Creativity speakers

Why organisations work with Monty Criswell Five number-one country singles across three decades, including “I Saw God Today” for George Strait, “Five More Minutes” for Scotty McCreery and “Hell of a View” for Eric Church, give him a body of work most after-dinner speakers cannot match. His material is built around real songs played live, not slides. The performance element makes the resilience message land with senior audiences in a way a conventional keynote cannot. A stage 3 colon cancer recovery, tied to active support of Vanderbilt-Ingram Cancer Center, gives the health and recovery thread substance rather than sentiment. Thirty years in a commercial creative industry, with named hits for George Strait, Eric Church, Trace Adkins, Scotty McCreery and Parker McCollum, makes him credible on the realities of sustained creative output under commercial pressure. Biography highlights Co-writer, “I Saw God Today” (George Strait, 2008), CMA Single of the Year; Grammy and Dove nominations. Number-one country singles include “Just Fishin'” (Trace Adkins), “Five More Minutes” (Scotty McCreery, triple platinum), “Hell of a View” (Eric Church, double platinum) and “Handle on You” (Parker McCollum). Two Grammy nominations for Country Song of the Year; multiple BMI and NSAI songwriting awards. Songwriter Session presenter at the Country Music Hall of Fame and Museum, Nashville. Publishing history with Hamstein Music Group, Sony/ATV/Tree and currently Spirit Music Group. B.A. American Studies, cum laude, University of Alabama. Biography Country music is one of the few commercial creative industries where the same writer can sustain hits across thirty years. It is also one of the most unforgiving. Hit songs decide careers, and most writers never get one. Monty Criswell has written or co-written five number-one country singles in four different decades, including “I Saw God Today” for George Strait, which won CMA Single of the Year in 2008 and was nominated for a Grammy. The catalogue runs from Trace Adkins to Eric Church to Parker McCollum. “Five More Minutes” for Scotty McCreery went triple platinum. “Hell of a View” for Eric Church went double platinum. The longevity matters more than any single credit. It is what gives him a working theory of how a person keeps producing under commercial pressure when the room around them changes. Halfway through that run he was diagnosed with stage 3 colon cancer. He recovered, returned to writing, and continued to land number ones. He now supports Vanderbilt-Ingram Cancer Center and sits with his wife on Vanderbilt’s Canby Robinson Society. The cancer story is not a frame for the talk; it is the second source of evidence behind it. “An Evening with Monty Criswell” is a live performance, not a conference session. He plays the songs, tells the stories behind them, and draws lessons on persistence, craft and recovery from a working life that produced both. For organisations looking for an inspirational close to a conference, an awards dinner or a leadership offsite, the offering is unusual: a credible commercial creative who can hold a room with songs the audience already knows. Key speaking topics Resilience and recovery after serious illness Sustaining creative output over a long career Storytelling as a leadership tool Persistence in commercially unforgiving industries Country music songwriting craft Faith and personal values in working life Ideal for Conference closing keynotes and gala dinners where an inspirational live performance is required Sales kick-offs and leadership offsites in need of a resilience and persistence anchor Cancer charities, healthcare audiences and corporate wellness events Audiences in the United States with country music affinity, including Nashville-based events Audience outcomes A live experience of how a hit country song is built, told by its writer A first-hand account of stage 3 cancer recovery and the return to high-output work Stories drawn from a thirty-year Nashville career, with named artists and named songs A close that lands emotionally without leaning on a slide deck

Why organisations work with Morten Toft Two decades of repeat innovation facilitation work for Grundfos, Danfoss and other large Danish manufacturers, which is unusual longevity for a process consultant. Author of Innovationsrecepten (The Innovation Recipe), Jyllands-Postens Forlag, a text used as a teaching reference on Danish innovation and entrepreneurship programmes, giving his methodology a documented, teachable form. Operating background as sales and marketing director at Photo Experten across 146 stores, so the co-creation work is grounded in line-management experience, not pure consultancy. Initiator of Danske Hospitalsklovne and the MAD House Denmark Innovation Centre, which gives him a track record of building functioning organisations from a standing start, not only advising existing ones. Sessions are designed