Diversity, Equity & Inclusion speakers

Why organisations work with Erika Lucas Her accelerator, run in partnership with the NBA’s Oklahoma City Thunder, has supported more than 220 women and minority-owned startups since 2017. She draws on live operating experience, finding and scaling founders that most capital systems miss. Her venture fund, VEST Her Ventures, invests in women-led companies in the care economy and the future of work. She brings a current portfolio view of where workforce shifts and regulatory pressure are opening commercial opportunities, and the market is under-pricing. She speaks the language of the full capital stack. As a former private equity Partner and as Director of Trade and Foreign Direct Investment at the Oklahoma Department of Commerce, she is fluent in public incentives, PE, VC, and bank credit, which matters for boards making complex allocation decisions. Her TED talk, “America’s Trillion Dollar Blindspot,” makes a market-sizing case for capital flowing to overlooked founders. That is the register that senior leaders and investment committees respond to. She operates from Oklahoma City, away from the coastal hubs from which most speakers on this topic come. For companies building workforce, consumer, or policy strategies outside a handful of metros, her ground-level view is difficult to source elsewhere. Biography highlights Co-founder of StitchCrew, its accelerator with the NBA’s Oklahoma City Thunder, has supported more than 220 women and minority-owned startups since 2017 Founder and General Partner of VEST Her Ventures, an early-stage venture fund investing in women-led companies in the care economy and future of work TED speaker: “America’s Trillion Dollar Blindspot” (TEDxOU) Host of the VEST Her Podcast, examining the structural barriers to women’s economic advancement Board of Directors at Arvest Bank; Fellow at the Just Economy Institute; Member of the Latino Corporate Directors Association Former Partner at a US and European private equity firm; former Director of Trade and Foreign Direct Investment at the Oklahoma Department of Commerce, where 38 international companies located or expanded during her tenure Biography Only a sliver of venture capital reaches women and founders of colour. The commercial cost of that pattern is usually understated. Whole categories of customers, markets, and operators are being systematically under-priced by capital that is trained to look in the same handful of places. StitchCrew was built on that reading of the market. Co-founded with her husband Chris in 2016, it runs an accelerator in partnership with the NBA’s Oklahoma City Thunder and has supported more than 220 women and minority-owned founders. The positioning matters. It sits in the middle of the country, not on a coastal hub, and the deal flow reflects markets that most East Coast or Bay Area funds never see. The logic extended into investment. VEST Her Ventures, founded in 2022, backs early-stage women-led companies in the care economy and future of work, two sectors where demand is visibly running ahead of available capital. The fund came together in weeks. Two million dollars was raised in two months, entirely from women limited partners based in the middle of the country. The throughline runs back through her earlier career. She was a Partner at a private equity firm with investments in the United States and Europe, and Director of Trade and Foreign Direct Investment at the Oklahoma Department of Commerce, where 38 international companies located or expanded during her tenure. She sits on the board of Arvest Bank, is a Fellow at the Just Economy Institute, and hosts the VEST Her Podcast, where the repeated question is what it would take for American capital to stop leaving its most profitable markets untouched. Key speaking topics Access to capital and overlooked markets Entrepreneurship and the new majority economy The care economy and future of work Women in leadership and ownership Venture capital and economic inclusion Economic mobility and public-private strategy Ideal for Corporate boards and Chief Investment Officers are looking for the next source of portfolio growth Private equity and venture investment committees assessing deal flow and diversification CHROs and heads of talent building workforce and care infrastructure strategies Economic development agencies, chambers of commerce, and regional leadership forums are working on commercial inclusion Audience outcomes A sharper commercial argument for investing in overlooked founders and markets, drawn from a live accelerator and an active venture portfolio A clearer map of where venture and growth capital actually lands in the United States, and which geographies and founder profiles it consistently misses Named sectors where consumer and workforce change is already running ahead of investment capital, including the care economy and the infrastructure of work A vocabulary for discussing inclusion in commercial terms, usable with boards, investment committees, and senior executives who are sceptical of fairness-led framing

Why organisations work with Estefania Cervantes She speaks from a documented turnaround, not a tagline. She lost her leg at 18 mid-degree, completed her studies at Universidad Iberoamericana, and built a registered Mexican civil association that delivers prosthetics and rehabilitation. Ampuvalia gives her a working operator’s vocabulary. Audiences hear from someone who has had to fund, govern, and scale a small organisation, which translates resilience into language a senior team recognises. Her book “Actitud Que Trasciende” gives Spanish-speaking audiences a structured account of recovery and reinvention they can hand to teams afterward, rather than a one-off keynote moment. She holds the 2015 Premio Ibero-Bremond-FICSAC Compromiso Social, an institutional recognition from a serious Mexican university, not a self-issued award. She has lived the inclusion conversation from the disability side without making it a compliance lecture, which is what most internal DEI programmes are quietly looking for. Biography highlights Founder of Ampuvalia, a Mexican civil association providing physical therapy, prosthetics, and peer support to the limb-loss community since 2015. Author of “Actitud Que Trasciende”, a Spanish-language book on rebuilding life and identity after limb loss. Recipient of the Premio Ibero-Bremond-FICSAC Compromiso Social, awarded by Universidad Iberoamericana. Featured climber on the 2019 ROMP Cotopaxi expedition, documented in the Merrell-produced short film “In Her Shoes”. Graduate in International Business Administration, Universidad Iberoamericana, Mexico City. Bilingual speaker in Spanish and English, with a