $2bn Africa50 infrastructure fund with the African Development Bank. Biography Savile Row was a closed system when Boateng arrived. The category meant heritage, sober colour, and a customer his father’s age. He kept the cut and changed almost everything else. By 1994 he was the first English tailor to stage a catwalk show at Paris Fashion Week. By 1995 he had a boutique on Vigo Street, the south end of the Row, and a younger clientele was buying suits again. The category shift mattered commercially. In 2003, LVMH appointed him Creative Director of Menswear at Givenchy, a role he held until 2007. He was the first black designer to lead menswear at the house. The OBE followed in 2006 for services to the clothing industry. A new flagship at 30 Savile Row, co-designed with the architect David Adjaye, opened in 2008. The second act is less expected. Boateng co-founded the Made in Africa Foundation in 2011 to finance large-scale African infrastructure. With the African Development Bank he helped launch Africa50, a $2bn fund aimed at closing the continent’s infrastructure gap. He has worked with several African governments on industrial and development policy, and the work has been covered by CNN, Bloomberg and Pan African Visions. The collaborations sit alongside the official roles. Coutts, Johnnie Walker, Virgin Atlantic and British Airways have commissioned him; Ruth E. Carter put one of his teal mohair suits on screen in Black Panther. The throughline is consistent: a craft practice used as a lever on much bigger systems, from a London street to LVMH to continental capital allocation. Key speaking topics Luxury brand building and reinvention Creative entrepreneurship at scale Heritage brand leadership African economic development and investment Design, identity and cultural representation Diversity in luxury and creative industries Ideal for CEOs and CMOs of heritage brands considering category reinvention Boards and leadership teams of luxury, retail and consumer goods businesses Organisations with significant African market or investment exposure Senior creative and design leaders in fashion, hospitality and lifestyle Audience outcomes A working view of how one founder shifted a 200-year-old category and what that took commercially. A frank account of running a personal aesthetic inside a heritage LVMH house. A specific, named perspective on African infrastructure investment from someone who has helped raise it. A model for building cross-sector collaborations that compound a creative practice over decades.

Why organisations work with Peter Field His IPA Effectiveness Databank analysis – spanning over 1,000 campaigns, 80+ categories, and 30 years – gives senior marketers an empirical base for budget decisions that no internal dataset can match in scale or authority. The 60:40 principle he co-established with Les Binet is now the dominant reference point for CMO-level investment decisions globally; organisations use it to resist short-term pressure from finance and hold the case for brand building with the board. His 2019 Crisis in Creative Effectiveness report – showing that creatively-awarded campaigns had lost their effectiveness advantage entirely due to short-termism – gives marketing leaders the evidence to argue for sustained creative investment rather than disposable activation. The Creative Effectiveness Ladder, co-developed with James Hurman for Cannes Lions and WARC, gives organisations a practical evaluation tool for assessing the long-term ambition of creative work before it runs. His extension of effectiveness principles into B2B – The Five Principles of Growth in B2B Marketing – fills an empirical gap that most B2B marketing leaders have had to navigate without equivalent guidance. Biography highlights Cambridge graduate; 15 years as a strategic planner at advertising agencies including BMP (later part of the DDB network) Co-author with Les Binet of the IPA Effectiveness Databank series: Marketing in the Era of Accountability (2007), The Long & The Short of It (2013), Media in Focus (2017), Effectiveness in Context (2018) Author of The Crisis in Creative Effectiveness (IPA, 2019) – analysing 24 years of data on the declining relationship between creative awards and business outcomes Co-author with James Hurman of The Effectiveness Code (Cannes Lions/WARC, 2020), which produced the Creative Effectiveness Ladder framework Honorary Fellow of the UK Institute of Practitioners in Advertising Regular keynote speaker at the Cannes Lions Festival of Creativity, IPA EffWeek, and WARC Sessions Biography Marketing measurement has a structural flaw: the channels easiest to measure in real time are the ones least suited to building durable growth. Peter Field has spent 25 years making that argument with evidence – the IPA Effectiveness Databank, a repository of independently verified advertising effectiveness data spanning more than three decades. With Les Binet, Field co-authored the series of IPA Effectiveness Databank reports that set the empirical terms for decisions about budget allocation, media strategy, and creative investment. The