Creativity

Why organisations work with Isabel Behncke Her evidence base is unusually direct. More than 3,000 kilometres tracking wild bonobos in Congo gave her the first comprehensive field study of adult play in our closest living relatives, which anchors every claim she makes about creativity and social bonding in observed behaviour rather than metaphor. She translates evolutionary biology into practical arguments about culture. Her framing of play as a core adult competence, not a perk, gives leaders a defensible language for investing in creativity, psychological safety and informal connection inside performance-driven cultures. She moves between serious scientific and serious commercial settings. TED main stage twice, WIRED, Google Zeitgeist, SXSW, the House of Lords, the United Nations General Assembly and the G20, which means she is used to calibrating the same argument for scientists, policymakers and executives. She holds institutional credibility across three continents. Oxford DPhil, Gruter Institute fellowship, PERC board seat and a research post at Universidad del Desarrollo’s Social Complexity Research Center, plus advisory work on Chile’s long-term science and innovation strategy. She sits outside the behavioural economics cohort. Her discipline is field ethology, which gives her arguments about trust, risk and collaboration a biological depth that lands differently with leaders who have already heard the standard behavioural science keynote. Biography highlights DPhil in Evolutionary Anthropology from the University of Oxford, with the first comprehensive scientific study of adult play behaviour in wild bonobos at the Wamba research site in Congo. MPhil in Human Evolution from the University of Cambridge; BSc in Zoology and MSc in Wildlife Conservation from University College London. TED Fellow and TED Resident; two main-stage TED talks including «Evolution’s gift of play, from bonobo apes to humans» and «Does nature have a sense of humor?». Researcher at the Social Complexity Research Center (CICS), Universidad del Desarrollo, Santiago; Fellow of the Gruter Institute for research on human behavior and institutions; board member at PERC. Advisory roles in Chile’s long-term strategy for science, technology, innovation and knowledge, with affiliations including the Centro de Estudios Publicos. Platform work includes WIRED, Google Zeitgeist, SXSW, the United Nations General Assembly, the House of Lords and the G20, alongside features in BBC and National Geographic documentaries and The Tim Ferriss Show. Biography Most organisations talk about creativity and collaboration as if they were cultural aspirations. Field ethology treats them as biological functions. Isabel Behncke built her career studying how social mammals, and specifically wild bonobos in the Congo, generate trust, creativity and resilience through play, risk-taking and informal bonding. Her DPhil at Oxford produced the first comprehensive scientific study of adult play behaviour in wild bonobos, based on more than 3,000 kilometres of field observation at the Wamba research site. That field base shapes how she works with organisations. Her argument is that adult play is not a soft concept but an adaptive mechanism that underpins learning, social bonding and innovation in every species that depends on flexible behaviour, humans included. Leaders hear a case for culture that is rooted in evolutionary evidence rather than slogans, delivered by someone who has watched these behaviours in the wild. Her institutional footprint runs across science, policy and public platforms. She is a researcher at the Social Complexity Research Center at Universidad del Desarrollo in Santiago, a Fellow of the Gruter Institute, a board member at PERC and an adviser on Chile’s long-term science and innovation strategy. She is a TED Fellow and TED Resident, has spoken twice from the main TED stage, and has appeared at WIRED, Google Zeitgeist, SXSW, the House of Lords, the United Nations General Assembly and the G20. For senior leaders grappling with how to build adaptive, creative teams under pressure, she offers a rare combination: the rigour of a field scientist, the clarity of a seasoned public communicator, and a set of questions most boards have never asked about why their best work tends to happen in their least controlled rooms. Key speaking topics Play as a driver of adult creativity and adaptation Trust, risk-taking and social bonding inside teams Evolutionary perspectives on organisational culture Human behaviour, complexity and change Creativity and the science of collaboration Rituals and informal structure in working life Ideal for CEOs, Chief People Officers and culture leads rethinking collaboration, creativity or psychological safety Leadership and talent development programmes that want a serious scientific frame rather than another behavioural economics keynote Innovation, R&D and design leaders examining how team environments shape creative output Organisations rebuilding rituals and informal structure after hybrid and remote disruption Audience outcomes A clear evolutionary case for why adult play, humour and informal bonding shape performance, not just morale Language for talking about trust, risk and creativity that rests on observed behaviour in social mammals A sharper read on which cultural habits accelerate adaptation and which quietly suppress it Fresh questions to ask about how teams learn, collaborate and recover under sustained pressure