Latin American operating base that is uncommon on bureau rosters at this level. Biography A car accident in Mexico City interrupted a second-semester business student’s degree and removed her right leg. The student returned to Universidad Iberoamericana, finished her programme, and four years later registered Ampuvalia as a civil association to fund prosthetics and rehabilitation for other amputees in Mexico. That sequence of facts is the spine of her credibility. The work since has been operational rather than purely autobiographical. Ampuvalia coordinates physical therapy, prosthesis fitting, and peer-support sessions, the unglamorous middle of disability recovery that public storytelling usually skips. Her Spanish-language book “Actitud Que Trasciende” treats limb loss as a problem of identity and decision-making, not a story of triumph, which is what makes it usable inside coaching engagements. Universidad Iberoamericana awarded her the Premio Ibero-Bremond-FICSAC Compromiso Social in 2015 for that work, and the 2019 ROMP ascent of Cotopaxi placed her in the Merrell-produced documentary “In Her Shoes” alongside other amputee climbers. These are the named credentials. The reason to put her in front of a senior team is that she can describe, in operating terms, what it took to keep functioning when the original plan was no longer available, and translate that into something a leadership audience can use the next morning. Key speaking topics Resilience after acute personal setback Reinvention of identity and purpose Disability inclusion in Latin American workplaces Founding and running a mission-led nonprofit Executive coaching grounded in lived recovery Bilingual leadership for Spanish and English audiences Ideal for CHROs and DEI leads commissioning substantive disability inclusion content for Latin American or bilingual workforces Latin American leadership conferences and Spanish-language internal events Sales kick-offs and annual conferences seeking a credible resilience anchor speaker Executive coaching programmes in Mexico and the wider Spanish-speaking region Audience outcomes A working definition of resilience that survives contact with a real organisational setback A first-hand account of disability inclusion told without compliance language A model for how a small, mission-led organisation gets built and funded in Mexico A bilingual perspective that lands with Spanish-first audiences without translation flattening

Why organisations work with Eunice Olumide A first-hand authority on what fast fashion looks like inside the industry, with parliamentary testimony that fed into the UK’s first inquiry on its environmental impact. A published voice on exploitation and sustainability in fashion through How To Get Into Fashion (Luath Press, 2018), drawn from a career walking for Vivienne Westwood, Alexander McQueen, Mulberry and Christopher Kane. An MBE-recognised broadcaster across BBC, ITV and Sky, comfortable holding a room of senior leaders without losing the substance of the argument. A curator and gallery founder whose programme links contemporary art with social and environmental causes, useful for organisations whose brand strategy intersects with culture. A V&A Design Champion with credibility in design, production and sustainability conversations that most fashion-adjacent speakers cannot match. Biography highlights MBE, 2017 Birthday Honours, for services to broadcasting, the arts and charity. Honorary Doctor of the University, The Open University, 2024. V&A Design Champion, 2018; permanent display at the National Museum of Scotland. Author, How To Get Into Fashion (Luath Press, 2018); contributor, Loud Black Girls (2020), edited by Bernardine Evaristo. Founder, Olumide Gallery, representing artists including Sokari Douglas Camp CBE, Richard Wilson, The Connor Brothers and Bradley Theodore. Acting credits include BAFTA-winning Trouble Sleeping, BAFTA-nominated Middleman, Star Wars: Rogue One, The Last Jedi and Noughts and Crosses. Biography Fashion is one of the largest polluters on the planet, and the people best placed to say so are the ones who have worked inside it. Eunice Olumide MBE walked for Vivienne Westwood, Alexander McQueen, Mulberry and Christopher Kane before turning her attention to the industry’s harder questions. Her testimony at the Houses of Parliament fed into the UK’s first inquiry on the environmental impact of fast fashion. Her 2018 book How To Get Into Fashion, published by Luath Press, is the long form of that argument. It treats exploitation, sustainability and diversity not as separate brand campaigns but as connected supply chain problems. The book sits alongside her V&A Design Champion role and her work with the Centre for Social Justice as evidence that her sustainability work is operational, not aesthetic. Olumide is also a broadcaster across BBC, ITV and Sky, an MBE recipient for services to broadcasting, the arts and charity, and an honorary Doctor of the University from The Open University. She founded Olumide Gallery in 2016 and represents contemporary artists including Sokari Douglas Camp CBE, Richard Wilson and The Connor Brothers, with a curatorial line that returns regularly to inclusion and environmental responsibility. For organisations, the value is the combination of access and argument. She has lived inside the commercial machinery she critiques, and she has put that critique on record in Parliament, in a published book, and through institutions including the V&A and the National Museum of Scotland. Key speaking topics Sustainability and ethics in fashion Fast fashion and supply chain accountability Diversity and inclusion in creative industries Art, culture and social impact Climate action and the consumer economy Women of colour in media and fashion Brand purpose and authentic advocacy Ideal for Boards and CSOs in fashion, retail and consumer brands working through ESG substance versus narrative. CMOs and brand leaders building sustainability and inclusion into commercial strategy, not communications. Cultural institutions, arts funders and philanthropic boards engaging with diversity in the creative sector. Conferences and leadership events seeking a credible voice on fashion, climate and social justice in one speaker. Audience outcomes A clearer view of how fast fashion actually operates, including the labour and environmental trade-offs that rarely surface in public discourse. A sharper sense of where corporate sustainability narrative diverges from supply chain reality. Practical reference points for inclusion in creative industries from someone who has worked at the top of one. Renewed confidence that ethics and commercial strategy can be argued together rather than traded off.