Long and the Short of It (2013) established the 60:40 principle: most organisations systematically under-invest in brand building relative to short-term activation. Long-term emotional campaigns, the data showed, generate roughly double the profit of short-term approaches. The series has been cited in over 70 international academic publications and textbooks. Field’s solo research extended these findings into the relationship between creativity and effectiveness. The Crisis in Creative Effectiveness (IPA, 2019) revealed that creatively-awarded campaigns had become no more effective than non-awarded ones – the first time in 24 years of data – driven by the industry’s shift toward short-term activation work. His co-authored Creative Effectiveness Ladder, developed with James Hurman for Cannes Lions and WARC, provides a practical framework for evaluating the long-term ambition of creative work before it runs. A Cambridge graduate and former strategic planner at BMP, Field is an Honorary Fellow of the UK Institute of Practitioners in Advertising. His research has been presented at Cannes Lions, WARC Sessions, and IPA EffWeek, and has shaped how CMOs, CFOs, and boards across the world evaluate the returns on marketing investment. Key speaking topics Marketing effectiveness and budget allocation Long-term brand building vs. short-term sales activation Creative effectiveness and the business case for creativity Measurement, metrics, and the limits of digital attribution Brand growth and pricing power B2B marketing effectiveness Evidence-based commercial strategy Ideal for CMOs and senior marketing leaders under short-term commercial pressure from CFOs or boards CFOs and CEOs seeking an empirical framework for evaluating marketing investment decisions Brand and creative strategy leads making the case for long-term creative ambition internally B2B marketing directors who have lacked an effectiveness evidence base equivalent to B2C Audience outcomes A clear, evidence-based framework for allocating budget between brand building and short-term activation – grounded in 30+ years of campaign data A working understanding of why short-term digital metrics can systematically mislead commercial decision-making The analytical language to present the commercial case for brand investment to a CFO or board Practical criteria for evaluating whether a creative strategy is built for long-term effectiveness or short-term efficiency Awareness of how the Five Principles of Growth in B2B Marketing translate consumer effectiveness evidence into B2B strategy

Why organisations work with Christian Wehner He runs innovation strategy inside SAP Brand & Creative, so the perspective is from a serving operator at a Fortune 100 software company, not a former practitioner. His SPIEGEL bestselling book Alles, was du im Leben wissen musst, hast du schon im Kindergarten gelernt gives audiences a citable thesis on where adult organisational thinking has narrowed, and what to do about it. His “Kidult” framework reframes creativity as a recoverable adult capability, not a personality trait, which lands with executives who have written off creativity training. He is a LinkedIn TopVoice for Creativity and Innovation, with a public body of work that audiences can extend after the keynote. He works fluently in English and German, which matters for DACH-region leadership programmes and EU-headquartered corporate audiences. Biography highlights Senior Director, Innovation Strategy, SAP Brand & Creative. SPIEGEL bestselling author, Alles, was du im Leben wissen musst, hast du schon im Kindergarten gelernt (Conte Verlag). TEDx speaker on the “Kidult” mindset. LinkedIn TopVoice for Creativity and Innovation. Guest lecturer, Brand Academy, EBS University Oestrich-Winkel. Ambassador, School of Future Skills. Biography Most large companies are not short of intelligence. They are short of the willingness to ask naive questions inside rooms full of expertise. That gap is the one Christian Wehner has spent his career closing, first in radio and start-up environments, now as Senior Director of Innovation Strategy at SAP Brand & Creative. His thesis is direct. The skills that make organisations creative, curiosity, comfort with not-knowing, and the ability to be wrong out loud, are the skills most adults stop practising once they enter corporate life. His SPIEGEL bestselling book Alles, was du im Leben wissen musst, hast du schon im Kindergarten gelernt sets out the argument in book form. His TEDx talk gives it a name, the “Kidult” mindset. In keynote settings, he turns this into an executive question rather than a self-help one. What does an organisation lose when its senior people optimise for being right? Where in the operating model does AI-era automation make childlike thinking more valuable, not less? Audiences leave with a defensible reason to protect curiosity inside performance cultures, and language to do it with their own teams. The credentials read as a portfolio of platforms rather than titles: a serving SAP innovation role, a guest lectureship at EBS University’s Brand Academy, an