Why organisations work with Jo Malone She has built, sold, and rebuilt a luxury consumer brand from scratch. Few founders speaking on entrepreneurship can claim that arc twice. Her creative process is concrete: how a scent becomes a product, how a product becomes a counter, how a counter becomes a category. Useful for marketing, retail, and innovation teams who deal in intangibles. She speaks honestly about selling a business that carries your name, the non-compete years that follow, and the discipline of starting again. Rare territory for founder talks. Her story converts personal adversity into commercial argument without sentimentality. Dyslexia, leaving school at 13, and a cancer diagnosis at 40 are framed as inputs to how she built, not as motivational set pieces. She brings the credibility of a brand that defined a category, alongside the operator’s view of what it took to do it. Biography highlights Founded Jo Malone London in 1994; opened the first store in Walton Street, London; sold the company to The Estee Lauder Companies in 1999. Served as Creative Director of Jo Malone London after the sale, departing in 2006. Founded Jo Loves in 2011, building a second fragrance house from her kitchen table in London. Author of Jo Malone: My Story, published by Simon and Schuster UK in 2016. Co-presented BBC One’s High Street Dreams (2010) with Nick Leslau, mentoring small product entrepreneurs. Awarded MBE in 2008 and CBE in the 2018 Queen’s Birthday Honours for services to the British economy and the GREAT campaign. Biography Jo Malone London opened on Walton Street in 1994 with a handful of scents and almost no marketing budget. By 1999 it had been acquired by The Estee Lauder Companies and built into one of the defining luxury fragrance houses of the next two decades. The founder stayed on as Creative Director until 2006, then left the brand that carried her name. Five years of non-compete agreement followed. In 2011 she launched Jo Loves, again from a kitchen, this time with the experience of having scaled a category leader and the constraint of building a fragrance brand without trading on her own name in the way she had before. Two distinct businesses, both rooted in the same craft of scent as a commercial proposition. The personal arc behind the businesses is unusually direct. Severely dyslexic, she left school at 13 and trained as a facial therapist. In 2003, two years after the sale to Estee Lauder, she was diagnosed with an aggressive form of breast cancer and treated in New York. Both episodes appear in the 2016 memoir Jo Malone: My Story, and in her speaking work, as material rather than backdrop. For senior audiences the value is concrete. She has run the founder’s job at two different stages, knows what acquisition does to a brand and to its founder, and can describe the specific decisions, pricing, packaging, retail design, distribution, that translated an idea into a category. Her CBE in 2018 was awarded for services to the British economy and the GREAT campaign, recognising the export weight of what she built. Key speaking topics Founder craft and consumer brand building Scaling luxury from kitchen table to global counter Selling a business that carries your name Reinvention after acquisition and non-compete Creativity as commercial discipline Resilience under personal and commercial pressure British creative industries on the international stage Ideal for Founders, CEOs, and boards of consumer, retail, and luxury businesses Marketing, brand, and product leaders building or repositioning premium propositions Innovation and creative teams translating intangible craft into commercial outcomes Leadership audiences working through acquisition, integration, or post-exit founder questions Audience outcomes A founder’s account of how a category-leading brand is actually built, priced, and merchandised, told from inside the decisions A direct view of what selling and integration do to a business and its founder, useful to anyone preparing for or living through that transition A working example of creative discipline: how a scent, a candle, a counter become a coherent commercial proposition A grounded perspective on resilience, drawn from severe dyslexia, a cancer diagnosis, and starting twice from nothing Renewed conviction that craft and commercial scale are not opposites in consumer business

Why organisations work with Billie Whitehouse She has shipped real wearable products at consumer scale, including the Nadi X haptic yoga pant and the Fan Jersey shown around Super Bowl 50, not concept renders or research prototypes. She runs a category-defining company on both sides of the Pacific. Wearable X has been one of the longest-surviving independent smart-apparel businesses in the market, giving her a working view of what the category can and cannot support commercially. She brings a fashion designer’s instinct to a hardware conversation. Her starting question is not what the sensor can do, but what the wearer will accept on their body, which reframes most internal innovation debates about wearables. She has been recognised by Fast Company’s Most Creative People in Business and Business Insider’s 30 Most Important Women Under 30 in Tech, giving her credibility in both the technology and the design communities that organisations are trying to bridge. Biography highlights Founder, CEO and Creative Director of Wearable X, headquartered in New York with operations in Sydney. Creator of Nadi X, smart yoga apparel with embedded accelerometers and haptic feedback for posture correction. Designed the Fan Jersey haptic fan-engagement garment associated with Super Bowl 50, and the Foxtel Alert Shirt. Named to Fast Company’s 100 Most Creative People in Business and Business Insider’s 30 Most Important Women Under 30 in Tech. Exhibited at the Venice Biennale and the Limits of Humanity exhibition at the Musée de l’Homme, Paris (2021). Keynote speaker at The New Yorker TechFest, Fortune’s Most Powerful Women, Cannes Lions, Wired Retail UK and Wearable Technologies Conference. Biography Wearable computing has spent a decade trapped in the wrist. The watch became the default form factor because it was the easiest place to put a screen, not because it was the most useful place to put a sensor. Wearable X was built on the opposite premise: the garment itself is the device, and the body is where the interface actually lives. That premise has produced shipped products. Nadi X yoga apparel uses accelerometers and haptic modules sewn into the fabric to nudge the hip, knee and ankle into alignment during practice, with no phone in the user’s eyeline. The Fan Jersey, shown around Super Bowl 50, translated live game data into physical sensation on the wearer’s torso. Both products started from the wearer’s experience and worked backwards into the engineering, an order of operations that most hardware companies do not follow. The professional grounding behind that approach is design, not computer science. Whitehouse trained at the Whitehouse Institute of Design in Australia and studied Fashion as Art at Accademia Italiana in Florence before founding Wearable Experiments in 2013, later renamed Wearable X. She has been named to Fast Company’s 100 Most Creative People in Business and Business Insider’s 30 Most Important Women Under 30 in Tech, and her work has been shown at the Venice