Why organisations work with Dame Evelyn Glennie A first-hand demonstration of how attention works when sound is felt rather than heard, drawn from a 40-year career as the first full-time solo percussionist in musical history. A leadership argument grounded in lived practice: composure, recovery and attention as trainable behaviours, not personality traits. Author of “Listen World!” and Founder of The Evelyn Glennie Foundation, whose mission is to teach the world to listen across business, education, healthcare and the arts. Three GRAMMY recognitions, the Polar Music Prize (2015), the Leonie Sonning Music Prize (2023), Companion of Honour (2017) and DBE; credentials that earn the room before she opens it. Workshop and keynote formats road-tested with corporate teams on internal communication, customer responsiveness and team cohesion. Biography highlights First person in history to build and sustain a full-time career as a solo percussionist. Three-time GRAMMY recipient, including the 1989 award with Sir Georg Solti and Murray Perahia and a 2002 win with Bela Fleck. Companion of Honour (2017), DBE (2007), OBE (1993). First percussionist to receive a DBE. Polar Music Prize laureate, 2015. First percussionist to receive the Leonie Sonning Music Prize, 2023. Chancellor of Robert Gordon University, Aberdeen; President of Help Musicians. TED speaker (“How to truly listen”), author of “Listen World!”, and Founder of The Evelyn Glennie Foundation. Biography Most leaders treat listening as a courtesy. For Glennie it is a working method, developed across four decades of performing music she could not hear in the conventional sense. Profoundly deaf from childhood, she trained herself to read vibration through her hands, feet and body, and built a career as the first full-time solo percussionist in musical history. That practice is what corporate audiences engage with. The Royal Academy of Music graduate has performed in more than 60 countries, commissioned over 200 new works, and led 1,000 drummers in the London 2012 Olympic Opening Ceremony directed by Danny Boyle. The technical achievement is unusual. The transferable insight is the discipline behind it: attention as a whole-body act, repeatable under pressure. Her authority on the subject is institutionally backed. Three GRAMMY recognitions, the Polar Music Prize, the Leonie Sonning Music Prize, a Damehood and the Companion of Honour sit alongside the Chancellorship of Robert Gordon University in Aberdeen and the Presidency of Help Musicians. The book “Listen World!” and The Evelyn Glennie Foundation, established in 2023, take the same argument into schools, hospitals, sport and business. In a leadership keynote she translates this directly. How a team senses what is happening before it can be measured. How a leader steadies a room. How sustained attention, not louder communication, is what shifts behaviour at scale. Key speaking topics Listening as a leadership discipline Attention and presence under pressure Resilience and reinvention after personal shock Communication and team cohesion Inclusive leadership and difference as capability Creativity, craft and sustained excellence Ideal for Boards and executive committees defining their own communication standards CHROs and culture leaders rebuilding internal listening practices Senior leadership offsites focused on composure, attention and decision-making Customer experience and frontline leadership audiences working on responsiveness Audience outcomes A working definition of listening as an active leadership behaviour, not a soft skill A more honest read of how attention is spent in their own meetings and decisions Specific cues from a non-verbal craft they can apply to communication with teams and customers A reframing of personal adversity and reinvention as repeatable practice A clearer view of how presence and composure shape what a team will follow

Why organisations work with Farrah Storr She has repositioned three major consumer media brands through structural decline in print and can speak with evidence about what actually protects audience, authority, and commercial performance when the category is shrinking. She launched Women’s Health UK from a three-person team with minimal budget into what industry records call the most successful women’s magazine launch of the century, a concrete case of building inside a constraint. She crossed from legacy publishing to Substack and now runs its international writer business, so she has operator experience on both sides of the media disruption that most leaders only read about. Her book The Discomfort Zone and the BMD method give her a published leadership argument on how individuals and teams perform in conditions most organisations try to engineer away. Her MBE for services to Media and Diversity, her Social Mobility Commissioner role and her National Theatre board seat give her a public record on social mobility and diversity in creative industries that goes beyond corporate talking points. Biography highlights Head of Substack International, previously Head of Writer Partnerships at Substack UK. Editor-in-Chief, ELLE UK, 2019 to 2021. Editor-in-Chief, Cosmopolitan UK, 2015 to 2019, where the title became the UK’s number-one women’s glossy. Launch Editor-in-Chief, Women’s Health UK, from 2012. MBE, 2024 King’s Birthday Honours, for services to Media and Diversity. Commissioner, Social Mobility Commission, from 2018; Board Member, National Theatre, from 2021. Author, The Discomfort Zone: How to Get What You Want by Living Fearlessly, Piatkus, 2018. BSME Editor of the Year 2012, 2018, 2020; PPA Editor of the Year 2018, 2019. TEDxExeter speaker, 2018, “The Discomfort Zone”. Biography Women’s Health UK was a three-person team with almost no budget when Farrah Storr launched it in 2012. By industry count it became the most successful women’s magazine launch of the century, and the pattern repeated at the titles that followed. Cosmopolitan UK, where she was Editor-in-Chief from 2015, became the country’s number-one women’s glossy inside her tenure. In 2019 she moved to ELLE UK to do a similar job on the luxury end of the same portfolio. Her argument as an operator is that consumer brands hold their authority through hard editorial judgement under constraint, not through more budget. That case is easier to make now because she has left the category she was running. In 2021 she joined Substack as the first Head of Writer