for engagement and recall, with humour and physical staging used deliberately to lock in concepts that pure presentation tends to lose. Biography highlights Author of Innovationsrecepten (The Innovation Recipe), Jyllands-Postens Forlag, 2007, with Ole Vestergaard Poulsen, used as a teaching text on Danish innovation and entrepreneurship programmes. Author of To Be Perfectly Honest (Aschehoug, 2001) on authentic leadership, and Changemakers (2020, with Rachel Rouncefield). Co-developer with Rachel Rouncefield (De Montfort University) of the Changemakers youth empowerment programme, building on the Butterfly Project in Peterborough. Long-running innovation facilitator for Grundfos and Danfoss. Initiator of Danske Hospitalsklovne (Danish Hospital Clowns), founded after working with Patch Adams at the Gesundheit Institute in West Virginia. Co-initiator of the MAD House Denmark Innovation Centre in Middelfart. Former sales and marketing director at Photo Experten across 146 Danish stores; earlier consultant at GREY. Biography Innovation in large industrial businesses tends to fail in a specific way. Ideas accumulate in the central team. Adoption stalls at the operating units. The work that reaches customers is a thin version of what was originally proposed. Morten Toft has spent over twenty years working inside that gap, mainly with Danish manufacturing groups including Grundfos and Danfoss, designing co-creation processes that bring stakeholders into the work early enough to own it. His methodology is documented in Innovationsrecepten (The Innovation Recipe), co-authored with Ole Vestergaard Poulsen and published by Politikens Forlag. The book is used as required reading on Danish innovation and entrepreneurship programmes, which gives his approach a teachable structure rather than the personality dependence common to facilitator-consultants. The work draws on a line operating background. Before consultancy, Toft was sales and marketing director at Photo Experten, with responsibility across 146 retail stores in Denmark. That experience, alongside earlier work at GREY, shapes a facilitation style oriented to commercial outcomes and to the practical question of who actually executes the change. He is also the initiator of Danske Hospitalsklovne, founded after a period with Patch Adams at the Gesundheit Institute in West Virginia, and a co-initiator of the MAD House Denmark Innovation Centre. Alongside the innovation work, Toft has written on authentic leadership and personal development, including a forthcoming memoir, Journey Out to Find Home (Danish edition August 2026, English edition planned). He also runs Changemakers, a youth empowerment programme co-developed with Rachel Rouncefield of De Montfort University and grounded in the Butterfly Project in Peterborough, which involved several thousand young people over eight years. The connecting argument across his output is straightforward: organisations get more from their people, and societies more from their young people, when those involved feel they built the answer themselves. Key speaking topics Co-creation and stakeholder-led innovation Innovation process design in industrial organisations Authentic leadership Personal development and purpose at work Building healthy organisational cultures Youth empowerment and the changemaker concept Ideal for Innovation, R&D and product directors in industrial and manufacturing businesses HR and learning leaders running leadership development programmes C-suite and senior teams setting direction for cultural change Founders and entrepreneurial leaders running participation-led organisations Audience outcomes A working model for designing innovation processes that build adoption alongside ideas. Specific tools for involving operating-unit stakeholders before, not after, decisions are made. A clearer view of the link between authentic leadership behaviour and commercial culture. Practical examples drawn from long-running work with Grundfos, Danfoss and Danish retail.

Why organisations work with Nadja Swarovski Three decades of brand-building inside one of the world’s most recognisable luxury names. She initiated the Swarovski Collective (1999), Swarovski Crystal Palace (2002) and Atelier Swarovski (2007), and oversaw collaborations with more than 200 designers including Alexander McQueen, Zaha Hadid, Karl Lagerfeld and Viktor & Rolf. Sustainability built into commercial strategy at executive board level, not bolted on as communications. She established Swarovski’s sustainability function in 2012, ran it through 2020, and aligned the company with the UN Global Compact and the UN Women’s Empowerment Principles. Family-business governance from the inside. She sat on the executive board of a fifth-generation family company through a major repositioning, and can speak credibly to how creative direction, sustainability and commercial discipline coexist at scale. An ecosystem of working