Biennale and the Musée de l’Homme in Paris. For leadership teams thinking about what comes after the smartphone, the most useful thing she brings is a working answer to a specific question: what does it take to make a piece of technology that a person will actually put on their body every day. That answer involves apparel, hardware, software and behavioural design at the same time, and very few operators have shipped against all four constraints at once. Key speaking topics Wearable technology and smart apparel Haptic feedback and ambient computing Fashion technology and consumer hardware Design-led product development Women founders in deep tech The future of human computer interaction Ideal for Chief product officers, CTOs and innovation leads at consumer goods, apparel, sportswear and consumer electronics businesses Corporate innovation and R&D teams exploring wearable, haptic or sensor-based product categories Investors and accelerator audiences focused on hardware, fashion-tech or female-founded deep-tech ventures Senior creative and design leadership inside organisations bringing physical and digital products closer together Audience outcomes A clearer picture of where wearable technology has stalled and where it is genuinely advancing beyond the wrist A working framework for thinking about the garment, not the device, as the next product surface A founder’s honest view of what it takes to commercialise hardware that crosses fashion and technology A more concrete sense of where haptics, sensors and ambient computing are likely to land inside the next consumer cycle

Why organisations work with Ayse Birsel She brings a method, not a mood. Deconstruction: Reconstruction is a four-step process (deconstruct, point of view, reconstruct, express) developed across two decades of paid client work, and groups can run it on a real problem in the room. Her design credentials are commercial, not theoretical: products and systems for Herman Miller, Toyota, Amazon, IKEA, Knoll, GE and Colgate-Palmolive, with Resolve for Herman Miller named by The New York Times among the defining furniture pieces of the last 100 years. She bridges product innovation and people innovation. The same method behind the Zoë Washlet for TOTO underpins Design the Work You Love, which is why teams leave with a tool they can apply to org design, not just to creativity. She is one of the Marshall Goldsmith 100 Coaches, and the cohort itself was formed inside her Design the Life You Love process. That credential signals trust from the most senior coaching network in business. Recognised by Fast Company as one of the Most Creative People in Business and by Thinkers50 on its Radar list of thinkers most likely to shape the future of organisations. Biography highlights Co-founder and Creative Director, Birsel + Seck, New York. Master’s in Industrial Design, Pratt Institute, on a Fulbright Scholarship; undergraduate in Industrial Design at Middle East Technical University. Author of “Design the Life You Love” (Penguin Random House, 2015) and “Design the Long Life You Love” (Running Press, 2022). Thinkers50 Radar list of 30 thinkers most likely to shape the future of organisations. One of Fast Company’s Most Creative People in Business (2017); member of the Marshall Goldsmith 100 Coaches. Work in the permanent collections of MoMA, Cooper Hewitt and the Philadelphia Museum of Art; clients include Herman Miller, Toyota, Amazon, GE, IKEA, Knoll, Staples, Colgate-Palmolive and TOTO. Biography Most organisations treat innovation as a personality trait. Ayse Birsel treats it as a process. Deconstruction: Reconstruction, the method she has used at Birsel + Seck for two decades, is built around four steps: take the problem apart, change the point of view, put it back together within real constraints, and give the result a clean form. It is the same logic she has applied to a Herman Miller workstation, a Toyota concept car and a TOTO washlet. Her credentials are commercial. Birsel + Seck, the New York studio she runs with Bibi Seck, has produced work for Amazon, GE, IKEA, Staples, Knoll and Colgate-Palmolive. The Resolve System for Herman Miller has been cited by The New York Times among the defining furniture pieces of the last 100 years, and her work sits in the permanent collections of MoMA, Cooper Hewitt and the Philadelphia Museum of Art. She trained at Middle East Technical University and took a master’s at Pratt Institute on a Fulbright Scholarship. The translation from product to people came through her books. “Design the Life You Love” (Penguin Random House, 2015) and “Design the Long Life You Love” (2022) take the same four-step method and apply it to careers, relationships and ageing well. Marshall Goldsmith ran the program himself, and the Marshall Goldsmith 100 Coaches network was formed inside it. She is a member of that cohort and on the Thinkers50 Radar list of thinkers most likely to shape the future of organisations. For corporate audiences, this matters because the method is the product. Teams do not leave with a story about creativity. They leave having deconstructed a real brief, tested a different point of view and reconstructed an option they can take back to the operating model on Monday. Key speaking topics Innovation method and design thinking in practice Deconstruction: Reconstruction as a creative process for teams Designing the work, not just the workplace Life design and career reinvention for senior leaders Creativity under constraint Human-centred product and service design Long-life and longevity design Ideal for Innovation, R&D and product leaders looking for a repeatable creative method. CHROs and learning leaders running senior leadership offsites or executive development programs. Boards and executive teams working through reinvention, succession and second-act questions. Design, marketing and customer experience functions translate creativity into operating decisions. Audience outcomes A working knowledge of the four-step Deconstruction: Reconstruction process applied to a real organisational brief. A different point of view on a problem the team came in with, tested in the room. Language and structure for talking about creativity that does not depend on individual talent. A personal life-design or career-design artefact that senior leaders can take away from the session. Confidence that innovation can be run as a discipline, not staged as a culture programme.

