Creativity speakers

Why organisations work with Speech Thomas His B.R.A.V.E. framework (Bold, Resilient, Adaptable, Vulnerable, Encouraging) is proprietary, named IP built from firsthand experience navigating commercial failure, personal loss, and creative reinvention across a multi-decade career, not a theoretical model adapted from management literature He integrates live musical performance structurally into the keynote itself, creating a shared emotional experience that makes the framework’s principles felt rather than simply heard – a format no other leadership speaker with equivalent platform credibility replicates The vulnerability pillar of B.R.A.V.E. carries specific weight: his origin story involves growing up in statistically one of the most difficult environments for Black youth in America and losing both his grandmother and brother in the same week; circumstances that directly shaped the framework’s architecture His 16 Bars documentary – in which he led a songwriting and recording collaboration inside a Virginia jail – provides independently verified, third-party evidence that his approach to creativity and leadership character works in conditions far more demanding than any corporate conference room The Dr. Terence N. Thomas Scholarship, a 501(c)3 he established in 1992, has directed over $1M in educational stipends to students from underserved communities – demonstrating that the «encouraging» principle of B.R.A.V.E. is operational, not rhetorical Biography highlights Founder, lead vocalist and producer of Arrested Development; two-time Grammy winner: Best New Artist and Best Rap Performance (1993) Arrested Development’s debut album 3 Years, 5 Months and 2 Days in the Life Of… achieved multi-platinum certification in the United States «Tennessee» named one of the Rock and Roll Hall of Fame’s «500 Songs That Shaped Rock and Roll» Solo single «Like Marvin Gaye Said» held #1 on Japan’s Tokio 100 chart for seven consecutive weeks; solo album Spiritual People certified Gold by the RIAJ Producer and collaborator on 16 Bars (2018), an award-winning documentary following a music rehabilitation programme inside Richmond City Jail — winner of Best Documentary at the Downtown L.A. Film Festival Creator of the B.R.A.V.E. leadership framework, now delivered as a keynote at corporate, association and government conferences globally Founder of the Dr. Terence N. Thomas Scholarship (501(c)3, est. 1992), which has provided over $1M in stipends to university students from at-risk communities across three decades Biography The qualities most organisations say they want from their leaders – courage under pressure, the ability to adapt without losing direction, the willingness to be honest when honesty is costly – are precisely the ones that conventional leadership development struggles to instil. Why? Because they cannot be taught from a slide deck. They are formed through experience, reinforced through narrative, and transmitted most effectively when the person articulating them has actually lived them. Speech Thomas built his B.R.A.V.E. framework (Bold, Resilient, Adaptable, Vulnerable, Encouraging) from a career that required each of those qualities under genuine pressure. As the founder and lead vocalist of Arrested Development, he led a group that achieved two Grammy Awards and multi-platinum sales for a debut album that ran directly against the dominant commercial trends of its era. When the group disbanded, he rebuilt independently, building a substantial solo career across five albums and finding his largest audience in Japan – territory he entered without the infrastructure that had supported the group’s earlier success. What distinguishes his keynote from the standard musical-career-as-leadership-metaphor format is that the framework is specific and teachable, and the performance is structural rather than decorative. Speech integrates live music into the keynote itself because the argument he is making – that vulnerability and creative courage are leadership competencies, not personality traits – is demonstrated more effectively through song than through slides. His 16 Bars documentary, in which he led a songwriting and recording programme inside Richmond City Jail, provides third-party evidence that this methodology produces results in conditions that test it genuinely. The Dr. Terence N. Thomas Scholarship, which he established in 1992 following his brother’s death and which has since distributed over $1M to students from underserved communities, is where the «encouraging» pillar of B.R.A.V.E. becomes most legible. For boards and senior leadership teams evaluating whether a speaker’s values are substantive or performative, it is a credible and verifiable answer. Key speaking topics B.R.A.V.E. leadership framework Leadership character development Creativity and the artistic process as organisational tools Storytelling and voice in leadership communication Resilience and adaptability under pressure Music, culture and social impact Criminal justice reform and rehabilitation through creative practice Ideal for Senior leadership and executive teams exploring the relationship between character, culture and organisational performance CHROs and talent development leaders building leadership pipeline programmes that go beyond technical capability Conferences in creative industries, media, entertainment