relationships across fashion, design, philanthropy and conservation. Built through chairmanship of the Swarovski Foundation, presidency of Fashion Council Germany, and roles at UCLA School of Theater, Film and Television, FIT Foundation, and The Nature Conservancy’s European Council. Currently CEO of Really Wild Clothing and Managing Partner at Pegasus Private Capital. She is using the same brand-building principles in her own businesses now, with her own capital and her own operational time at stake. Biography highlights First female member of the Executive Board of Swarovski, with responsibility for global brand strategy, communications and sustainability across a business with annual turnover of approximately €3.5 billion. Created and led Swarovski Crystal Palace and Atelier Swarovski, the platforms behind collaborations with Zaha Hadid, Alexander McQueen, Karl Lagerfeld, Viktor & Rolf, Yves Béhar, Tom Dixon and more than 200 other designers. Founded the Swarovski Foundation in 2013, a UK-registered charity supporting culture and creativity, human empowerment and environmental conservation, including the Swarovski Foundation Centre for Learning at the Design Museum in London. Established Swarovski’s Sustainability Department in 2012 and ran sustainability strategy through 2020, aligning the company with the UN Global Compact and the UN Women’s Empowerment Principles. Currently CEO and majority owner of Really Wild Clothing and Managing Partner of Pegasus Private Capital, a UK investment firm focused on heritage and craft-led brands. Chevalier de l’Ordre des Arts et des Lettres (2016), honorary doctorate from the University of the Arts London (2019), Business of Fashion BoF 500 (2020), Positive Luxury Business Leader of the Year (2020). Biography Most heritage luxury brands lose cultural ground when they cannot reconcile preservation with relevance. Swarovski, the Austrian crystal company founded by Daniel Swarovski in 1895, became one of the few heritage houses that did both, through twenty-six years of work led by Nadja Swarovski as the first woman on its executive board. The contribution was structural. She built Swarovski Collective, Swarovski Crystal Palace and Atelier Swarovski as platforms for designers who otherwise had no commercial reason to engage with a crystal supplier. The collaborator list runs to more than two hundred and includes Alexander McQueen, Zaha Hadid, Viktor & Rolf, Karl Lagerfeld and Christopher Kane. Swarovski moved from component supplier to cultural participant, and the brand equity that followed underwrote the broader business. In 2012 she established Swarovski’s sustainability function and ran it through 2020, aligning the company with the UN Global Compact and the UN Women’s Empowerment Principles, and embedding ethical sourcing and traceability into a global manufacturing operation. The Swarovski Foundation, which she founded in 2013, made the philanthropic side of that work formal as a UK-registered charity organised around three pillars: culture and creativity, human empowerment, and conserving natural resources. Since leaving the family company at the end of 2021, she has moved from operator inside one company to operator-investor across several. As Managing Partner at Pegasus Private Capital she invests in heritage businesses where craft and traceability function as commercial advantages rather than aesthetic gestures. As CEO of Really Wild Clothing, the British countryside brand she and her husband acquired in 2024, she is rebuilding the supply chain around UK mills including Lovat, Kynoch, Harris Tweed, Lochcarron, Linton and Liberty. The investment thesis is the same one that worked at Swarovski: cultural relevance compounds when the supply chain is real. Key speaking topics Brand strategy in heritage and luxury businesses Sustainability as commercial strategy Creative collaboration as a brand asset Family-business governance and next-generation leadership Philanthropy and corporate foundation design Women’s leadership in legacy companies Ideal for CEOs and executive boards of heritage, luxury and consumer brands Chief Brand Officers, CMOs and creative directors managing cultural relevance Chief Sustainability Officers integrating ESG commitments into commercial strategy Family business owners and next-generation leaders preparing for repositioning or succession Audience outcomes A specific account of how creative collaboration generated brand equity at Swarovski, traced through the named platforms that built it. Examples of sustainability translated into operating decisions across product, supply chain, governance and reporting, with the UN frameworks the company aligned to. Insider knowledge of family-business governance at executive board level during a major brand repositioning. Honest assessment of which sustainability and brand trade-offs are commercially real, drawn from current investment decisions at Pegasus Private Capital.