Partnerships in the UK, building the writer base that anchors the platform in this market, and has since stepped up to lead Substack International. That arc, from print consumer titles into the paid newsletter platform that is reshaping them, is unusually clean. It gives her a credible view on what moves with a writer, what stays with a brand, and what the economics of direct subscription actually demand from a team. Her book The Discomfort Zone, published by Piatkus in 2018, sets out the BMD method, her shorthand for Brief Moments of Discomfort as a training discipline for individuals and teams. It is read alongside the public work: her 2018 appointment as a Commissioner on the Social Mobility Commission, her 2021 appointment to the board of the National Theatre, and the 2024 MBE for services to Media and Diversity. Key speaking topics Brand reinvention in consumer media Leading through structural change and category decline Platform economics and the paid newsletter shift The Discomfort Zone and the BMD method Social mobility and diversity in creative industries Women in leadership Editorial judgement as commercial discipline Ideal for CMOs, editorial leaders and heads of content in consumer brands, publishing, and media CEOs and executive teams running heritage brands through audience and format change CHROs and leadership programmes focused on leading in constrained, shrinking or contested categories Networks and conferences on women’s leadership, social mobility and diversity in creative industries Audience outcomes A named operator’s read on what actually protects brand authority when a category is contracting. A working view of the paid newsletter shift from the inside of the platform now reshaping consumer media. A concrete account of launching and repositioning brands on small teams and tight budgets. A usable leadership argument from the Discomfort Zone on how people and teams perform in uncomfortable conditions. A credible perspective on social mobility and diversity in the creative industries, grounded in public roles and personal record.

Why organisations work with Fee Mak She holds a live room across formats that very few hosts move between credibly: BBC daytime radio, the MOBO Awards mainstage, in-game presenting for London Spirit at The Hundred, and literary festival chairing at Hay and Cheltenham. Her BBC 1Xtra Sunday Breakfast residency means she is in front of a national, multi-generational, culturally diverse audience every week. That muscle transfers directly to award shows and internal events trying to land with the same audience. She chairs interview content as a working craft, not as decoration. The Business Book Awards, Ditto X Meet the Music Industry, and book festival panels are formats that expose hosts who cannot follow a guest’s argument in real time. Her event roster includes inclusion-led briefs that organisations frequently get wrong: the Diana Award Anti-Racist Bullying showcase, Inclusive Books for Children Awards, BBC Bitesize Tour. She is a credible voice for clients who need a host who can carry that tone without performing it. Biography highlights Host, BBC Radio 1Xtra Sunday Breakfast Show, since July 2022. Selected through the BBC Radio 1 Presenter Search 2019; presenter credits include Christmas Drivetime, Early Breakfast, and daytime cover on Radio 1. Awards host credits: MOBO Awards, AIM Awards, Business Book Awards, Diana Award Anti-Racist Bullying showcase, Inclusive Books for Children Awards. Live event host credits: Red Bull BC One UK Cypher, Move It, Breakin’ Convention, U.Dance National Showcase, BBC Bitesize Tour, Ditto X Meet the Music Industry, Earl’s Court International Film Festival. In-game host for London Spirit at The Hundred (Lord’s). Chair at Hay Festival, Cheltenham Festival, Chiswick Book Festival, and Brighton Festival. BA (Hons) French and Business Administration, University of Kent. Former junior associate, The Royal Ballet School; West End child cast of Billy Elliot the Musical. Biography The hardest job at a live event is the one people only notice when it goes wrong. Holding a 90-minute awards ceremony together, moving between sponsors, winners and a writers’ room of jokes that may or may not land, takes a craft that broadcast hosts spend years building. Fee Mak has built it across an unusually wide range of stages. Her weekly residency is the Sunday Breakfast Show on BBC Radio 1Xtra, where she has hosted since July 2022. The route in was the BBC Radio 1 Presenter Search in 2019, followed by Christmas Drivetime, Early Breakfast and daytime cover on Radio 1 before moving across to 1Xtra. That is a competitive route into BBC daytime broadcasting and gives her a working relationship with a national, multi-generational, culturally diverse audience that organisations pay agencies a great deal of money to reach. The event work runs alongside the broadcast role and is the reason most corporate buyers commission her. Awards: MOBO, AIM, Business Book Awards, Inclusive Books for Children, the Diana Award Anti-Racist Bullying showcase. Live events: Red Bull BC One UK Cypher, Move It, Breakin’ Convention, U.Dance National Showcase, BBC Bitesize Tour, Ditto X Meet the Music Industry, Earl’s Court International Film Festival. Sport: in-game host for London Spirit at The Hundred. Literary festivals: chair at Hay, Cheltenham, Chiswick, and Brighton. The thread across those rooms is one specific capability: she can read an audience that does not share a single demographic and find a register that works for all of it. That is why she lands in inclusion-led briefs, youth audiences, music industry rooms, and corporate award stages with the same composure. Key speaking topics Awards and ceremony hosting Conference and summit MC work Panel chairing and interview moderation Literary festival and book event chairing Live sport and entertainment presenting Inclusion-led event hosting Broadcast voiceover Ideal for Brand and marketing leads commissioning a national awards ceremony, brand launch, or industry gala Internal communications and culture leads running town halls, recognition events, or all-hands moments that need a credible external voice Organisations running inclusion, education, or youth-audience programmes that need a host who can carry the tone authentically Conference programmers needing a moderator who can chair interviews and panels live without losing the thread Audience outcomes A live event that runs on time, with energy held from open to close Sponsor, winner and guest moments that land cleanly without dead air between them Interview segments where the guest is drawn out rather than walked over A host presence that connects with audiences across generations, cultures and seniority in the same room