and arts sectors DEI and culture transformation events requiring a speaker whose credibility is built from lived experience rather than consultancy Audience outcomes A named, five-part leadership framework (B.R.A.V.E.) that individuals can apply to their own professional context A reframe of vulnerability from personal risk to leadership asset – with a credible, tested example of why it matters Practical perspective on how storytelling and creative expression function as tools for communication, not just culture A more concrete understanding of what distinguishes leadership under pressure from leadership in comfortable conditions Where a live performance element is included: a shared emotional experience that anchors the session’s themes in a way that participants recall and reference beyond the event itself

Why organisations work with Stephen Shapiro He treats innovation as a portfolio of small, structured bets rather than a culture programme, which is why his work lands with CFOs and operating leaders, not just innovation teams. His 25 Lenses framework, set out in Invisible Solutions, gives leadership teams a working tool for reframing the questions behind a stalled initiative, rather than another model to admire and shelve. He built and ran Accenture’s 20,000-person process and innovation practice, so the advice is grounded in operating a function at scale, not in observing one. Senior corporate audiences trust him with active programmes: 3M, P&G, Nike, Marriott, NASA, Microsoft, Capital One, and Johnson and Johnson are among the organisations that have brought him in to work on real innovation problems. The 2015 Speaker Hall of Fame induction and Senior Fellow appointment at The Conference Board signal that the speaking craft and the underlying research both meet a serious institutional bar. Biography highlights Senior Fellow, The Conference Board. 15-year career at Accenture, where he built the firm’s 20,000-person process and innovation practice. Inducted into the Speaker Hall of Fame (CPAE) by the National Speakers Association in 2015. Author of seven books, including Best Practices Are Stupid, named 800-CEO-READ’s best innovation and creativity book of the year, and Invisible Solutions, an INDIE Award winner. Industrial Engineering, Cornell University; Certified Speaking Professional (CSP) designation; six-year term on the NSA Board of Directors. Has worked with leadership teams in over 50 countries, including 3M, P&G, Marriott, Nike, NASA, Microsoft, Capital One, Honda, and Johnson and Johnson. Biography Most corporate innovation programmes fail in the same place. They generate ideas faster than the operating model can absorb them, and the executive committee eventually quietens down because the cost is visible and the return is not. The problem is rarely a shortage of creativity. It is a missing discipline for choosing which questions to spend money on. That is the problem Stephen Shapiro has spent twenty-five years working on. At Accenture he co-led the business process reengineering practice, then built the firm’s 20,000-person process and innovation practice. The shift from efficiency work to growth work shaped the argument that runs through his books: innovation is an operating capability, not a culture, and it can be managed with the same rigour as any other portfolio. His seven books trace that argument. Best Practices Are Stupid, named 800-CEO-READ’s best innovation and creativity book of the year, makes the case for small structured bets over large transformational programmes. Invisible Solutions sets out 25 Lenses for reframing the questions behind a stalled initiative. Pivotal, published in 2024, takes the same discipline into how organisations create stability while continuing to change. The recurring thesis is that better questions are cheaper and more useful than more answers. The institutional credentials reinforce the work. He is a Senior Fellow at The Conference Board, was inducted into the Speaker Hall of Fame (CPAE) in 2015, and holds the Certified Speaking Professional designation. Clients including 3M, P&G, Nike, Marriott, NASA, and Microsoft have brought him in for active innovation programmes rather than thought-leadership set pieces, which is the more useful test of where his work actually lands. Key speaking topics Innovation as a managed corporate discipline Question reframing and problem definition Portfolio approaches to innovation investment Culture and team composition for innovation Stability and adaptability in uncertain markets Growth strategy beyond best-practice benchmarking Ideal for CINOs, heads of innovation, and R&D leaders running enterprise programmes CEOs and strategy leaders trying to convert innovation activity into commercial results Transformation sponsors and operating committees rebuilding the innovation function after a stalled programme Large industrials, financial services, consumer goods, and healthcare organisations with complex internal innovation portfolios Audience outcomes A working method for reframing the strategic question behind a stalled initiative, drawn from the 25 Lenses framework A clear case for replacing large transformational bets with structured small ones, and the financial logic to defend it internally A diagnostic for which innovation activities are producing learning and which are producing motion Specific examples of how named Fortune 500 clients have restructured innovation portfolios, with the trade-offs made visible Language a senior leader can use the next morning to challenge their own innovation roadmap