Why organisations work with Annemarie Steen A working method for adaptability rather than a talk about it. Her keynotes ask the room to practise the behaviours she names, so leadership teams leave with something they have already tried, not only heard Faculty credibility on two sides of the discipline: senior facilitator at THNK School of Creative Leadership in Amsterdam and award-winning MBA visiting lecturer at Estonian Business School on Creative and Playful Leadership A clear thesis on why composure and openness matter to commercial decisions, not as soft skills but as the conditions under which good judgement actually happens One of the few European speakers who can hold a serious leadership audience while running an interactive room, useful when a client wants a keynote that does not flatten into a lecture Biography highlights Owner of SteenTrain since 2009, a leadership development practice built around playful, applied-improvisation methods Founder of Play-Break, a concept for short recovery and creativity practices used inside teams and at events Senior facilitator at THNK School of Creative Leadership, Amsterdam Partner at The Core Story, a strategic narrative and storytelling consultancy Visiting lecturer in Creative and Playful Leadership at Estonian Business School for around nine years, awarded Best Visiting Lecturer for the MBA course TEDx speaker (Tallaght, Dublin, 2014, “What happens when you press PLAY”); client work has included the Netherlands Ministry of Defence, KPMG Estonia, the Estonian Employers Confederation, Vlerick Business School and Fontys Biography Most leadership teams know the language of agility and innovation. Far fewer have a working method for the behaviours those words refer to. Steen’s practice fills that gap. She treats playfulness as a discipline, not a mood, and trains senior groups in how to read a room, hold uncertainty without seizing up, and make a decision that is open to revision. The foundation is applied improvisation, taken seriously. At THNK School of Creative Leadership in Amsterdam, where she is a senior facilitator, the methods are used to develop founders and senior leaders running ventures in complex markets. At Estonian Business School, her course on Creative and Playful Leadership has run for around nine years on the MBA, and was awarded Best Visiting Lecturer. The work travels because it is built around behaviours that hold up under business pressure, not just classroom exercises. Her client list reflects that reach. The Netherlands Ministry of Defence, KPMG Estonia, the Estonian Employers Confederation, Vlerick Business School and Fontys have all used her with senior groups. A 2014 TEDx talk in Tallaght, “What happens when you press PLAY”, sets out the underlying argument: that organisations lose access to their own intelligence when they over-perform seriousness, and that recovering creative range is a leadership decision, not a perk. What clients tend to book her for is the combination of a keynote and a room that actually does something. Steen runs the talk as an interactive frame, so a leadership audience leaves having rehearsed presence, listening and response under mild pressure, rather than having taken notes about them. Key speaking topics Playful leadership and leading under uncertainty Applied improvisation for senior teams Creativity, innovation and design thinking in practice Storytelling for business and executive communication Presence, listening and connection at senior level Recovery, attention and team energy at work Ideal for Senior leadership offsites where the brief is to shift behaviour, not deliver information HR, learning and OD leads commissioning executive development on adaptability and creative range Conference organisers looking for an interactive keynote or moderator who can hold a serious leadership room Audience outcomes A direct experience of the behaviours that make a leadership team adaptable, not only a description of them Specific practices for presence, listening and response that can be used inside their own meetings A practical argument for why creative range is a commercial capability, not an HR theme Renewed attention to recovery and energy as inputs to senior decision-making

Why organisations work with Amanda Wakeley She has lived the complete founder’s arc – from a self-funded Chelsea launch in 1990 to international retail distribution, a £1 million buyback from investors in 2009 to reclaim creative control, and ultimately administration in 2021. That full sequence, spoken about with candour, is a business case study that cannot be manufactured. Her client roster – Diana, Princess of Wales, Queen Rania of Jordan, Meghan Markle, Beyoncé, and Michelle Obama among them – is a direct, unanswerable proof of premium brand positioning. It gives her authority to discuss luxury aspiration in terms no white paper or case study can match. She offers a rare dual perspective on founder-investor dynamics: the 2009 buyback and the 2021 administration are two distinct data points on what happens when a founder’s vision and commercial structures diverge. For boards and investors in consumer brands, this is unusually instructive. Three British Fashion Awards and an OBE for services to fashion provide independently verifiable validation of her standing – relevant where audiences need assurance that the speaker’s authority is recognised beyond self-promotion. Having rebuilt her professional identity through podcasting, broadcasting, and speaking after brand closure, she brings a credible and specific account of reinvention that resonates with executives navigating their own pivots – professional, organisational, or strategic. Biography highlights Founded her eponymous luxury womenswear label in 1990; built international distribution through Harvey Nichols, Harrods, and more than 50 retailers across Europe, America, and the Middle East Three-time winner, British Fashion Award for Glamour OBE, 2010, for services to the fashion industry Co-chair of Fashion Targets Breast Cancer since 1996; the campaign has raised more than £16 million for Breast Cancer Now Sky News commentator, live coverage of the 2018 royal wedding of Prince Harry and Meghan Markle Host of the Style DNA podcast (Apple Podcasts, Spotify, British Airways in-flight entertainment); 4.5 million listeners across its first four seasons, now in its ninth season Biography A luxury brand is only as durable as the proposition holding it together. Amanda Wakeley launched her womenswear label in 1990 with a £20,000 loan from her father, having taught herself design while working for a New York retailer. She built the business into a flagship in Mayfair and a presence across Harvey Nichols, Harrods, and more than 50 retailers spanning Europe, America, and the Middle East. Three British Fashion Awards and an OBE for services to fashion followed. Her clientele – Diana, Princess of Wales, Queen Rania of Jordan, Meghan Markle, Beyoncé, Michelle Obama – was itself an argument about what premium positioning can achieve. The business encountered every pressure a founder can face. Acquired by external investors in 2000, Wakeley fought to maintain creative control before buying the label back for £1 million in 2009. COVID-19 