Why organisations work with Fehinti Balogun He brings a working screen actor’s craft to climate communication, with credits across HBO, Netflix, BBC and Paramount+ that buy attention from audiences who tune out conventional sustainability talks. His one-man show Can I Live?, produced by Complicite with the Barbican, is the rare piece of climate work that has been taken seriously by both theatre critics and climate organisers, giving him a methodology he can adapt for corporate audiences. He has spoken to policy and scientific audiences at UN COP26, the Scottish Parliament and Cambridge University, which means his climate content stands up in rooms beyond entertainment. His TED talk on finding your voice for climate action gives organisations a direct entry point for staff who want to act but do not know how to begin. Biography highlights Graduate of the Royal Academy of Dramatic Art (RADA), 2016. Screen credits include I May Destroy You, Dune, A Gentleman in Moscow, The Bastard Son & The Devil Himself, and Down Cemetery Road. BAFTA nomination for Supporting Actor for Down Cemetery Road. Writer and lead performer of Can I Live?, produced by Complicite with the Barbican, directed by Daniel Bailey and Simon McBurney. TED speaker: “How to find your voice for climate action” (2022). Climate platforms include UN COP26, the Scottish Parliament, Cambridge University and the YouTube Creator Summit. Biography Climate communication inside organisations runs into the same wall again and again. The science is settled, the targets are public, and the workforce still does not have a shared language for any of it. Fehinti Balogun has spent his second career building that language through performance rather than policy. Trained at RADA, Balogun is a working actor with screen credits across HBO, Netflix, BBC and Paramount+, including I May Destroy You, Dune, A Gentleman in Moscow and Down Cemetery Road, the last of which earned him a BAFTA nomination for Supporting Actor. The technical command he brings to a stage or a camera is what gives his climate work its unusual reach. Can I Live?, written and performed by Balogun and produced by the theatre company Complicite with the Barbican, is the centre of that work. It combines spoken word, hip-hop, theatre, animation and scientific fact, and it became one of the few climate pieces taken seriously inside both the UK theatre scene and the climate movement. The same instinct shapes his TED talk, “How to find your voice for climate action.” His climate platforms include UN COP26, the Scottish Parliament, Cambridge University and the YouTube Creator Summit. He is most useful to organisations that have a credible climate position on paper and a workforce that has not yet found a way to talk about it. Key speaking topics Climate communication and storytelling Sustainability and employee engagement Diversity and inclusion in the climate movement Purpose and voice for early-career talent Creative practice as a tool for organisational change Ideal for Sustainability and ESG leads who need internal communications that move staff, not just stakeholders. CHROs and employee engagement leads building purpose-led programmes for early-career and creative talent. Internal D&I and ERG sponsors working at the intersection of climate and inclusion. Communications and brand leads in consumer-facing organisations who need a credible cultural voice on climate. Audience outcomes A clearer sense of why staff disengage from climate messaging that reads as compliance. Language and examples leaders can use to talk about sustainability without sliding into jargon. A working model for how creative practice can carry organisational messages that policy memos cannot. A more honest picture of how race, class and access shape who feels invited into climate conversations at work.

Why organisations work with Fleur East A working national breakfast presenter on Hits Radio since 2019, on air four hours a morning, five days a week. The reflexes for live radio carry directly into corporate stage moderation. Co-host of BBC Two’s Strictly: It Takes Two, where the format demands daily turnaround, guest interviewing, and managing emotional content on a tight clock. Reached the Strictly Come Dancing 2022 final with Vito Coppola and scored the series’ first perfect 40, a credibility line that lands instantly with mass-market UK audiences and partners. Co-founder with her sister of Kurl Kitchen, a textured-hair brand built on West African ingredients, launched in 2024. Useful when the brief includes founder stories, representation, or Black British entrepreneurship. Versatile in register, from awards night spectacle to panel moderation to after-dinner, without needing a different speaker for each format. Biography highlights Host of Hits Radio Breakfast (Bauer Media), nationally networked, since July 2019. Co-presenter of BBC Two’s Strictly: It Takes Two from the 2023 series. Strictly Come Dancing 2022 finalist with Vito Coppola; first perfect 40 of that series during Blackpool week. X Factor 2014 finalist; debut single “Sax” reached UK No. 3 and was certified Platinum by the BPI. Television credits including ITV’s Ant & Dec’s Saturday Night Takeaway, The Void, I’m A Celebrity finalist (2018), and Apple TV’s Ted Lasso. Co-founder with her sister Keshia East of Kurl Kitchen, a natural haircare brand launched in 2024. Biography Hits Radio Breakfast goes out from 6am every weekday to a national audience, and the host has to be functional from the first link. Fleur East has held that chair since 2019. Live radio at that hour, four hours at a stretch, is the closest training a presenter gets to running a corporate mainstage when the autocue fails. She came up through The X Factor in 2014, finishing as a finalist after her cover of “Uptown Funk” became the first contestant track to reach number one on the UK iTunes chart during a live series. Her debut single “Sax” hit number three on the Official Chart and went Platinum the following year. The music career gave her the stage instincts; the broadcasting career taught her the discipline. In 2022 she reached the final of