Why organisations work with Susan Greenfield She framed the question. Her “Mind Change” thesis treats prolonged exposure to digital technology as a force on human cognition comparable in scale to climate change, and has shaped a decade of mainstream debate on screens, attention and identity. The science behind the argument is hers. Two hundred peer-reviewed papers, mostly from her Oxford lab, sit beneath her claims about attention, empathy and identity in the digital age. As founder and CEO of Neuro-Bio, the Oxford biotech she launched in 2013 to pursue a novel theory of Alzheimer’s based on the T14 peptide, she speaks from inside an active research programme. She has spent decades translating brain science for senior non-specialist audiences. That includes twelve years leading the Royal Institution of Great Britain as its first woman director, and ten years as a Forum Fellow at the World Economic Forum at Davos. Biography highlights Founder and CEO of Neuro-Bio Ltd, the Oxford biotech developing a novel approach to Alzheimer’s based on the T14 peptide Senior Research Fellow at Lincoln College, Oxford, and former Professor of Synaptic Pharmacology, University of Oxford Director of the Royal Institution of Great Britain from 1998 to 2010, the first woman to hold the post; first woman to give the Royal Institution Christmas Lectures (1994) Author of Mind Change, The Private Life of the Brain, ID: The Quest for Identity in the 21st Century, and A Day in the Life of the Brain, published by Penguin and Random House Crossbench Life Peer in the House of Lords since 2001 as Baroness Greenfield, of Ot Moor Honours include CBE, Chevalier de la Légion d’Honneur, Australian Society for Medical Research Medal, Fellowship of the Royal Society of Edinburgh, and 32 honorary degrees Biography In a 2009 House of Lords debate, a question was raised that the technology industry has never fully answered. If the human brain adapts to its environment, and the environment is now digital, what is happening to the brain at scale? The argument that grew from that question, developed across the next decade, has shaped how serious organisations think about screens and cognition. Greenfield’s standing to ask the question came from a long career in brain science. Two hundred peer-reviewed papers from Oxford, where she became Professor of Synaptic Pharmacology, sit behind it. So does her tenure as the first woman director of the Royal Institution of Great Britain, the post she held from 1998 to 2010, and the Royal Institution Christmas Lectures she delivered there in 1994. In 2001, she was created a Life Peer as Baroness Greenfield, of Ot Moor. Mind Change, published in 2014, set out the case. The technologies surrounding a young brain shape its development. This is uncontroversial neuroscience. What is contested is the scale of the effect when those technologies are engineered to capture attention and to be returned to. Greenfield’s argument is that the consequences show up in places leaders care about: in how people sustain focus, and in how they form empathy and construct identity. She still runs the science. In 2013, she founded Neuro-Bio, the Oxford biotech she leads as CEO, developing a novel approach to Alzheimer’s based on her research into a peptide called T14. Her lab has linked T14 to neurodegeneration upstream of the amyloid pathway, and is working on a saliva-based diagnostic test the company hopes will detect Alzheimer’s decades before symptoms appear. Key speaking topics The neuroscience of digital technology and the human mind Consciousness, identity and the physical basis of the mind Attention, empathy and the cognitive shift between digital generations The neuroscience of creativity Alzheimer’s, dementia and the future of brain health Women in science, engineering and technology Ideal for Boards and executive committees in financial services, technology, media and consumer-facing sectors CHROs and learning leaders are working on attention and digital fatigue in the workforce Strategy and innovation teams whose customers are the first generation to grow up entirely in a digital environment Education and policy audiences engaging with the science of cognition and the workforce of the future Audience outcomes A defensible vocabulary for what digital technology is doing to attention, empathy and identity A working distinction between what brain science actually shows and what is loosely attributed to “neuroscience” in popular commentary A view of where Alzheimer’s and dementia research is heading from a scientist actively pursuing a novel theory A perspective on the cognitive differences between digital natives and the workforce that came before them, grounded in published evidence