Why organisations work with Nicholas Janni His Leader as Healer framework provides a named, structured diagnosis – the dominant “leader-as-executor” model produces measurable fragmentation in organisations – and a practical developmental map for what replaces it, validated by a major book award and embedded in IMD executive programmes. His background as a RADA-trained theatre director is the methodological foundation of his work, not a biographical detail – it is why his approach to embodied leadership presence and performance under pressure has a rigour that purely cognitive or academic development lacks. He bridges executive education at one of the world’s leading business schools (IMD) and direct coaching with senior leadership teams, reaching the level of intellectual rigour and applied practice that board-level audiences require. He addresses the specific failure mode that formal leadership development typically cannot: the gap between a leader’s strategic intelligence and their actual capacity to create trust, genuine engagement and high performance in a room. Biography highlights Author of Leader as Healer (LID Publishing, 2022), winner of Business Book of the Year and Leadership Book of the Year at the Business Book Awards 2023, selected from over 300 nominated titles Visiting Professor of Leadership at IMD Business School, Lausanne; previously Associate Fellow at Oxford Said Business School (2010-15); continues to teach regularly at Oxford Said Former theatre director who taught acting at the Royal Academy of Dramatic Art (RADA), London Co-founded Olivier Mythodrama (2001), an arts-based leadership development consultancy; founded CORE PRESENCE (2013); co-founded Matrix Development (2023) Previous Visiting Fellow at Cranfield School of Management Clients have included Rolls-Royce, Swiss Re, Intel, Microsoft, FedEx and senior UK government figures including Permanent Secretaries Biography Leadership competence and leadership presence are not the same thing. Organisations invest heavily in the former – analytical capability, strategic clarity, execution discipline – and then discover that the latter is what determines whether a team actually performs. This gap is the problem Nicholas Janni has spent his career addressing. His book Leader as Healer (LID Publishing) was named Business Book of the Year at the Business Book Awards 2023. It makes a specific argument: the dominant “leader-as-executor” model, built around rational analysis and transactional relationships, produces fragmentation rather than coherence. The antidote is not softer management but a more complete form of leadership – one that integrates “being” with “doing”, emotional intelligence with analytical rigour, presence with performance. As Visiting Professor of Leadership at IMD Business School, Janni works with senior executives inside some of the world’s most demanding executive education programmes. His methodology draws on 30 years of research into peak performance and human potential. It began in his first career as a theatre director: he taught acting at the Royal Academy of Dramatic Art and directed his own company, developing a rigorous, practical understanding of presence and performance that he has since applied directly to executive leadership. The practical result is a distinctive approach to developing leaders – one that expands perceptual bandwidth, emotional coherence and depth of presence alongside strategic capability. He co-founded Olivier Mythodrama, a pioneering arts-based leadership consultancy, before building CORE PRESENCE and, most recently, co-founding Matrix Development, a practice dedicated to transformational executive coaching and coach training. Key speaking topics Leadership presence and embodied performance The Leader as Healer framework Transformational leadership and inner development Emotional intelligence and regulation in leadership Peak performance and the integration of being and doing Mindfulness and presence practices for executive audiences Building high-performance team cultures Creativity and the conditions for innovation Ideal for C-suite executives and senior leadership teams seeking to develop the inner dimensions of leadership performance CHROs and executive development leads designing high-level leadership programmes Business school executive education programmes and corporate leadership academies Organisations navigating sustained complexity where the quality of leadership presence is a performance-critical factor Audience outcomes A clear understanding of the “leader-as-executor” versus “leader-as-healer” distinction, and what it means practically for their own leadership approach Practical techniques for developing presence, deep listening and emotional coherence in high-stakes leadership contexts A framework for distinguishing between “doing” and “being” as leadership modes, and how integrating both drives sustained performance Greater self-awareness of how personal perceptual and emotional patterns affect team culture, trust and decision quality Specific practices drawn from Janni’s work that can be applied independently after the session