Strictly Come Dancing with Vito Coppola, scoring the series’ first perfect 40 in the Blackpool week. The BBC brought her back as co-host of Strictly: It Takes Two from 2023, a daily live show that runs across the Strictly season and demands fast guest interviewing and tight format control. Other television credits include I’m A Celebrity, Ant & Dec’s Saturday Night Takeaway, ITV’s The Void, and a guest role in Apple TV’s Ted Lasso. Beyond presenting, she co-founded Kurl Kitchen with her sister Keshia in 2024, a textured-hair care brand grounded in West African ingredients. That gives her something to draw on when a brief calls for a founder story, a perspective on Black British entrepreneurship, or a host who can credibly talk to a CPG or beauty audience without being briefed in. Key speaking topics Live event hosting and awards presenting Conference moderation and stage interviewing Founder story: Kurl Kitchen and Black British entrepreneurship Representation in UK broadcast media Resilience and reinvention in a public career Women in entertainment and media Ideal for Awards nights and gala dinners requiring a recognisable national broadcaster on stage Corporate conferences needing a confident moderator across keynote interviews and panels Brand activations in beauty, CPG, retail, or media targeting UK and Black British audiences Internal events for HR, DEI, or talent leaders looking for a credible voice on representation in media Audience outcomes A live event held together by a host who keeps energy and pace through running-order changes Guest interviews that go beyond the prepared questions and land specific quotes the team can use afterwards A founder narrative grounded in a real, trading consumer brand rather than a generic entrepreneurship story A representation conversation that stays useful for an internal audience rather than slipping into platitudes

Why organisations work with Flex He has built United View from a personal channel into a 130,000-plus subscriber football media brand without a broadcaster behind him, and can describe what actually retains an audience week to week. He sits inside English football’s broadcast ecosystem (Sky Sports, talkSPORT, DR Sports Media) while running an independent platform, which gives him a working view of where legacy media and creator media now compete and overlap. His perspective on inclusion is grounded in lived experience as a Black broadcaster, including a publicly reported racist-abuse incident outside Old Trafford that he chose to confront on the record rather than absorb privately. His career, from SEN teacher to elite-game broadcaster, gives him concrete material on reinvention and on speaking to young audiences, rather than abstract claims about purpose. One of YouTube’s UK Black Voices Class of 2022, a curated cohort selected and developed by the platform itself. Biography highlights Founder and presenter of United View, an independent Manchester United-focused YouTube channel with more than 130,000 subscribers. Presenter and broadcaster for Sky Sports (including Good Morning Transfers), talkSPORT and DR Sports Media. Selected for the YouTube UK Black Voices Creator Class of 2022. Host of the BTEC Awards and of UK Black Business Week; BTEC Ambassador. Former Special Educational Needs teacher; basketball player formerly contracted to the London Lions (previously MK Lions). Working R&B and Garage DJ alongside his broadcast and creator work. Biography Independent fan media has moved from a hobby tier to a structural part of how football is consumed. United View, the channel Flex founded in 2021 and grew past 130,000 subscribers, sits inside that shift. It runs without a broadcaster’s infrastructure and earns its audience by being closer to the matchday experience than legacy outlets can be. That operator vantage point is what makes him useful to a business audience. He can talk concretely about what holds an online community together, how trust is built when there is no studio behind you, and where independent creators and traditional broadcasters now compete for the same attention. His parallel work with Sky Sports, talkSPORT and DR Sports Media gives him a view from both sides of that line. Inclusion is the other live thread. As a Black broadcaster in English football he has had to address racism in his work directly, including a publicly reported incident outside Old Trafford in November 2024 that he chose to put on the record rather than carry quietly. His selection for YouTube’s UK Black Voices Creator Class of 2022 and his hosting roles at UK Black Business Week and the BTEC Awards place him inside the institutional side of that conversation as well. He came to broadcasting via a Special Educational Needs teaching career, basketball at the London Lions, and a continuing life as an R&B and Garage DJ. That track gives him substantive material for audiences thinking about reinvention, young talent and the route into creator-led careers, beyond the football frame. Key speaking topics Audience and community building in the creator economy Independent media and the future of sports broadcasting Diversity and inclusion in sport, media and the workplace Confronting racism in public-facing work Reinvention and non-linear careers Engaging young and digital-native audiences Hosting, panel facilitation and event presenting in sport and culture Ideal for CHROs, DEI leads and internal culture teams looking for a credible voice on inclusion that is grounded in lived experience rather than slideware. Marketing, brand and audience leaders working through the shift from broadcast to creator-led media. Employee network and ERG events, particularly around Black History Month, anti-racism programming and early-careers outreach. Sports, media and entertainment organisations briefing teams on how independent creators are changing fan and consumer behaviour. Audience outcomes A clearer working picture of how independent creators earn and keep audience trust, and what that means for in-house content and brand teams. A more honest framing of inclusion at work, from someone who has had to handle racism in public rather than discuss it in abstract. Material on building careers and platforms outside conventional broadcast and corporate routes, usable in early-careers and emerging-talent programmes. Sharper questions about where legacy media authority sits now that fans and employees increasingly trust people, not institutions.