Why organisations work with Tania de Jong AM A working body of evidence that creativity is buildable inside an organisation, drawn from six businesses and four charities she has founded, including Creative Universe, Creativity Australia and The Song Room. Co-founder and Executive Director of Mind Medicine Australia, the organisation behind Australia’s 2023 rescheduling of psilocybin and MDMA for treatment-resistant depression and PTSD, the first national framework of its kind in the world. A keynote format that pairs argument with live performance, used at Thinkers50 European Business Forum in Denmark and the International Forum on Consciousness in the United States, and tested across more than 40 countries. Eight editions of the Creative Innovation Asia Pacific Global Forum, awarded Corporate Event of the Year at the global Eventex Awards, giving her direct exposure to how international leaders are framing innovation, AI, wellbeing and the future of work. A position on social inclusion through the With One Voice programme that is grounded in operating practice, not theory, having reached thousands of participants across community choirs in Australia. Biography highlights Co-founder and Executive Director of Mind Medicine Australia, the organisation behind the world-first 2023 rescheduling of psilocybin and MDMA in Australia for treatment-resistant depression and PTSD. Member of the Order of Australia (AM), 2008, for service to the arts and to music and arts enrichment programmes in schools and communities. Founder of Creativity Australia, Creative Universe, Creative Innovation Global, The Song Room, MTA Entertainment & Events, Dimension5 and Pot-Pourri. Keynote speaker at the Thinkers50 European Business Forum, Denmark, 2018, and the International Forum on Consciousness, United States, 2019; TEDxMelbourne speaker, “How singing together changes the brain”. Named in the Australian Financial Review 100 Women of Influence, Richtopia’s 100 Most Influential Australian Entrepreneurs, and Psychedelic Invest’s 100 Most Influential People in Psychedelics. Ernst and Young Australian Social Entrepreneur of the Year; Churchill Fellow; AGSE Entrepreneurs Hall of Fame, Swinburne University; Bachelor of Law (Honours), University of Melbourne. Special guest performer on Dr Bessel van der Kolk’s 2026 four-city Australian workshop tour for The Body Keeps the Score, presented with Mind Medicine Australia; speaker on psychedelic-assisted therapies at Dave Asprey’s BEYOND Biohacking Conference in Austin, Texas. Biography Australia became the first country in the world to reschedule psilocybin and MDMA for the treatment of depression and PTSD in 2023. Mind Medicine Australia, which de Jong co-founded with Peter Hunt and now runs as Executive Director, did the regulatory and clinical groundwork that made it possible. That outcome is the clearest statement of how de Jong tends to work: a long-running campaign to change a system that most assume cannot be moved. The same pattern runs through the rest of her record. Six businesses and four charities, including Creative Universe, Creativity Australia, The Song Room and Creative Innovation Global, each built around a specific argument about creativity, inclusion or social repair. The Song Room alone has reached over a million Australian students through music programmes in schools that would not otherwise access them. Her speaking work is unusual in form. She is a classically trained soprano who has performed in over 40 countries, and her keynotes weave argument with live singing. Thinkers50 invited her to keynote its European Business Forum in 2018, and in 2026 she performed as special guest on Dr Bessel van der Kolk’s Australian tour for The Body Keeps the Score. Her TEDxMelbourne talk on the neuroscience of group singing is often cited in workplace wellbeing writing. The substantive claim underneath all of it is that creativity and collective purpose are operating disciplines. The Creative Innovation Asia Pacific Global Forum, which she has run eight times and which won Corporate Event of the Year at the Eventex Awards, is the working venue for that argument across AI, leadership, wellbeing and the future of work. Key speaking topics Creativity as a strategic discipline Innovation culture and the future of work Entrepreneurship and social enterprise Mental health, wellbeing and the neuroscience of connection Diversity, inclusion and collective purpose Leadership in disruption and reinvention Storytelling and performance in business communication Ideal for CHROs and culture leads designing engagement, wellbeing and inclusion programmes that need to land beyond the slide deck. Innovation leads, transformation directors and strategy teams looking to move creativity from training programme to operating practice. CEOs and boards in sectors facing structural reinvention, where the soft conditions of change are as material as the hard ones. Conference organisers seeking a keynote that combines argument with live performance and high audience engagement. Audience outcomes A specific case for treating creativity as a leadership capability, not a workshop output. A working view of how social inclusion and collective practice change individual and team performance, drawn from the With One Voice programme and supporting neuroscience. An updated read on the global innovation agenda, informed by eight editions of the Creative Innovation Asia Pacific Forum. Exposure to one of the few global voices arguing for psychedelic-assisted therapy as a serious instrument of mental health policy, with evidence from the Australian rescheduling. A keynote experience that uses live performance to shift the energy of a room, useful for conferences that need a tonal lift alongside content.