dismantled the occasion-wear market the brand depended on. In May 2021, the company went into administration; liquidation concluded in December 2023. Wakeley has spoken with unusual candour about that experience – what she got right, what she would change, and what it reveals about the relationship between a founder’s vision and the commercial structures built around it. Since then, she has rebuilt her platform through broadcasting and media. Her podcast, Style DNA, launched in 2022 and reached 4.5 million listeners within its first four seasons, securing a place on British Airways in-flight entertainment. She remains co-chair of Fashion Targets Breast Cancer, the campaign she helped found in 1996, which has raised more than £16 million for Breast Cancer Now. What organisations receive from Wakeley is something that cannot be taught through a framework: three decades of building a premium brand under real commercial conditions, the full weight of what it costs to maintain creative control, and a frank account of what happens when external forces overwhelm even a well-established brand identity. The reinvention that followed is part of the argument. Key speaking topics Luxury and premium brand building Founder-investor dynamics and creative control Entrepreneurship and self-funded growth Brand reinvention and recovery after setback Personal branding and creative identity Female entrepreneurship and leadership The evolution of the British fashion industry Ideal for Founders, entrepreneurs, and brand leaders in luxury, premium, or lifestyle sectors grappling with growth, investment, or identity decisions Senior marketing and commercial leaders where brand differentiation is a strategic priority Audiences at women’s leadership forums, female entrepreneurship conferences, and diversity summits Executive teams and boards in consumer brands navigating reinvention, restructuring, or recovery Audience outcomes A clearer understanding of the trade-off between scaling a brand and preserving the founding distinctiveness that gives it value First-hand perspective on founder-investor dynamics – the decision points Wakeley faced, what she did, and what she would do differently A specific, candid account of navigating business failure and professional reinvention, grounded in named decisions rather than generic resilience messaging Practical insight into how luxury positioning is built and maintained through choices about distribution, clientele, and product range An understanding of how personal identity and professional brand intersect, and how to manage that intersection deliberately under pressure

Why organisations work with Alexandra Shulman She ran British Vogue for a quarter of a century across three recessions and the collapse of the print advertising model, and can speak with evidence about what protects a consumer brand’s authority through structural change. She has first-hand judgement on the fashion and luxury economy that organisations rarely access at this level, including on body image, diversity on the cover, and the commercial consequences of editorial choices. Her work on the Vogue centenary issue with the Duchess of Cambridge, documented by BBC Two, is a case study in how a legacy title uses a single moment to reset its cultural position. As a monthly Business of Fashion columnist and Mail on Sunday writer, she has a continuing, named public record on industry shifts, so audiences get a point of view grounded in current analysis, not reminiscence. Her three books, including the Sunday Times bestseller Clothes and Other Things That Matter, give her a body of published work on women, consumer culture, and the business of appearance that goes beyond the editor role. Biography highlights Editor-in-Chief, British Vogue, 1992 to 2017, the longest-serving editor in the title’s history. Editor of British GQ, 1990 to 1992, before moving to Vogue. CBE (2018) for services to fashion journalism; OBE (2005) for services to the magazine industry. Author of Inside Vogue: A Diary of My 100th Year (2016) and the Sunday Times bestseller Clothes and Other Things That Matter (Cassell, 2020), alongside two novels. Monthly columnist, The Business of Fashion, from 2017; regular columnist, The Mail on Sunday. Subject of the BBC Two documentary Absolutely Fashion: Inside British Vogue (2016). Strategic advisor to the online fashion marketplace Atterley. Biography British Vogue was a profitable but narrow title when Alexandra Shulman took it over in 1992. Over the next 25 years, she grew monthly circulation to around 200,000, ran the magazine through three recessions, and held its cultural authority as the advertising base of print magazines collapsed around it. When she left in 2017, she had edited more issues of British Vogue than anyone in its history. The commercial case for her voice starts there. The work was not only editorial. It was running a consumer brand at the top of a crowded category, deciding every month which photographers, writers, models and stories earned the cover, and taking the commercial consequences. Her 2009 open letter to fashion houses, pushing back on sample-size-only clothes and the implications for body image on the page, is one example of an editorial call with direct business and cultural weight. Since leaving Vogue, she has kept a continuing public record on the industry as a monthly columnist for The Business of Fashion and as a Mail on Sunday writer. Her books include the diary-memoir Inside Vogue: A Diary of My 100th Year, written around the magazine’s centenary, and Clothes and Other Things That Matter, a Sunday Times bestseller that reads the wardrobe as a way into questions about work, ambition, ageing, and the female consumer. She was appointed OBE in 2005 and CBE in 2018. She advises the online fashion marketplace Atterley. The BBC Two documentary Absolutely Fashion: Inside British Vogue filmed her in 2016 assembling the centenary issue with the Duchess of Cambridge on the cover, a piece of work now used as a reference point for how legacy titles use a single edition to reset their place in the culture. Key speaking topics Brand authority in consumer media and luxury Creative leadership and long-tenure editorial judgement The business of fashion and the luxury economy Women, work, and the culture of appearance Body image, diversity, and the responsibility of the page Reinvention after a long institutional career Ideal for CMOs and brand leaders in luxury, beauty, retail, and consumer media Boards and executive teams of cultural or heritage brands working through audience and format change CHROs and leadership development programmes focused on long-tenure creative leadership and succession Conferences on women in business, consumer culture, and the creative industries Audience outcomes A named insider’s read on how fashion and luxury actually make commercial decisions. A working definition of brand authority that holds up across a generational shift in media. A clearer view of the trade-offs between editorial point of view and commercial reach. A usable perspective on long-tenure creative leadership: how to stay current, when to change, when to hold. A frank account of reinvention after a defining role, drawn from her own post-Vogue work.