Why organisations work with Fons Trompenaars His Seven Dimensions of Culture model gives boards and integration teams a shared vocabulary for diagnosing where global strategies break down, drawn from research across more than a hundred thousand managers. Dilemma reconciliation moves leaders past the false choice between universal standards and local adaptation, which is the recurring failure mode in M&A integration, joint ventures, and global rollouts. Thinkers50 Hall of Fame status places him in the same tier as Drucker, Porter, and Peters, useful credibility when the audience is a sceptical executive committee. Three decades of advisory work with Shell, BP, Heineken, Philips, Nike, General Motors, IBM, Johnson and Johnson, and Pfizer mean the case material is operational, not academic. He is one of the few cultural theorists whose framework is built around action: every dimension comes with a method for resolving the tension, not just naming it. That method now runs inside AI-enabled tools, including a Dilemma Solver trained on a proprietary database of more than 60,000 leadership dilemmas. Biography highlights PhD in social systems sciences, Wharton School, University of Pennsylvania, 1983. Co-founder of Trompenaars Hampden-Turner with Charles Hampden-Turner in 1989; acquired by KPMG in 1998. Author of Riding the Waves of Culture, named to the Thinkers50 top ten Management Classics list in 2024 and translated into more than twenty languages. Co-author of Nine Visions of Capitalism, 21 Leaders for the 21st Century, Building Cross-Cultural Competence, and Servant Leadership Across Cultures. Co-authoring Tension to Traction with Bas Kemme, a forthcoming book built on CEO interviews that extends the reconciliation argument of “21 Leaders for the 21st Century.” Inducted into the Thinkers50 Hall of Fame in 2017; ranked among the most influential management thinkers in 2011, 2013, and 2015. Recipient of the ASTD International Professional Practice Area Research Award (1991) and the WFPMA George Petitpas Award (2023). Biography Most cross-cultural frameworks describe difference. They tell leaders that the Dutch are direct and the Japanese are deferential, then leave the leader to work out what to do about it. Trompenaars’ contribution is the next step: a method for reconciling competing cultural values rather than choosing between them. The Seven Dimensions of Culture, developed with Charles Hampden-Turner over a decade of empirical research, identifies the underlying tensions that surface when global organisations try to operate as one. Universal rules against particular relationships. Individual achievement against collective ascription. Sequential time against synchronous time. The model is built on data from over a hundred thousand managers and has anchored consulting engagements at Shell, BP, Heineken, Philips, Nike, IBM, Johnson and Johnson, and Pfizer. The intellectual foundation runs deep. A doctorate from Wharton, nine years inside Shell across nine countries, and the 1989 founding of the consultancy that became Trompenaars Hampden-Turner, later acquired by KPMG. “Riding the Waves of Culture” is a Thinkers50 Management Classic. The Hall of Fame induction in 2017 placed him alongside Drucker, Porter, and Peters. What makes the work commercially useful is dilemma reconciliation. Competing values, results and relationships, standards and local fit, individual and collective, are not trade-offs to be balanced but tensions to be integrated. For boards working through merger integration, global expansion, or post-acquisition culture programmes, that shift in framing is what turns cultural awareness into operational performance. The method now runs inside AI-enabled tools and underpins Tension to Traction, a forthcoming book with Bas Kemme on how CEOs turn competing pressures into a path forward. Key speaking topics Cross-cultural leadership and global team effectiveness Dilemma reconciliation as a leadership method Cultural due diligence in mergers and acquisitions The Seven Dimensions of Culture Leading change across multinational organisations Servant leadership across cultures Cultural reconciliation in the age of AI and polarisation Ideal for Executive committees and boards leading multinational integration, joint ventures, or post-acquisition culture work CHROs and global HR leaders responsible for leadership development across multiple regions Transformation leads running global change programmes where local resistance is the recurring blocker Leadership development programmes for newly international senior leaders Audience outcomes A working vocabulary for the seven cultural tensions that surface inside global teams A method for reconciling competing values rather than defaulting to head office standards Diagnostic clarity on why specific global initiatives have stalled or fragmented Case material from Shell, Heineken, Philips, and other multinationals that can be applied to the audience’s own integration challenges

Why organisations work with Francesca Martinez She fronted the WOW petition that crossed 100,000 signatures and forced a main-chamber debate in the House of Commons in 2014, which is a concrete democratic outcome rather than an inclusion talking point. Her debut play All Of Us opened at the National Theatre’s Dorfman in 2022 under Ian Rickson, putting disability and welfare politics in front of a mainstream theatre audience, with Francesca shortlisted for the George Devine Award. What the **** Is Normal?! (Virgin Books, Penguin Random House) gives the room a single shared reference point on identity and difference that holds up outside the corporate inclusion vocabulary. She speaks from inside the experience, not about it, which removes the discomfort senior audiences often feel when an external consultant lectures them on disability. She works the room as a stand-up first, which means the message lands in audiences that are sceptical of conventional DEI keynotes. Biography highlights First and only female winner of the Open Mic Award at the Edinburgh Festival (2000), and winner of the Edinburgh Fringe Media Network Award (2011). Author of What the **** Is Normal?! (Virgin Books, Penguin Random House, 2014); Bread and Roses Award runner-up and Chortle Best Comedy Book nominee. Wrote and starred in All of Us, National Theatre (Dorfman), 2022, directed by Ian Rickson; shortlisted for the George Devine Award. Her June 2019 Question Time appearance was called the show’s “best ever moment”, reaching 11 million views in its first week. The first disabled woman to perform on BBC Two’s Live at the Apollo, opening Series 11 in 2015; later featured in the BBC’s Access All Areas special. Fronted the WOW petition and secured a House of Commons main-chamber debate, February 