Customer Experience & Marketing speakers

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 Fishburne His Marketoonist series has run weekly since 2002 and reaches 500,000 business readers – giving him a live, continuously updated signal on where marketing and organisational thinking is currently stuck, rather than a fixed body of research. His argument is structural, not motivational: that customer engagement fails and innovation stalls for cultural reasons, and that humour is a functional tool for surfacing those reasons – not a tone choice, not entertainment. This gives leadership teams a lever that most change programmes do not include. His Marketoonist studio has built campaigns for over 200 organisations including Google, Adobe, DBS Bank, and PwC – meaning every argument he makes on stage is backed by commercial execution, not only observation. He provides a shared visual vocabulary that allows cross-functional teams to discuss what is actually blocking performance – poor customer experience, idea killers, AI adoption gaps – without triggering defensiveness. As Stanford GSB’s Cartoonist-in-Residence for the course on humour in business, and a regular guest lecturer at Harvard Business School, his framework has academic validation alongside its commercial track record. Biography highlights Founder and CEO of Marketoonist, a cartoon-led content marketing and culture change studio; 200+ campaigns for Google, Adobe, LinkedIn, DBS Bank, PwC, and Unilever Creator of the Marketoonist weekly cartoon series, published since 2002; 500,000 weekly readers; featured by the Wall Street Journal, Fast Company, and The New York Times; weekly contributor to MarketingWeek since 2007 Harvard Business School alumnus; Cartoonist-in-Residence and Lecturer, Stanford Graduate School of Business course on humour in business; regular guest lecturer at Harvard Business School Author of Your Ad Ignored Here; illustrator of three Deloitte business books – Provoke (WSJ Bestseller), Detonate (National Bestseller), and Work Disrupted Former Interim CMO at HotelTonight (acquired by Airbnb); Marketing VP at Method Products (European brand launch named Brand Launch of the Year, The Grocer); brand management at Nestlé and General Mills Speaker at TED Salon: Unconventional, TED World Theater, New York; 200+ keynotes delivered in more than 30 countries Biography Tom Fishburne started drawing cartoons on the backs of Harvard Business School cases in 2000 and has published the Marketoonist series weekly since 2002. That series now reaches 500,000 readers a week and has been featured by the Wall Street Journal, Fast Company, and The New York Times. The reason it travels is not novelty – it is recognition. The cartoons name what people in organisations already know but rarely say aloud. His argument, developed across a marketing career at Nestlé, General Mills, Method Products, and HotelTonight, is that most marketing underperformance and most innovation failure is cultural in origin. Customer journeys break not because teams lack data, but because organisational dynamics prevent anyone from acting on it. Ideas lose momentum between brainstorm and launch not because of resource constraints, but because of unspoken idea killers that no one has named. Humour, Fishburne argues, is a functional diagnostic tool for exactly these problems – not a way to make difficult conversations comfortable, but a way to make them possible. In 2010, he expanded Marketoonist into a creative studio. The studio has since built cartoon-led content and culture change campaigns for more than 200 organisations, including Google, Adobe, DBS Bank, and PwC. He is Cartoonist-in-Residence at Stanford GSB for the course on humour in business and returns regularly to guest lecture at Harvard Business School. He illustrated three bestselling Deloitte business books – Provoke, Detonate, and Work Disrupted – and authored Your Ad Ignored Here. A senior buyer leaving his session does not leave with a framework to file. They leave with a vocabulary for conversations their team has been avoiding – and a demonstrated method for making those conversations productive. Key speaking topics Marketing effectiveness and customer engagement Innovation culture and idea management Humour as a strategic tool for culture change AI adoption and organisational readiness Visual communication and storytelling in business Challenger brand thinking Creative culture and overcoming idea killers Ideal for Chief Marketing Officers and senior marketing leadership teams Chief People Officers and culture change leads Innovation and digital transformation leads Leadership conferences where marketing, creative culture, or organisational change is on the agenda Audience outcomes A clear diagnostic framework for identifying where marketing efforts break down and why Practical understanding of the cultural conditions that allow creative ideas to survive from brainstorm to launch A shared vocabulary for discussing organisational blockers – customer experience failures, AI adoption gaps, innovation stalls – without defensiveness Insight into humour as a repeatable strategic tool for culture change, distinct from motivation or entertainment A more honest assessment of whether technology and AI initiatives are failing for technical reasons or organisational ones