Why organisations work with Wayne Hemingway Built one of Britain’s best-known fashion labels from a Camden Market stall and sold it to Pentland in 1999, then converted that experience into a 25-year design consultancy advising developers, local authorities, retailers, and cultural institutions. Operates across categories most speakers do not: fashion, mass-market housing, public-realm regeneration, festival creation, and second-hand retail, all anchored in delivered projects rather than commentary. Founded Festival of Thrift and Charity Super.Mkt, turning sustainability and circular consumption into commercially viable consumer experiences rather than awareness campaigns. Brings an unusually direct view on what makes places, products, and brands resonate, formed by working with Wimpey, TfL, Shelter, the National Trust, Girlguiding, the Southbank Centre, and more than forty local authorities. Biography highlights Co-founder of Red or Dead; won British Fashion Council Streetstyle Designer of the Year three consecutive years, 1996 to 1998; brand sold to Pentland Group in 1999. Co-founder of HemingwayDesign, the multi-disciplinary studio behind the 760-home Staiths South Bank development in Gateshead, awarded Housing Design Awards, Best Housing-Led Regeneration Project by Building Magazine, and Building for Life. Co-founder of Festival of Thrift, the UK’s first large-scale festival of sustainable living, launched in 2013 and now a permanent fixture in the North East cultural calendar. Co-founder of Charity Super.Mkt with TRAID’s Maria Chenoweth; pre-loved fashion concept that launched at Brent Cross in January 2023 and has since traded in Westfield, Bond Street, Manchester, Glasgow, Edinburgh, Oxford, Bluewater, and Bristol. MBE, 2006, for services to the design and fashion industries; Professor of Built Environment at Northumbria University; honorary doctorates from Wolverhampton, Lancaster, and Stafford. Author of “Just Above the Mantelpiece: Mass-Market Masterpieces” (Booth-Clibborn, 2000). Biography Red or Dead started on a Camden Market stall in the early 1980s and ended in 1999 as a Pentland Group acquisition, with three consecutive British Fashion Council Streetstyle Designer of the Year awards along the way. That trajectory, market trader to multi-million-pound exit, is the foundation Wayne Hemingway has been building on for twenty-five years. HemingwayDesign, founded with his wife and business partner Gerardine in 1999, was set up explicitly around affordable and social design. The studio’s signature project, Staiths South Bank in Gateshead, was the practical answer to Hemingway’s “Wimpeyfication and Barrattification” critique of British mass house-building. 760 homes were built with Wimpey on a Homezone model that re-thought streets, parking, and play, and the scheme won Housing Design Awards, Building Magazine’s Best Housing-Led Regeneration Project, and Building for Life. The same instinct, identify a category that has stopped trying and rebuild it with design at the centre, runs through everything that followed. Festival of Thrift, co-founded in 2013, made sustainability a free family weekend rather than a guilt trip. Charity Super.Mkt, launched at Brent Cross in January 2023 with TRAID’s Maria Chenoweth, turned charity-shop fashion into a destination format and reported £3 million in pre-loved sales inside two years. The wider HemingwayDesign client list runs from Transport for London and the National Portrait Gallery to more than forty local authorities working on town-centre and coastal regeneration. For organisations the value is specific: a designer-entrepreneur with the credentials of a fashion founder and the track record of a public-realm developer, who can talk credibly to boards about brand, to operators about retail, and to leadership teams about why design-led businesses outlast design-decorated ones. He is an MBE, a Professor of Built Environment at Northumbria, and an author, but the argument is the work itself. Key speaking topics Entrepreneurship and design-led business building Brand and creative direction Sustainability and the circular economy Place-making, regeneration, and the future of the high street Affordable housing and mass-market design Retail futures and pre-loved consumer behaviour Festivals, culture, and community-led commercial models Ideal for Founders, CEOs, and creative directors of consumer brands. Property developers, housebuilders, and local authority leadership teams responsible for placemaking and regeneration. Retail and hospitality leaders rebuilding propositions for second-hand, sustainable, and experience-led formats. Cultural organisations, charities, and festival operators looking to commercialise purpose without losing it. Audience outcomes A working view of how Red or Dead and HemingwayDesign turned design instinct into commercial categories that lasted. A clearer sense of where sustainability becomes a viable consumer business rather than a marketing position. Specific lessons from Staiths South Bank, Festival of Thrift, and Charity Super.Mkt on building new categories from a standing start. Direct, plainly spoken provocations on brand, place, and the social value of design that audiences leave talking about.

Why organisations work with Vito Di Bari He has run the discipline at scale. As Innovation Designer for Milan’s Expo 2015 candidacy he turned futures thinking into a 25-project urban programme, the kind of translation work most futurist speakers never attempt. He carries genuine institutional weight: former Executive Director of UNESCO’s International Multimedia Institute, contract professor at Politecnico di Milano and Bocconi, founder of the Next Media Lab. He authored “The Neofuturistic City Manifesto” and is the named thought leader of the Neo-Futurism art and architecture movement, giving leadership teams a vocabulary for what comes after the current digital cycle. He is one of a small number of European voices the Financial Times has labelled a “guru of innovation,” which travels well in front of European boards and ministries. He works in English, Italian and across global stages, with TEDx and corporate keynotes spanning five continents, useful for groups planning multi-region leadership offsites. Biography highlights Innovation Designer for Milan’s Expo 2015 candidacy Former Executive Director, UNESCO International Multimedia Institute (IMI), Paris Former contract professor of Design and Management of Innovation, Politecnico di Milano; and of Cross Media Communication, Bocconi University Founder and Scientific Director, Next Media Lab; founder of Di Bari & Associates innovation design studio Author of more than ten books on innovation, including “The Neofuturistic City Manifesto” Described by the Financial Times as “the new European guru of innovation” Biography The hardest job inside a board agenda on AI is not deciding which tools to buy. It is deciding which technological trajectory the organisation is betting on. That is the territory Di Bari has worked in for two decades, first inside UNESCO’s IMI in Paris, then as Innovation Designer for Milan’s Expo 2015 candidacy, where his job was to translate a futures vision into a 25-project urban programme. His academic base is Italian and serious. He held contract chairs at Politecnico di Milano in design and management of innovation, and at Bocconi in cross-media communication. Around that he built Next Media Lab as an international research laboratory and Di Bari & Associates as a design studio, so the ideas he speaks about have been carried into installations, products and city projects, not only into