Why organisations work with Nigella Lawson Sustained public presence across three decades, from broadsheet journalism through ten million books sold to a current generation of streaming and broadcast audiences. Few hosts carry that breadth of recognition into a corporate room. Track record performing to large, paying audiences in a conversational format, including a sell-out at the Sydney Opera House in 2016. Translates directly to keynote stages, fireside formats and audience interviews. A working point of view on reinvention, women’s voice in competitive industries, and the place of joy and care in working life, drawn from her own career and public life rather than borrowed from a management framework. Brand value at the level of awards hosting, after-dinner sets and partnership activations, where the booking is partly about the room’s response to the name on the programme. Biography highlights Author of How to Eat (1998) and How to Be a Domestic Goddess (2000), the latter winning the British Book Award for Author of the Year. Over ten million books sold globally across titles including Nigella Bites, At My Table, Simply Nigella and Cook, Eat, Repeat. Television series for Channel 4 and the BBC including Nigella Bites, Nigella Feasts, Simply Nigella and Nigella’s Cook, Eat, Repeat. Deputy Literary Editor of The Sunday Times; originated the restaurant column in The Spectator; food columnist for British Vogue; contributor to the Guardian, Observer, Daily Telegraph, Gourmet and Bon Appetit. Fortnum and Mason TV Personality of the Year, 2016. Guild of Food Writers Award and World Food Media Gold Ladle for Nigella Bites. Studied Medieval and Modern Languages at Lady Margaret Hall, University of Oxford. Biography How to Eat sold three hundred thousand copies in 1998. Its successor, How to Be a Domestic Goddess, won the British Book Award for Author of the Year in 2001. Those two books did something the food category had not previously achieved at that scale in the UK, they spoke to a reader rather than instructing a cook, and they established Nigella Lawson as a writer first and a presenter second. The journalism came first. After Oxford she was Deputy Literary Editor of The Sunday Times, originated the restaurant column at The Spectator, and wrote the food column at British Vogue. The prose carried across into broadcast when Nigella Bites launched on Channel 4 in 1999. The series and its successors, Nigella Feasts, Simply Nigella, At My Table and Cook, Eat, Repeat, sold the books they accompanied and reset the tone of food television in English. The corporate proposition draws on the same instincts. Audiences come for warmth, command of an audience, and a presence that has been earned across thirty years of public work, including a sell-out at the Sydney Opera House in 2016 and frequent appearances at awards, festivals and live events. The themes she takes onto a stage, reinvention, the long arc of a working life, the right to claim pleasure and care as serious values, are spoken by someone who has lived them publicly rather than studied them. For organisations she works best as a host, conversation partner or after-dinner draw, where the room responds to a familiar voice on a programme that needs an anchor. Her cumulative sales of over ten million books and her continued reach across broadcast and streaming are the most concrete measure of why audiences turn up. Key speaking topics Reinvention and the long career Women’s voice in competitive industries Wellbeing, joy and care as working values Creativity and curiosity in commercial work Conference hosting and fireside conversation Awards hosting and after-dinner appearances Ideal for Corporate awards nights, gala dinners and partner conferences seeking a recognisable host Internal leadership and culture events on reinvention, voice or wellbeing Brand activations, customer events and retail partnerships in food, lifestyle and consumer categories Women’s networks and senior women’s leadership programmes Audience outcomes A high-recognition moment that lifts the energy and attendance of the wider programme A first-person account of building and rebuilding a public career across thirty years A direct, conversational take on wellbeing and self-compassion at work, framed by lived experience rather than wellness language A confident, professionally hosted conversation or interview segment

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 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 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 Peter York He named and codified a market segment that became a global reference point. Co-authoring The Official Sloane Ranger Handbook gave brands a working language for tribal segmentation that is still in use forty years later. He has run the brand-rehabilitation playbook on the actual problem, not the conference version of it. SRU clients have included Dunhill, Coutts & Co, Tiffany, Mont Blanc, Liberty, Jaeger, The Economist and The Financial Times. He moves between editorial authority and consulting authority in a way few speakers can. Harpers & Queen, Management Today and GQ on one side; ICI, Unilever, Marks & Spencer, BAT and WH Smith on the other. He carries a long memory of how consumer culture actually shifts. Two BBC2 series on style and the 1980s, Peter York’s Hipster Handbook, and Dictators’ Homes are the visible output of a thirty-year archive of trend reading. Biography highlights Co-author, The Official Sloane Ranger Handbook (with Ann Barr); author of Style Wars, Peter York’s Eighties, and Dictators’ Homes. Co-founder, SRU Ltd, and architect of the SRU Group of nine specialist consultancies; clients have included ICI, Unilever, Marks & Spencer, BAT, Clarks, Allied Dunbar, Thorn EMI, WH Smith and Ladbroke. Style Editor at Harpers & Queen for ten years; columnist at The Independent on Sunday, GQ and Management Today. Brand and positioning advisor to Dunhill, Coutts & Co, Tiffany, Mont Blanc, Liberty, Jaeger, The Economist, The Financial Times, Channel 4, the BBC and UK Government clients. Visiting Professor, University of the Arts London; President of The Media Society. Broadcaster: two BBC2 series on style and the 1980s; Peter York’s Hipster Handbook (BBC4, 2016); The Rise and Fall of the Adman; regular contributor to BBC Newsnight. Biography Most marketing teams describe their customers in language that was already a decade old when they wrote the deck. The Sloane Ranger arrived in Harpers & Queen in 1975 and in The Official Sloane Ranger Handbook in 1982 because Peter York and Ann Barr were watching the same people the rest of the industry was missing. The book sold in millions and became a working reference for any brand trying to talk to a tribe rather than a demographic. That instinct hardened