Why organisations work with Taryn Southern She produced the first solo-artist pop album composed with AI in 2018, when most organisations were still asking whether generative tools could ship anything usable. The lessons on creative workflow integration are now several years ahead of most enterprise practice. She runs storytelling and external communications at Blackrock Neurotech, an implantable BCI company, which gives her a working view of the next technology layer beyond generative AI. Her documentary work, including «I AM HUMAN» at the 2019 Tribeca Film Festival, gives her a rare ability to translate frontier neurotechnology into language a non-technical board can use. She has keynoted SXSW, Web Summit, the World AI Summit, and NY Times Future of Work, and has been booked by Google, Salesforce, Deloitte, and Gartner. Senior tech audiences treat her as a peer, not a populariser. Biography highlights Chief Storytelling Officer at Blackrock Neurotech since 2021, leading story strategy for funding rounds totalling over $230M led by Thiel Capital, Apeiron, and Tether Released «I AM AI» in 2018, the first solo-artist pop album composed and produced with AI tools including Amper, IBM Watson Beat, Google Magenta, and AIVA Directed and produced «I AM HUMAN,» premiered at the 2019 Tribeca Film Festival; subsequent awards include Best Director at Oslo Film Fest Three-time Streamy Awards nominee; 2018 Geena Davis Award recipient for innovative female filmmaking Keynote speaker at SXSW, Web Summit, World AI Summit, Google’s AI Summit, VidCon, The Next Web, NY Times Future of Work Featured in Vanity Fair, Billboard, Fast Company, Wired, Forbes, Psychology Today, and Harvard Business Review Biography The first solo-artist pop album composed with AI was released in September 2018, before most enterprises had finished their first ChatGPT briefing note. «I AM AI» used Amper, IBM Watson Beat, Google Magenta, and AIVA, with the lead single «Break Free» reaching the Top 100 radio charts. The interest, for a serious audience, is not the novelty. It is what the project showed about how a working creative integrates these tools into a production workflow that ships. That production credibility is the spine of the work Taryn Southern now does with senior teams. She has produced more than 1,500 videos across more than a decade of digital media, advised early product teams at YouTube, Google VR, and Snapchat, and directed an award-winning Google VR series. The vantage point is unusual: she has built original commercial product with generative tools at every stage of their maturity. Since 2021 she has been Chief Storytelling Officer at Blackrock Neurotech, the implantable brain-computer interface company. She launched what the company describes as the world’s first BCI museum, oversaw a corporate rebrand and the formation of a BCI Ethics Advisory board, and led communications strategy for funding rounds totalling over $230M, with investors including Thiel Capital, Apeiron, and Tether. The role gives her a working view of the technology layer that arrives after generative AI, and the regulatory and ethical questions a board will be asked to take a position on within the next decade. Her directorial debut, «I AM HUMAN,» premiered at the 2019 Tribeca Film Festival and followed three of the first patients to receive implantable brain-computer interfaces. The film is the practical bridge in her work with corporate audiences: it shows what the next frontier of human-machine technology looks like in a hospital, in a home, and in the conversations a serious organisation will need to have about it well before the technology becomes commonplace. Key speaking topics Generative AI in creative production AI-augmented workflows and creative practice Brain-computer interfaces and human-machine integration Frontier neurotechnology and ethics Storytelling for emerging technology companies The future of human and artificial intelligence Ideal for Boards and leadership teams setting AI strategy beyond initial pilots Chief Marketing Officers, Chief Communications Officers, and creative leadership integrating generative tools into production Innovation, R&D, and strategy leaders tracking neurotech and the post-AI technology stack Senior leadership conferences in technology, media, healthcare, and life sciences Audience outcomes A working understanding of how generative AI tools function inside a real production workflow, drawn from a practitioner who has shipped commercial product A grounded view of brain-computer interface technology, what it currently does, where it is going, and the questions boards will face A sharper sense of which categories of creative and knowledge work are most exposed to generative AI, and which remain durably human An informed perspective on the ethical and governance terrain emerging at the intersection of AI and neurotechnology