print. The intellectual signature is Neo-Futurism. His 2007 “Neofuturistic City Manifesto” set out a vision of arts, architecture and urbanism after the digital turn, and he is widely credited as the thought leader of the movement. The Financial Times called him “the new European guru of innovation,” and bureau profiles routinely place him in the company of John Naisbitt and Alvin Toffler. For an executive audience, the value is concrete. He has authored more than ten books on innovation, contributed to outlets including Wired, and now anchors his keynote work in AI transformation, with talks such as “Welcome to the AI Transformation” and “A Day in the Future.” A board leaves the room with a structured view of how AI, IoT and emerging technologies will reshape its sector, and a sharper sense of which bets to place now. Key speaking topics Artificial intelligence and generative AI in business Innovation strategy and design Internet of Things and emerging technologies Future of work and organisational AI adoption Neo-Futurism, urbanism and the design of the future Long-range scenario thinking for leadership teams Ideal for Boards and executive committees stress-testing their AI and digital strategy CEOs, CIOs and chief innovation officers planning multi-year technology roadmaps Industry events in retail, manufacturing, financial services and the public sector commissioning a serious futures keynote Leadership offsites in Europe and globally that need a credible practitioner voice on innovation, not abstract trend commentary Audience outcomes A structured forward view of how AI, IoT and emerging technologies will reshape the audience’s sector A clearer language for talking about innovation as a design discipline, not a marketing label Specific examples of how futures thinking has been translated into urban-scale projects, including Expo 2015 Milan Concrete prompts for which AI and digital bets to prioritise inside the next planning cycle

Why organisations work with Tyler Brule He has built, sold, and continued to build international media brands across more than two decades, with Wallpaper* sold to Time Inc and Monocle scaled into print, radio, retail and bureaux across multiple cities. His agency Winkreative has shaped the visual and editorial identity of Swiss International Air Lines, Prada, American Express, BlackBerry, Bally and others, giving him a practitioner’s view on brand systems rather than a commentator’s. He offers a direct point of view on why print, physical retail, and curated journalism continue to command paying customers when the industry consensus says they should not. His Monocle platform reports from cities around the world on business, design, urbanism and soft power, giving senior audiences a global perspective grounded in on-the-ground reporting, not desk research. Biography highlights Founder of Wallpaper* (1996), sold to Time Inc in 1997. Founder of Winkreative (1998), a branding agency with clients including Swiss International Air Lines, Prada, American Express, Bally, Lexus, BlackBerry and Sky News. Founder, chairman and editor-in-chief of Monocle, launched in February 2007. Launched Konfekt in 2020, a Zurich-based quarterly aimed at female readers in English and German. Long-running “Fast Lane” columnist at the Financial Times Weekend. Recipient of the British Society of Magazine Editors’ Lifetime Achievement Award. Biography In 1996, a Canadian journalist recovering from a sniper injury sustained while reporting in Afghanistan took a small business loan and launched a style and design magazine. Wallpaper* became one of the defining publishing launches of the 1990s and was sold to Time Inc within a year. Most editors do this once. Brule did it twice. The second time, in 2007, the conditions were worse. Print was contracting and digital advertising was eating the industry. Monocle launched into that market as a global affairs, design and business title with high cover prices, physical retail shops, and bureaux in cities including Zurich, Tokyo and Hong Kong. It is now a media brand spanning print, Monocle 24 radio, online, retail, and Konfekt, a Zurich-based women’s title launched in 2020 for English and German-speaking markets. Alongside the publishing work, Winkreative has shaped the brand and editorial identity of Swiss International Air Lines after the collapse of Swissair, and worked with Prada, American Express, Bally, Lexus, BlackBerry, and others. That practitioner experience sits behind his commentary: he has actually built the kind of brand systems most speakers describe from the outside. For senior buyers, his value is a specific, contrarian point of view on where attention, loyalty, and paying audiences actually live, supported by a Monocle reporting platform that covers cities, soft power and consumer culture from bureaux on three continents. The British Society of Magazine Editors’ Lifetime Achievement Award sits in that context: recognition of a body of work in an industry that has consolidated around platforms he refused to use. Key speaking topics Brand building in saturated categories The future of media and paid content Design as commercial infrastructure Cities, soft power and the urban consumer Entrepreneurship in declining industries Editorial and customer experience Global trends and consumer culture Ideal for Boards and executive teams in consumer, luxury, media, hospitality, travel and retail Chief marketing, brand and customer officers reviewing brand identity and customer experience Founders and investors building category-defining consumer brands After-dinner and moderation work for senior international audiences Audience outcomes A practitioner’s view on what makes a brand worth paying for, drawn from Wallpaper*, Monocle and Winkreative A clearer sense of where attention and loyalty are actually building in consumer markets, not where the industry says they are A global, city-by-city read on design, retail and consumer behaviour, sourced from Monocle’s reporting bureaux A founder’s account of building media and brand businesses that run against the direction of their industry

Why organisations work with Tom Dixon A working founder and creative director, not a commentator: he runs a brand sold in more than 50 countries and speaks from inside the operating reality of product, manufacturing, and distribution A distinctive view on innovation as material experimentation, formed across four decades from welded scrap-metal pieces in the 1980s to lighting and furniture held in the V&A and MoMA Direct experience of corporate design leadership at Habitat, where he was Head of Design and then Creative Director from 1998 to 2008, alongside running his own studio Public recognition that signals durability rather than novelty: OBE in 2001, CBE in 2025, Designer of the Year at Maison and Objet 2014, London Design Medal 2019 Candour about how the design industry actually works, including the limits of design education, the politics of large retailers, and the economics of running an independent brand at scale Biography highlights Self-taught British designer who began welding furniture from salvaged metal in the mid-1980s after working as a bass guitarist in the band Funkapolitan Head of Design then Creative Director at Habitat, 1998 to 2008 Founder and creative director of Tom Dixon, the brand established in 2002 in Kings Cross, London, with collections distributed across more than 50 countries Appointed OBE in 2001 and CBE in the 2025 New Year Honours list, both for services to British design Designer of the Year at Maison and Objet 2014; recipient of the London Design Medal 2019 Work held