Why organisations work with Tom Goodwin His 2015 observation that Uber owns no vehicles and Airbnb no real estate became the standard way executives describe asset-light competition. He gives a leadership team the same lens on its own business: where value is moving, and who is positioned to own the customer. He has made technology bets inside two of the world’s largest advertising and media groups, as EVP and Head of Innovation at Publicis-owned Zenith Media and before that as SVP of strategy and innovation at Havas Media. He advises others now on calls he has had to make himself. His read on AI cuts against both the hype and the gloom. Under the banner he calls “nowism,” he argues the technology to grow already exists and the constraint is nerve and imagination. Boards leave with something to act on, not another warning about the future. He has spent two decades translating technology for commercial audiences, as a columnist for The Guardian, TechCrunch, and Forbes and as host of the Euronews series The Edge. Operators follow the argument and can repeat it, without needing a specialist to decode it. Biography highlights Author of Digital Darwinism: Survival of the Fittest in the Age of Business Disruption, published by Kogan Page and translated into several languages Author of the 2015 TechCrunch essay “The Battle Is For The Customer Interface,” one of the most widely cited descriptions of platform business models Former EVP and Head of Innovation at Zenith Media, part of Publicis Groupe; earlier SVP, Strategy and Innovation at Havas Media Founder of the innovation consultancy All We Have Is Now, advising Fortune 500 companies and startups Named LinkedIn’s #1 Voice in Marketing Host of The Edge, a technology series for Euronews; columnist for The Guardian, TechCrunch, Forbes, Adweek, and Marketing Week Biography In 2015, a single paragraph in TechCrunch changed how executives talk about competition. It pointed out that Uber owned no vehicles, Airbnb no real estate, Alibaba no inventory, and Facebook made no content. The author was Tom Goodwin, then senior vice-president of strategy and innovation at Havas Media. The line stuck because it named something leaders could feel but had not put into words: value was moving from owning assets to owning the customer relationship. Goodwin had spent his career inside that shift, later running innovation at Publicis-owned Zenith Media and advising large companies on where to place their bets. His argument now centres on artificial intelligence, and it runs against the prevailing mood. Most organisations, he contends, use new technology to make the old business run more smoothly, when the real opportunity is to rebuild what the business does. He calls the practical version of this “nowism”: the tools to grow already exist, and the limit is nerve and imagination. That case reaches a wide audience. Goodwin hosts The Edge, a technology series for Euronews, and has been named LinkedIn’s #1 Voice in Marketing. He set out the full argument in his book Digital Darwinism, published by Kogan Page. Key speaking topics Artificial intelligence and business strategy Digital transformation Platform and asset-light business models The future of business Technology and consumer behaviour Marketing and the customer interface Ideal for CEOs and boards setting the direction of a digital or AI strategy Chief Marketing and Chief Digital Officers deciding where technology changes the customer relationship Innovation, strategy, and transformation leads under pressure to show a return on technology investment Senior leadership teams at large incumbents facing platform-native competitors Audience outcomes A way to judge which technologies change their business and which are noise A concrete test for their own model: what the company would look like if it were built today Language to explain asset-light and platform competition to their own teams and boards A more pragmatic read on AI that stays on what is usable today

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 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.

Why organisations work with Will King He has the rare full-cycle operator story: a 22-year run as founder-CEO, not a single product win or an exit anecdote He took a category-challenger brand from one person hand-filling bottles to national listings in Boots, Tesco, Sainsbury’s, Asda, Morrisons and Waitrose, against Gillette and Wilkinson Sword He bought shave.com in 1995 for GBP 18 and used it as a working DTC channel long before that was a category, which gives him real authority on how brands earn direct customer relationships Hyperglide gave him a credible hardware-innovation story: a patented water-activated cartridge built on superhydrophilic technology licensed in from a UK university medical-device project His book, The King of Shaves Story (Hachette, 2009), reframes the conventional start-up narrative around tough-times trading rather than vanity growth, which is the conversation most boards actually want Biography highlights Founder of King of Shaves (1993), built from a kitchen-sink operation to national UK grocery and pharmacy distribution Author, The King of Shaves Story, also published as How to Build a Great Business in Tough Times (Hachette / Headline) Inducted into the Great British Entrepreneurs Hall of Fame in 2019 Founder of the Entrepreneur in Residence Company, advising early-stage technology and retail founders since 2014 Speaker for Founders4Schools and the Speakers for Schools programme Bought shave.com in 1995, an early UK direct-to-consumer move; led the Hyperglide razor launch (2014) with multiple granted and pending patents Biography King of Shaves began at a kitchen sink in 1993, with 10,000 bottles of shaving oil filled by hand and a first listing at Harrods. Will King had just been made redundant from a marketing job. Two years later he bought the shave.com domain for GBP 18, well before direct-to-consumer was a category most brands took seriously. The business he built over the next two decades is the part senior buyers