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

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 Tom Morley A participatory format that gets reserved, senior or fatigued audiences playing, listening and coordinating with each other inside ten minutes, not after a day of icebreakers. Twenty-five years of delivery for Vodafone, Disney, GSK, Hertz, Nokia, Cisco, Adecco and Johnson & Johnson across New York, Moscow, Johannesburg, Istanbul, Paris and London. A working artist’s read of group energy, drawn from a career on stage with Scritti Politti and studio work with David Bowie and Madness, applied to the dynamics inside a leadership offsite. A facilitation method, the 7-Step REMIX Process, that translates the in-room experience into language teams can use back at their desks the following week. Biography highlights Founder member and original drummer of Scritti Politti, the DIY-to-pop band of the 1980s. Studio and live collaborator with David Bowie and Madness. Founder of Instant Teamwork (1999), an arts-based team-building company operating internationally. Corporate clients include Vodafone, Disney, GSK, Hertz, Nokia, Cisco, Adecco and Johnson & Johnson. Author of the 7-Step REMIX Process, a personal development framework adapted from the “More To Life” programme. Charitable work for Teenage Cancer Trust, Royal Marsden Cancer Hospital, MENCAP, Save the Children, UN Women UK and Peace One Day. Biography A power-cut hit the stage during a Scritti Politti show in Berlin. Morley kept the beat going and started a vocal call-and-response with the audience. That moment, in which a room of strangers held a groove together without any technology, became the seed for Instant Teamwork, the arts-based team-building company he founded in 1999. The premise is straightforward. Trust, candour and coordination cannot be lectured into a team. They have to be experienced first, then named. Morley uses live drumming and call-and-response to put a group into a shared rhythm fast, then debriefs what just happened in terms the room can take back to work. The musical credibility is real. He was a founder member of Scritti Politti, recorded with David Bowie and performed live with Madness. The corporate work has had time to develop a method. Vodafone, Disney, GSK, Hertz, Nokia, Cisco, Adecco and Johnson & Johnson have used Instant Teamwork sessions in New York, Moscow, Johannesburg, Istanbul, Paris and London over more than two decades. Around the facilitation sits the 7-Step REMIX Process, adapted from his work with Dr K. Bradford Brown of the “More To Life” programme. It is the language Morley uses to make a participatory session repeatable for teams once the drums are gone. Key speaking topics Team cohesion and group energy Engagement and participation in hybrid teams Creativity and improvisation under pressure Communication and call-and-response as a team behaviour Motivation and collective performance Risk-taking and breaking hierarchical silos Ideal for Annual conferences and leadership offsites that need a high-energy participatory anchor HR and culture leads rebuilding engagement after restructure or remote-working fatigue Sales kick-offs and reward events looking for a shared experience rather than a panel Senior leadership groups doing trust and communication work as part of an away-day Audience outcomes An experience of collective rhythm and coordination that members of the room produced together A felt sense of how quickly a reserved group can become participatory when the format invites it A shared reference point, the session itself, that the team can call back to in meetings afterwards Language from the REMIX framework for talking about creative risk and group communication A reset on the relationship between energy in the room and decisions made later

Why organisations work with Tom Roach He originated the “performance plateau” framework, a specific, named diagnosis of the growth ceiling that confronts brands over-indexed on performance channels, developed in collaboration with econometrician Dr Grace Kite and published in Marketing Week. His IPA Effectiveness Gold Awards span McDonald’s, Sainsbury’s, John Lewis, and Barclays, among the most analytically rigorous advertising effectiveness cases in UK industry history. As Head of Effectiveness at adam&eveDDB, he worked directly alongside Les Binet, the most cited figure in marketing effectiveness research, placing him at the centre of the field’s most serious practitioner thinking. He is one of the few voices making the commercial case for brand investment from inside a performance-first agency group, giving his arguments about the brand/performance divide an operational credibility that consulting positions rarely carry. His “Share of Model” framework addresses an unmapped emergent risk: how large language models represent brands, and what that means for commercial visibility as AI increasingly