in the permanent collections of the Victoria and Albert Museum, the Museum of Modern Art New York, and the Centre Pompidou Author of Dixonary, a 614-page monograph published by Violette Editions in 2013 Biography The S-Chair was made by a designer with no formal training. Tom Dixon taught himself to weld while repairing motorbike frames, and the early pieces that ended up in production at Cappellini in Milan were built from scrap metal in a London workshop. The career that followed is unusual because the self-taught starting point was never quietly dropped; it became the operating thesis of the brand. Between 1998 and 2008, Dixon ran design at Habitat, first as Head of Design and then as Creative Director. He was attempting, inside a large retailer, the same problem most consumer businesses now face: how to keep a coherent design voice while scaling distribution and managing cost. He left in 2008 to put his weight behind Tom Dixon, the brand he had founded in 2002, now a manufacturer and retailer of lighting, furniture, and accessories sold in more than 50 countries. His honours track the long arc rather than a single moment. OBE in 2001, CBE in 2025, Designer of the Year at Maison and Objet in 2014, the London Design Medal in 2019, and permanent collections at the V&A, MoMA New York, and the Centre Pompidou. Dixonary, the 614-page monograph published by Violette Editions in 2013, sets out his working method in his own words: a project, an inspiration image, and a short paragraph on the connection. For a corporate audience the value is specific. Dixon speaks as an operator who has run product, brand, and distribution at scale, who has watched several rounds of industry change from inside a manufacturing business, and who is unusually direct about what works and what does not. He treats design less as a finishing layer than as an argument the company is making, repeated across decades, about why its products exist. Key speaking topics Design as commercial strategy Brand-building from a material idea Innovation through material experimentation The founder-creative director operating model Manufacturing, distribution, and the economics of an independent design brand Lessons from forty years of British design Ideal for CMOs, brand directors, and product leaders considering how design contributes to commercial advantage Founders and CEOs of consumer, lifestyle, and design-led businesses Architecture, interiors, hospitality, and retail audiences working on environments and product Innovation, R&D, and creative leadership audiences interested in long-horizon brand-building Audience outcomes A working definition of design as a strategic asset rather than a styling layer applied late A founder’s account of building and sustaining a brand across four decades of industry change A direct view on how material experimentation translates into commercial product An operator’s perspective on the trade-offs between independent design and scaled retail distribution A more candid sense of how the design and manufacturing industries actually function

Why organisations work with Tim Harford Translates economic and statistical research into commercial decisions, drawing on a Financial Times column that has run for nearly two decades and a body of ten published books. Brings credibility on numbers that very few speakers can match: Honorary Fellow of the Royal Statistical Society and OBE for services to economic understanding. Reframes innovation as an evidence-based discipline grounded in adaptation and failure, the central thesis of “Adapt” and “Messy”, rather than the usual creativity rhetoric. Equips senior audiences to interrogate their own data culture using the rules from “How To Make The World Add Up”, a practical antidote to misleading statistics inside organisations. Trusted as a host, moderator and after-dinner speaker by serious audiences because his radio craft on “More or Less” and “Cautionary Tales” carries directly into the room. Biography highlights Senior columnist, Financial Times, writing “The Undercover Economist”. Presenter, BBC Radio 4’s “More or Less”, the long-running statistics-in-the-news programme. Host of “Cautionary Tales”, a Pushkin Industries podcast, and creator of “Fifty Things That Made The Modern Economy”. Author of ten books, including “The Undercover Economist”, “Adapt”, “Messy”, “How To Make The World Add Up” and “The Truth Detective”. Honorary Fellow of the Royal Statistical Society and of Brasenose College, Oxford; Associate Member of Nuffield College, Oxford. OBE for services to Improving Economic Understanding; winner of the Bastiat Prize (twice), the Wincott Journalist of the Year award, and the Royal Statistical Society award for journalistic excellence. Biography Most organisations claim to be evidence-led. Few are. Decisions are framed in numbers but driven by narrative, and innovation programmes routinely refuse to learn from the failures that contain the most useful information. Harford’s work, across the Financial Times column, ten books and two long-running BBC and Pushkin productions, has been built around exactly that gap. His books map the intellectual territory leaders care about. “The Undercover Economist” reframed everyday markets through the lens of price, scarcity and incentive, and has sold more than 1.5 million copies in thirty languages. “Adapt” and “Messy” argue that progress depends on disciplined trial, error and tolerance for disorder, a more honest account of innovation than most corporate playbooks allow. “How To Make The World Add Up” gives senior audiences a practical method for testing the numbers they are asked to act on. The credentials behind that work are unusual. Honorary Fellow of the Royal Statistical Society, Associate Member of Nuffield College Oxford, an OBE for services to economic understanding, and a body of awards from the Bastiat Prize to the Wincott. As presenter of BBC Radio 4’s “More or Less”, Harford has spent years publicly stress-testing the statistics that shape policy and business commentary, which makes him one of the few speakers who can hold a senior room on data culture without resorting to platitudes. For boards and leadership teams, the value is concrete. Sharper questions about innovation portfolios, a working method for separating signal from noise, and a more honest model of how organisations actually learn. The recent “Cautionary Tales” series, which dissects high-profile organisational failures, has become a reference point for leaders thinking seriously about how decisions go wrong. Key speaking topics Behavioural economics in commercial decision-making Innovation, adaptation and learning from failure Statistical literacy and data culture in organisations Economic forces shaping business and policy Creativity, disorder and team productivity Cognitive bias and judgement under uncertainty Ideal for Boards and executive committees confronting decisions where the numbers are contested Strategy, innovation and R&D leaders building portfolios under uncertainty CFOs and finance functions reviewing how evidence is presented and challenged internally Senior leadership offsites where the brief calls for serious intellectual content with broad relevance Audience outcomes A working method for interrogating statistics and management dashboards before acting on them A clearer model of innovation as managed trial and error, with practical implications for portfolio choice Sharper recognition of the cognitive errors that recur in senior decision-making Concrete references from “Cautionary Tales” and “More or Less” that audiences can use to reframe their own debates