into a consulting practice. With Lord Stevenson, York co-founded SRU Ltd and built it into a group of nine specialist agencies through the 1980s, working on brand positioning, repositioning and what York calls brand rehabilitation for ICI, Unilever, Marks & Spencer, BAT, Thorn EMI, WH Smith and Ladbroke. The luxury and editorial side of the practice ran in parallel: Dunhill, Coutts & Co, Tiffany, Mont Blanc, Liberty, Jaeger, The Economist and The Financial Times. The writing kept pace with the consulting. Style Wars, Peter York’s Eighties, Dictators’ Homes and roughly eleven books in total, alongside columns at The Independent on Sunday, GQ and Management Today, and a long second life on screen with two BBC2 series on style and the 1980s, Peter York’s Hipster Handbook on BBC4, and the documentary The Rise and Fall of the Adman. He is a Visiting Professor at the University of the Arts London and President of The Media Society. For a senior brand or marketing team, the value is specific. York can sit across pricing, positioning and reputation work and tell a board what their customers are about to want, in language that does not sound like a trend report. He has been doing it on the same client list, in print and on screen, for forty years. Key speaking topics Brand strategy and brand rehabilitation Luxury markets and high-end consumer behaviour Consumer tribes, segmentation and cultural identity Marketing communications and positioning Cultural change and creative industries Reputation and corporate communications Ideal for CMOs, brand directors and marketing leadership teams running repositioning or rehabilitation work Boards of luxury, premium and heritage brands managing relevance under generational change Senior teams in retail, financial services and media translating cultural shifts into commercial decisions Communications and reputation leads working on category narrative Audience outcomes A sharper read on the cultural drivers behind shifts the data is only beginning to show A working language for tribes and segments that goes beyond demographic categories Specific examples of brand rehabilitation drawn from named luxury and heritage clients A frame for separating real positioning problems from surface communications problems

Why organisations work with Phil Hansen A creativity argument grounded in a documented personal case. The shift from precision pointillism to working with tremor became the basis for a body of work, not a recovery story bolted onto a talk. A live participatory format. Audiences co-create a physical artwork during the session and keep it, which gives the message a durable internal artefact most keynotes cannot leave behind. A TED2013 main-stage talk that has sustained a public audience for more than a decade, used in classrooms and corporate learning programmes alongside the keynote. A track record across creative and commercial platforms including Adobe MAX, the Grammy Awards, Disney, the Rockefeller Foundation and the World Summit of Nobel Peace Laureates. A Guinness World Record portrait built from 52,901 individual dots, which functions as a tangible proof point for the discipline of working within self-imposed constraint. Biography highlights TED2013 speaker, “Embrace the Shake.” Author of “Tattoo a Banana” (Perigee/Penguin Random House, 2012) and “Phil Hansen: In Process” (2015). Guinness World Record holder for the largest connect-the-dots image (52,901 dots, 2017). Keynote and live-art appearances for Adobe MAX, the Grammy Awards, Disney, Skype, Mazda, the Rockefeller Foundation, the Million Dollar Round Table and the World Summit of Nobel Peace Laureates. Featured by Discovery Channel, Good Morning America, BBC and PBS. Biography A neurologist’s instruction to “embrace the shake” became the starting point for an entire body of work. The pointillism Hansen had trained on was no longer physically available to him. What replaced it was a practice built around unusual materials, unusual surfaces and the deliberate use of constraint as the brief itself, captured in the time-lapse videos that have become his signature output. The TED2013 talk made that case to a general audience. The keynote translates it for organisations: when teams treat constraint as the problem, they spend their energy on the constraint. When they treat it as the brief, they spend it on the work. The argument is simple, the proof is the practice it produced. The corporate engagements followed the talk: Adobe MAX, the Grammy Awards, Disney, Skype, Mazda, the Rockefeller Foundation. The format is unusual for a business audience because the audience makes something. A collaborative artwork is produced live in the room and stays with the client, which gives the session a physical residue most keynotes do not. The Guinness record for a connect-the-dots image of 52,901 points sits alongside the books, “Tattoo a Banana” and “In Process,” as evidence that the method is not a story about overcoming an obstacle. It is a working discipline that has produced output for two decades. Key speaking topics Creativity under constraint Innovation culture in resource-limited environments Reframing limitation as creative brief Collaborative creative practice Resilience and creative reinvention Experiential keynote and live-art performance Ideal for Innovation, R&D and product leaders building team creative practice under tighter budgets CHROs and culture leads running offsites, leadership conferences and post-restructure team events Marketing, design and brand teams looking for an experiential session rather than a lecture format Conference programmers seeking a high-energy participatory keynote to anchor a programme Audience outcomes A working definition of constraint as a creative input, with a specific example produced live in the room A physical collaborative artwork created during the session that the organisation keeps Language to use internally when teams default to treating constraint as the problem A reference case (the shake, the materials, the record) that travels easily inside the organisation after the event