want to hear. King of Shaves moved from independent retailers into Boots, then Tesco, then the rest of the UK multiples, taking shelf space in a category dominated by Gillette and Wilkinson Sword. By the mid-2000s the parent company was producing grooming ranges for Ted Baker, Orla Kiely and Fish, and the brand was running a real digital channel alongside national distribution. The 2014 Hyperglide launch is the part that separates him from most founder speakers. The product used superhydrophilic technology originally developed by a UK university for medical devices, packaged into a razor cartridge that lubricates on contact with water. Multiple patents granted and pending, around GBP 5m to 7m of investment, four years of R and D. He stepped down as CEO the same year to set up the Entrepreneur in Residence Company, advising early-stage technology and retail founders. His book, The King of Shaves Story, published by Hachette in 2009, was rewritten that year for the recession audience as How to Build a Great Business in Tough Times. He was inducted into the Great British Entrepreneurs Hall of Fame in 2019 and is a long-standing speaker for Founders4Schools and Robert Peston’s Speakers for Schools. Key speaking topics Challenger brand building against category incumbents Direct-to-consumer and digital channel pioneering Product innovation and hardware patents in consumer goods Trading through recession and capital constraint Founder-led marketing and brand discipline Scale-up sequencing: product, distribution, cash, brand The transition from operator to investor and adviser Ideal for Founders, scale-up CEOs and management teams of consumer challenger brands Marketing directors and CMOs in FMCG, beauty, retail and DTC Corporate innovation and venturing teams looking at category-disruption case studies Conferences for SME owners, family business leaders and entrepreneurial communities Audience outcomes A clear-eyed account of what moving from independent stockists into national multiples actually demands of a small team Specific lessons on defending shelf space and brand identity against incumbents with materially larger budgets A working view of how a founder uses digital channels and direct customer relationships as a strategic asset, not a tactic A realistic picture of what hardware innovation costs in time, capital and patents in a consumer category Practical reasoning on when to step out of the operator seat and what changes when a founder becomes an adviser and investor

Why organisations work with Yan Lefort He has done the work commercial teams are usually only theorising about: replacing a category that funded an entire industry, in his case tobacco in Formula 1, with sponsors that pass modern scrutiny. As Commercial & Marketing Director of Sauber Motorsport from 2018 to 2022, he sat on the management board and was directly responsible for landing the long-term Alfa Romeo partnership and the Orlen title sponsorship that anchored the team’s finances. He has run the partner side and the rights-holder side of the same deal. At IWC Schaffhausen he built the Mercedes-AMG Petronas F1 partnership during the Hamilton era; at Sauber he sold the property. Few speakers can credibly describe both seats. His operating context is one of the most commercially exposed environments in business, where every quarter the product performs in public and sponsors decide whether to renew. That discipline transfers to any organisation whose revenue depends on relationship renewals under pressure. Biography highlights Commercial & Marketing Director, Sauber Motorsport AG, 2018 to 2022, and member of the Alfa Romeo Racing F1 management board Global Head of Partnerships, PR and CSR at IWC Schaffhausen, leading the IWC partnership with the Mercedes-AMG Petronas F1 team Global PR Manager for the Lucky Strike F1 programme with BAR Honda Six years at Rothmans managing the sponsorship of the Williams F1 team Ran an independent commercial and sponsorship consultancy serving OEM automotive clients including Toyota’s F1 team, sponsors, rights holders and F1 drivers Speaker, International Sports Convention, Geneva Biography When tobacco sponsorship was banned from Formula 1 in 2005, the sport lost the category that had paid most of its bills for thirty years. Teams, rights holders and agencies had to rebuild their commercial books from scratch. Yan Lefort had spent the previous decade inside that commercial machine, six years at Rothmans on the Williams F1 sponsorship and seven as Global PR Manager of the Lucky Strike F1 programme with BAR Honda. He set up his own consultancy and spent the next five years rewiring sponsorship strategies for OEM clients including Toyota’s F1 team, plus a range of sponsors, rights holders and drivers. In 2011 he joined IWC Schaffhausen as Global Head of Partnerships, PR and CSR, where he ran the luxury watchmaker’s partnership with the Mercedes-AMG Petronas F1 team through the period of Lewis Hamilton’s dominance. That gave him the brand-side view of the most demanding partner relationship in motorsport. At the start of 2018 he moved to Sauber Motorsport as Commercial & Marketing Director and joined the team’s management board. The team had no title sponsor and a weak commercial position. By the time he left in 2022 he had landed the long-term Alfa Romeo partnership that rebranded the team and the title sponsorship from the Polish energy company Orlen. During those years he worked closely with World Champion Kimi Raikkonen and ten-time Grand Prix winner Valtteri Bottas. That sequence, rights-holder to sponsor to rights-holder, agency to brand to team, gives him a practical reading of how partnership revenue is actually built