ambassadorship with the School of Future Skills, and a steady editorial presence on LinkedIn that has earned him TopVoice status in both Creativity and Innovation. The combination is unusual: an operator inside one of Europe’s largest software companies who writes and speaks publicly about how big companies stop being creative. Key speaking topics Innovation culture and creative recovery in established organisations The “Kidult” mindset: curiosity as an executive capability Future skills in the age of AI Leadership and intuition under algorithmic decision-making Brand and creative strategy inside large enterprises Collaboration and the transparency revolution Ideal for Chief innovation, strategy and brand officers responsible for the next product cycle Executive leadership teams confronting AI-driven workforce redesign Corporate transformation, learning and culture lead inside DACH and EU-headquartered organisations Sales, marketing and customer experience leadership programmes looking for a creative-strategy keynote rather than a tools session Audience outcomes A working argument for why creative capability is a board-level concern in the AI era A language and framework (“Kidult”) for protecting curiosity inside performance-driven cultures A clearer view of which adult corporate habits suppress innovation and which can be retrained Concrete prompts for leaders to use with their own teams the next working day A bilingual perspective from inside a Fortune 100 European software company, useful for cross-border programmes

Why organisations work with Kevin Olusola He performs the argument rather than narrating it. The “Foundation +1” idea (start with one simple element, add one layer at a time) is built live on stage through cello and beatbox, so the audience sees the method before they hear the framing. Three Grammys with Pentatonix and a Sony recording contract give him a credibility profile most innovation speakers cannot match, particularly with audiences sceptical of corporate creativity content. His route into music sits next to a Yale East Asian Studies degree and extended fellowship time in Beijing, which gives the cross-cultural innovation material genuine personal weight rather than a borrowed example. Opened TED2014 in Vancouver and was hand-picked by Quincy Jones for the 2012 Montreux Jazz Festival, alongside Bobby McFerrin and Chick Corea. He has worked at the level of stage where corporate audiences notice. Biography highlights Three-time Grammy winner with Pentatonix: Best Arrangement, Instrumental or A Cappella (2015 and 2016) and Best Country Duo/Group Performance (2017 with Dolly Parton). Won NBC’s The Sing-Off season three with Pentatonix, leading to a Sony Music Entertainment contract. Opened TED2014 in Vancouver with a celloboxing performance. Selected by Quincy Jones to represent him at the 2012 Montreux Jazz Festival, on a programme with Bobby McFerrin and Chick Corea. Yale University, East Asian Studies, with pre-med coursework. Spent extended fellowship time in Beijing and became fluent in Mandarin. Pioneered celloboxing, the simultaneous playing of cello and beatboxing; his viral 2011 video of Mark Summer’s “Julie-O” led directly to his Pentatonix recruitment. Biography The first time most audiences see Olusola on stage they are watching a method, not a performance. A single scale on the cello, a single percussive sound, then another, then another, until a Daft Punk medley or a Pharrell track is built in front of them out of parts that were obviously small a minute ago. He calls the underlying idea “Foundation +1”, and it is the spine of his corporate keynote work. The performance credentials sit behind the method. Pentatonix have won three Grammys, signed with Sony Music Entertainment after winning NBC’s The Sing-Off in 2011, and built one of the largest a cappella audiences on YouTube. Olusola opened TED2014 in Vancouver and was selected by Quincy Jones to represent him at the 2012 Montreux Jazz Festival, on a programme with Bobby McFerrin and Chick Corea. The cross-cultural material runs in parallel. Olusola read East Asian Studies at Yale with pre-med coursework, and spent extended fellowship time in Beijing where he became fluent in Mandarin. The idea of “celloboxing” itself came from a teacher in China, who asked him whether he had ever considered playing cello and beatboxing at the same time. The biographical detail is doing real work in the keynote: it gives a specific story for how stepping into an unrelated domain produced an original artistic form. For senior teams, Olusola is closer to a performing keynote than to a conventional management speaker. The intellectual content is light, the demonstration is heavy, and the value sits in how an audience leaves thinking about creative method and ambition. He suits openings, closings, and offsite moments where the brief is to shift the room rather than to teach a framework. Key speaking topics Creativity as a working method Cross-disciplinary innovation Ambitious goal-setting and execution Cross-cultural perspective and collaboration Team dynamics in creative work Performance keynote and corporate entertainment Ideal for Annual kick-off and conference opening or closing slots Leadership offsites focused on creativity, innovation, or culture Awards dinners and high-profile client events Internal events where a sceptical senior audience needs a non-standard creative input Audience outcomes A shared, memorable reference point for breaking ambitious goals into a starting move A concrete example of how cross-disciplinary thinking produces original output A genuine performance moment that anchors the rest of the agenda A reframing of creativity as practice rather than personality