Why organisations work with Philip Sheppard He has actually built and runs an AI creative business. LifeScore, the generative music platform he co-founded with Siri creator Tom Gruber, has raised £11m and ships to Warner Music Group and Octopus Ventures-backed commercial partners. The argument is grounded in a working company, not a slide on disruption. He brings a working composer’s view of human-AI collaboration. Most AI commentary is by analysts. His comes from sitting at the boundary where a human writes the musical raw materials and the machine selects, layers and mixes them in real time, which is the same architectural question now facing design, copy, video and brand teams. The credentials carry weight in a creative-leadership audience. A Fellowship of the Royal Academy of Music, an Academy of Motion Picture Arts and Sciences Music Branch membership, and conducting all 205 national anthems for the London 2012 Olympics with the London Philharmonic Orchestra at Abbey Road are not transferable credentials. He has a track record of speaking to technology buyers, not music audiences. Keynotes for Ernst & Young, Deloitte, Google, Facebook, YouTube and Kyu Collective, and on stages including C2MTL, TTI Vanguard and Business Innovation Factory. He turns an abstract debate into a live demonstration. He performs and composes on stage using a six-string electric cello, which makes the argument about generative systems and human craft visible rather than theoretical. Biography highlights Founder and CEO of LifeScore, an AI adaptive music platform co-founded with Tom Gruber, co-creator of Siri at Apple; backed by Warner Music Group and Octopus Ventures. Fellow of the Royal Academy of Music, awarded as a lifetime recognition of services to music and education. Composer of more than 65 scores for film, television, gaming and theatre, including Detroit: Become Human (Sony), the Star Wars: The Force Awakens Comic Con trailer, Mercury 13 (Netflix), In the Shadow of the Moon and Meru. Conducted and arranged all 205 national anthems for the London 2012 Olympic winners’ ceremonies, recorded with the London Philharmonic Orchestra at Abbey Road Studios. Music director for the London handover at the 2008 Beijing Olympics closing ceremony; music producer for the Tour de France, Rugby World Cup and the COP21 Paris climate summit. Member of the Academy of Motion Picture Arts and Sciences, Music Branch (2017) and the Television Academy; author of Music Makes Your Child Smarter (Schirmer Trade Books). Biography LifeScore was incubated inside Abbey Road Studios for a reason. The company was set up to answer a question that now matters far beyond music. If a machine can generate plausible creative output on demand, what exactly is the human still meant to do? Philip Sheppard, a composer and Fellow of the Royal Academy of Music, co-founded the platform with Tom Gruber, co-creator of Siri at Apple, and now runs it as CEO. Warner Music Group and Octopus Ventures have backed it through an £11m funding round. The architecture of LifeScore is, in effect, the architecture of any serious human-AI creative system. Composers and musicians build the raw musical materials. The machine selects, layers, sequences and mixes them in real time around the listener’s environment. The output is generated, but the judgement, taste and craft that make it sound human are not. That is the model Sheppard now describes to technology and creative leaders trying to industrialise generative AI without losing what made their work recognisable in the first place. The credentials behind the argument are concrete. Sheppard has composed more than 65 scores for film, television and gaming, including Detroit: Become Human, the Mercury 13 documentary for Netflix and In the Shadow of the Moon. He conducted and arranged all 205 national anthems for the London 2012 Olympics with the London Philharmonic Orchestra at Abbey Road, and was music director for the London handover at the Beijing 2008 closing ceremony. He sits as a voting member of the Academy of Motion Picture Arts and Sciences and the Television Academy, and wrote Music Makes Your Child Smarter for Schirmer Trade Books. His keynote audiences are mostly outside the music industry. Ernst & Young, Deloitte, Google, Facebook, YouTube and Kyu Collective have all booked him, alongside stages such as C2MTL, TTI Vanguard and Business Innovation Factory. The reason is the same in each case. He is one of the few people who can speak about generative AI and creative work from the position of having shipped a company that does it, and a body of work that depends on it being done well. Key speaking topics Human-AI collaboration in creative work Generative AI and the future of creative industries Building an AI venture from inside a creative practice Music, data and adaptive systems Innovation and creativity as a managed discipline The role of craft in machine-augmented teams Ideal for Chief technology, AI and digital officers shaping how generative AI is deployed across creative, brand and design functions Chief marketing, brand and customer-experience leaders whose teams now produce content with generative tools Innovation, R&D and product leadership at media, entertainment, consumer and platform businesses Leadership offsites at technology, consulting and professional services firms looking for a credible voice on creativity and AI Audience outcomes A clearer account of what generative AI changes about creative production, and what it does not A working mental model for dividing labour between human judgement and machine generation in creative workflows Named examples of how an AI creative venture is actually built, funded and run, drawn from LifeScore’s own history A sharper sense of where craft and taste still differentiate a brand or product in a generative environment A live demonstration of human-machine creative collaboration through performance, not slides