and defended. He speaks to that work directly, drawing on named deals and named counterparts rather than abstractions about engagement or storytelling. Key speaking topics Sponsorship and partnership strategy Commercial leadership in Formula 1 Sports marketing and brand activation Rebuilding revenue after category disruption Luxury brand partnerships in regulated environments High-performance team commercial operations Ideal for CCOs, CMOs and heads of partnerships at sponsors and rights holders Boards of sports properties, federations and motorsport teams Brand and partnership leaders inside luxury, automotive and energy companies Commercial leadership teams whose revenue model relies on long-cycle partner renewals Audience outcomes A working view of how a modern F1 team builds and defends its sponsorship book A specific account of how a banned-category sport rebuilt its commercial model, with lessons for any industry facing regulatory or reputational disruption to its revenue base The brand-side and rights-holder-side perspectives on the same partnership, drawn from IWC’s relationship with Mercedes-AMG F1 and Sauber’s relationship with Alfa Romeo and Orlen A clearer test for whether a partnership is commercial substance or marketing decoration

Why organisations work with Lissie Mackintosh A live host who can move between the F1 paddock, a brand launch, an awards stage and a corporate panel without dropping register, with the trust of drivers, teams and sponsors built up since 2022. Direct reach into a young, global F1 audience through TikTok, Instagram, YouTube and the Going Purple podcast, useful for brands building presence with under-35 motorsport fans. A genuine working point of view on women in motorsport, grounded in three years of on-the-ground experience, not consultancy framing. Hosting credits at scale-events where the brief is unforgiving: the 2022 Autosport Awards, the 2023 UK premiere of Ferrari and multiple F1 team and car launches. Biography highlights Lead paddock presenter on Formula 1 broadcast and digital content since 2022, interviewing drivers including Charles Leclerc, Lando Norris, Carlos Sainz, George Russell and Jenson Button. Host of Going Purple, an F1 podcast launched in 2022 and distributed via Spotify and Apple Podcasts, with guests including Oscar Piastri, Jamie Chadwick and F1 Academy driver Abbi Pulling. Hosted the 2022 Autosport Awards and the 2023 UK premiere of Ferrari, plus multiple F1 team launches. Face of the 2023 Reiss x McLaren partnership alongside McLaren F1 drivers Lando Norris and Oscar Piastri. Brand work with Sky Sports, Scuderia Ferrari, Red Bull, Mercedes AMG Petronas, Aston Martin, McLaren, HSBC, NFL UK, PUMA, Tommy Hilfiger, Michael Kors, Elemis and Elizabeth Arden. Aligned with Females in Motorsport and a regular public voice on gender representation across F1, F1 Academy and the wider racing ecosystem. Biography Formula 1 sells access. For decades that access ran through the same narrow set of broadcast voices, and the audience that grew up on social video was largely left out of the conversation. Mackintosh started filling that gap from a phone in late 2021, with TikTok videos that moved fast and assumed the viewer was new to the sport. By 2022 she was in the paddock as one of F1’s lead presenters, working across the championship’s broadcast and digital output. She has interviewed Charles Leclerc, Lando Norris, Carlos Sainz, George Russell and Jenson Button, and hosted set-pieces including the 2022 Autosport Awards, the 2023 UK premiere of Ferrari and multiple team and car launches. Her podcast Going Purple, launched in 2022, sits alongside the broadcast work. Guests include Oscar Piastri on his first F1 win, F1 Academy driver Abbi Pulling and former W Series champion Jamie Chadwick on the pressure of being a female role model in racing. The podcast is open about being designed for fans who do not see themselves reflected in the existing motorsport media set. That is the throughline. Mackintosh’s working argument, made on stage and in interviews with Sky Sports and Females in Motorsport, is that motorsport’s growth depends on whether the sport is willing to put different people in front of the camera and the microphone. She has built her career inside that argument and is a credible voice for brands and organisations testing the same proposition. Key speaking topics Formula 1 and the future of motorsport media Women in motorsport and representation in sport Building community with Gen-Z sports audiences Content creation and the new sports broadcast model Personal brand and platform in a legacy industry Event hosting and panel moderation across motorsport, brand and awards Ideal for Brand and partner events inside motorsport, automotive and sports sponsorship looking for a credible live host Internal and external events for organisations targeting younger consumer audiences in F1, F1 Academy and adjacent sports Diversity and inclusion conferences and women-in-sport platforms seeking a working voice from inside the paddock Awards nights, premieres and product launches where the host needs to speak fluently to drivers, sponsors and fans in the same room Audience outcomes A first-hand account of how Formula 1 has changed its audience profile since 2022 and what brands inside the sport are doing about it A practical view of how content creators have shifted the sports broadcast model and what that means for sponsors and rights holders Honest perspective on the lived experience of being a young woman in a male-dominated sport, including the cost of public visibility A live host who lifts the energy of the room and keeps a panel of drivers, executives or sponsors on the brief