Why organisations work with Sasha De Sola Two decades of live, unedited high-stakes performance at one of the world’s top ballet companies, with the recovery patterns and pre-performance discipline that go with it. A perspective on creative work as a managed practice, not an inspiration: rehearsal, mentorship and craft repetition as the actual mechanism behind so-called artistry. Credibility on resilience earned through specific recoveries, including injury and the prolonged shutdown of live performance during the pandemic, not abstract theory. An inaugural fellow of San Francisco Ballet’s Raising Leaders programme, currently being developed as a future arts leader through executive coaching and an international placement at the Royal Swedish Ballet. A bilingual Venezuelan American voice on belonging, mentorship and the long arc from selective mutism in childhood to lead casting on a global stage. Biography highlights Principal Dancer, San Francisco Ballet (2017 to present); named Diane B. Wilsey Principal Dancer in 2020. Trained at the Kirov Academy of Ballet, Washington D.C., on full merit scholarship, and at the Paris Opera Ballet School. BA in Performing Arts, Summa Cum Laude, Saint Mary’s College of California; completed Harvard Business School’s Crossover Into Business programme. Inaugural fellow, San Francisco Ballet’s Raising Leaders artist-development programme (2024 to 2026), with a placement at the Royal Swedish Ballet under Nicolas Le Riche. Medallist at Varna, World and USA International Ballet Competitions. Co-founder of The Ascendant, a charitable initiative supporting Dancin Power and San Francisco Ballet; board member, Dancin Power; advisory board, Pointe Magazine. Biography A dancer who has carried lead roles in Swan Lake, Giselle and The Sleeping Beauty does not get there on talent. She gets there on the discipline of repeating small corrections until the body holds them under stage lights, with an audience watching, on a night when the knee is not quite right. That is the territory Sasha De Sola speaks from. She was named an apprentice at San Francisco Ballet in 2006, joined the corps in 2007, was promoted to soloist in 2012 and to Principal Dancer in 2017. In 2020 she was appointed the Diane B. Wilsey Principal Dancer, one of the company’s named principal positions. Her training is classical: the Kirov Academy in Washington D.C. on full merit scholarship, with a 2004 scholarship to the Paris Opera Ballet School and medals at Varna, World and USA International Ballet Competitions. The intellectual frame she brings to leadership audiences was built deliberately. She graduated Summa Cum Laude from Saint Mary’s College of California with a BA in Performing Arts and completed Harvard Business School’s Crossover Into Business programme in 2022. In 2024 she was named one of two inaugural fellows of San Francisco Ballet’s Raising Leaders programme, a two-year curriculum that pairs executive coaching with an international placement shadowing Nicolas Le Riche at the Royal Swedish Ballet. What she gives a room is the practical content of staying composed when the conditions move. Recovery from injury. Performing through the prolonged closure of live theatre. The long mentorship work that, away from the stage, sits behind every confident debut. A Venezuelan American who was diagnosed with selective mutism as a child, she also speaks credibly on belonging and on the slow craft of building a voice in a setting that initially feels foreign. Key speaking topics Composure and recovery under sustained performance pressure Creative discipline as a managed practice Mentorship and craft development across long careers Resilience after injury and prolonged disruption Cross-cultural identity and belonging in high-performance settings Leadership lessons from elite artistic environments Ideal for Leadership offsites and senior-team retreats focused on performance under pressure CHRO and people-leader conferences on talent development, mentorship and craft Women’s leadership programmes and ERG events on resilience and belonging Cultural, arts and philanthropic audiences seeking a credible artist-leader voice Audience outcomes A working vocabulary for what composure looks like in practice, not as a trait Specific examples of how recovery from setback is structured, not improvised A more honest read on what mentorship costs and what it produces in elite environments A counterweight to the language of “talent” with the language of repeated craft