Why organisations work with Philippe Starck He has redefined entire categories through design, not decorated them. The Delano in Miami did not improve hotels, it created the boutique-hotel format that Ian Schrager built a global business on. The Louis Ghost chair sold over a million units by reimagining what mass-produced furniture could look like. His “democratic design” doctrine reframes design as a commercial and ethical question rather than an aesthetic one. The argument that quality belongs at the lowest possible price, not the highest, is directly useful to organisations rethinking product strategy and customer access. He works at every scale a business cares about. Hospitality interiors for Royalton, Mondrian, Sanderson, Le Meurice. Industrial products for Alessi, Kartell, Microsoft, Vitra. Bathroom systems for Hansgrohe AXOR since 1994. Few speakers have applied a single design philosophy across that many sectors and lived to argue for it. He brings a working creator’s view of innovation, including recent collaborations on AI-designed furniture with Kartell and Autodesk, and architectural work on the Axiom space station. He speaks about where design is heading from inside the work, not from outside it. Biography highlights Designed the private apartments of President François Mitterrand at the Élysée Palace and the Café Costes in Paris, the two commissions that established his international reputation. Created the boutique-hotel category with the Delano Miami in collaboration with Ian Schrager, followed by Royalton, Paramount, Mondrian, Hudson, Sanderson, St Martin’s Lane, and Le Meurice. Iconic industrial designs include the Juicy Salif citrus reamer for Alessi, the Louis Ghost chair for Kartell (over one million units sold), the Costes chair, the Microsoft Optical Mouse, and the AXOR bathroom collections for Hansgrohe. First French speaker invited to a TED conference; his 2007 talk “Design and destiny” remains one of the platform’s most viewed design lectures. Knight of the Legion of Honour, Officer of Arts and Letters, recipient of the D&AD President’s Award, the Harvard Excellence in Design Award, and the Grand Prix National de la Création Industrielle, among more than 100 international awards. Appointed artistic director for the French presidency of the European Union in 2008, and Ambassador of Creativity and Innovation in 2009. Biography The Delano in Miami opened in 1995 and changed the economics of hospitality. Before it, hotels competed on stars, location, and service. After it, hotels competed on atmosphere and identity. The boutique-hotel category, now a global multi-billion-dollar segment, was built on a single project that Philippe Starck designed for Ian Schrager. The lesson, for any business that thinks design is a finishing layer, is that one designed space can create a market. That pattern, design that creates rather than decorates, runs through fifty years of work. The Café Costes in 1984 reinvented the Parisian café and produced a chair that sold 400,000 units. The Louis Ghost chair for Kartell sold over a million. Hospitality interiors for the Mondrian, Royalton, Sanderson, and Le Meurice. Bathroom systems with Hansgrohe AXOR since 1994. Industrial products for Alessi, Vitra, Microsoft, Emeco, and Duravit. The discipline behind these is what Starck calls democratic design: the argument that quality belongs at the lowest possible price the market can support, not the highest, and that a designer’s obligation is to make good things widely available rather than rare things expensive. This is a usable doctrine for executives, not just designers. It treats design as a commercial decision about category position, brand identity, product economics, and customer access. It rejects the binary of luxury versus mass-market and asks instead what quality at scale should look like. It is also a working philosophy, currently being applied to AI-collaborative furniture with Kartell and Autodesk, to hospitality projects from Paris to Zurich to the French Riviera, and to the Axiom commercial space station. Starck is a Knight of the Legion of Honour, an Officer of Arts and Letters, and the recipient of the Harvard Excellence in Design Award, the D&AD President’s Award, and more than 100 international honours. He was the first Frenchman invited to a TED conference and served as artistic director for the French presidency of the European Union. For organisations rethinking how they show up to customers, he offers something rarer than a topic. He offers a method that has built categories. Key speaking topics Democratic design and the economics of quality at scale Design as a driver of brand identity and category creation Hospitality and experience-led environments Product innovation and industrial design Sustainability, dematerialisation, and the future of materials Creativity, AI, and the changing role of the designer The philosophy of useful objects Ideal for Hospitality and consumer brand leadership teams reconsidering how environments and products carry brand identity CMOs, chief brand officers, and customer experience executives who need to argue for design as a commercial lever Product, R&D, and innovation leaders facing decisions about quality, materials, and category position Founders and senior leaders building businesses where design choices and brand identity are inseparable Audience outcomes A working definition of democratic design and how it applies to product strategy, brand position, and pricing decisions A clearer view of when design creates a category versus when it decorates one, with named examples from hospitality and consumer goods Direct exposure to a creator’s view of where design is heading, including AI collaboration, dematerialisation, and the post-plastic era Permission to treat design as a board-level question rather than a downstream finishing exercise