2014. TEDxHousesOfParliament speaker (“Being Happy is a Political Act”) and performer at the World Economic Forum in Davos alongside Emma Thompson. Named to the BBC Radio 4 Woman’s Hour Power List (2014) and awarded two honorary doctorates for work on equality and inclusion. Biography Most inclusion programmes are written in a language that the people they are meant to help do not use. Francesca Martinez calls herself “wobbly”, refuses the medical vocabulary around cerebral palsy, and has spent twenty years showing what happens when someone with a disability narrates their own experience rather than being narrated about. The reframing sounds small. The downstream effect on a room of senior leaders is not. The credentials sit in unusual places for a speaker on this topic. She was the first and only woman to win the Open Mic Award at the Edinburgh Festival, in 2000, and went on to write What the **** Is Normal?!, published by Virgin Books, which was a runner-up for the Bread and Roses Award and a Chortle Best Comedy Book nominee. Her debut play All Of Us, directed by Ian Rickson, opened in the Dorfman at the National Theatre in 2022, and Francesca was shortlisted for the George Devine Award for it. The activism is the part most relevant to senior buyers thinking about substance over messaging. As the public face of the WOW (War on Welfare) campaign, she drove a petition past 100,000 signatures and forced a debate in the main chamber of the House of Commons in 2014, the first time disabled people had secured a main-chamber debate on an agenda of their own choosing. That is a measurable political result, not an inclusion narrative. For an organisation, the value of booking her is specific. Senior audiences hear a writer and performer with mainstream theatrical and broadcast credentials make an argument about identity and belonging that has already been tested in Parliament and at the National Theatre. The conversation that follows tends to be about whether the company’s own inclusion work would survive that kind of scrutiny. Key speaking topics Disability and inclusion at work Identity, difference and self-acceptance Resilience and lived experience Advocacy and the politics of welfare Storytelling as a tool for cultural change Mental health and wellbeing Ideal for CHROs, heads of DEI and ERG sponsors building inclusion programmes that engage sceptical audiences. Leadership offsites and culture events where the goal is to move beyond inclusion language into behaviour change. International Day of Persons with Disabilities, Mental Health Awareness Week and similar moments where credibility of the speaker matters more than topic coverage. Audience outcomes A sharper sense of how disabled and neurodivergent colleagues actually experience the workplace, narrated from the inside. A reference point (the book, the play, the WOW campaign) the audience can carry back into their own inclusion conversations. Permission to question the corporate vocabulary of inclusion without abandoning the work. A break from the standard motivational register; the room laughs first and then commits.

Why organisations work with Furkan Karayel She speaks to engineering leaders as a former engineer. Ten years across multinational tech firms in Ireland gave her a working vocabulary for the room. Inclusive Intelligence, her book, gives line managers a behavioural framework rather than a values statement. It is the artefact she leaves with leadership teams. She lectures on the Equality, Diversity and Inclusion Master’s programme at Dún Laoghaire Institute of Art, Design and Technology. The academic grounding sits alongside the practitioner experience. She has been recognised by named bodies including the WomenTech Global Awards and the International Diversity Leadership Awards, and sits on the Harvard Business Review Advisory Council. Biography highlights Founder and Managing Director, Diversein.com Author, Inclusive Intelligence: How to be a Role Model for Diversity and Inclusion in the Workplace Associate lecturer, EDI Master’s programme, Dún Laoghaire Institute of Art, Design and Technology Board member, Women For Election Ireland Speaker of the Year, WomenTech Global Awards Member, Harvard Business Review Advisory Council Biography Most inclusion programmes inside technology companies are designed by people who have never written production code. That gap shows up in the language, the metrics and the interventions. Furkan Karayel started her career as a software systems test engineer in Athlone, then spent a decade across multinational tech firms in Ireland in DevOps, automation, integration and support roles. She founded Diversein.com when she realised that, in her words, the action piece behind the diversity vocabulary was missing. The work that followed is documented in Inclusive Intelligence, a book written for line managers rather than chief people officers. It treats inclusion as a leadership behaviour, observable and learnable, not a values position. The framework has carried into her teaching on the Equality, Diversity and Inclusion Master’s programme at Dún Laoghaire Institute of Art, Design and Technology, where she lectures alongside her commercial work. Her credentials sit across academic, commercial and civic categories. She holds a seat on the Harvard Business Review Advisory Council, serves on the board of Women For Election Ireland, and was named in the EUClid Network’s Top 100 Women in Social Enterprise. Named awards include Speaker of the Year at the WomenTech Global Awards and the Diversity and Inclusion Role Model in Business honour from the International Diversity Leadership Awards. For technology businesses that have already invested in DEI and want a more useful conversation than the one they have been having, Karayel offers a practitioner’s argument rooted in the realities of engineering culture. Key speaking topics Inclusive leadership in technology organisations Women in tech retention and progression Cultural intelligence across multilingual teams Bias-free decision-making for line managers Authentic leadership development Female founder and entrepreneur enablement Ideal for Engineering and product leadership teams inside multinational tech businesses CHROs and heads of DEI under pressure to convert programme spend into behavioural outcomes Women-in-tech networks and ERGs seeking content with technical credibility Conferences serving founders, female entrepreneurs and STEM professionals Audience outcomes A behavioural definition of inclusion managers can apply on Monday Specific practices for reducing bias inside engineering and product decisions A clearer view of why technical women leave, and what changes the equation Language for inclusive leadership grounded in lived practitioner experience