mediates discovery and purchase intent. Biography highlights VP Brand Strategy at Jellyfish, part of The Brandtech Group; prior roles at adam&eveDDB, BBH London, Leo Burnett, and AMV BBDO – a career spanning over two decades at the leading edge of UK advertising Multiple Gold IPA Effectiveness Awards across campaigns for McDonald’s, Sainsbury’s, John Lewis, and Barclays Head of Effectiveness at adam&eveDDB working directly alongside Les Binet Key contributor to BBH London’s designation as IPA Effectiveness Company of the Year 2018–19 Marketing Week columnist; regular speaker at Cannes Lions, SXSW, Google Firestarters, and IPA Effweek Originator of the “performance plateau” concept (with Dr Grace Kite) and associated “Bothism” brand/performance integration framework, widely adopted in marketing practice Biography Many marketing organisations are measuring the right things in the wrong sequence. Brands that concentrated investment in performance channels – search, social, display – often found their growth curve flattening at precisely the moment leadership expected it to accelerate. Tom Roach named this pattern the “performance plateau,” developing the concept with econometrician Dr Grace Kite and publishing it in Marketing Week, where it has since entered mainstream marketing vocabulary. The credibility behind that argument is operational. As Head of Effectiveness at adam&eveDDB, Roach worked directly alongside Les Binet – the most cited figure in marketing effectiveness research – before that, spending seven years driving BBH London’s effectiveness practice to IPA Effectiveness Company of the Year status in 2018–19. The IPA Gold Awards he contributed to, across McDonald’s, Sainsbury’s, John Lewis, and Barclays, represent some of the most analytically demanding advertising cases in UK industry history. At Jellyfish, part of The Brandtech Group, Roach holds a position that few brand effectiveness thinkers occupy: making the case for long-term brand investment from within a digital-first, performance-oriented agency. That vantage point has produced frameworks with real institutional friction behind them, “Bothism” (the philosophy of ending the false choice between brand and performance), a revised model of how people enter and move through markets, and “Share of Model,” which addresses what large language models say about brands and why this matters commercially. He writes regularly for Marketing Week and speaks at Cannes Lions, SXSW, and IPA Effweek, using those platforms to pressure-test frameworks with practitioners rather than simply advocate positions. Key speaking topics Marketing effectiveness Brand and performance marketing integration The performance plateau Brand building in fragmented media Creative effectiveness Generative AI and brand strategy AI brand visibility and Share of Model Ideal for CMOs and marketing leadership teams whose growth from performance channels is flattening CFOs and senior leaders challenged to build the internal case for long-term brand investment Brand and performance marketing teams operating in organisational silos Agency leadership and strategy teams working across integrated client portfolios Audience outcomes A specific diagnostic for identifying whether their organisation has hit the performance plateau, and a framework for addressing it Clearer understanding of how brand building and performance marketing are commercially interdependent rather than competing priorities A framework for evaluating creative effectiveness across fragmented, platform-native media environments Practical thinking on what AI-mediated search and discovery means for brand visibility (Share of Model) Language and commercial evidence to make the case for brand investment to boards and finance leadership

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 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 Wayne Hemingway MBE 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. Leads town-centre and coastal regeneration that gets delivered: HemingwayDesign’s Andover masterplan won 97% community backing and helped unlock Levelling Up funding, with current place-brand work in Fareham and prior visions for York, Lowestoft, and Kidderminster. 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. Gave evidence to House of Lords select committees on housebuilding standards, and co-designed Transport for London’s staff uniform with 16,000 employees and Girlguiding’s with more than 53,000 girls and women. 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. 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 same approach now drives HemingwayDesign’s town-centre work: the Andover masterplan won 97% community support and helped secure Levelling Up funding, with current place-brand work in Fareham and visions delivered for York, Lowestoft, and Kidderminster. 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.