[vc_row][vc_column][vc_column_text]Inclusion & Trust in the Commercial Side of the Media Sector

One of the objectives of the World Media Group’s working group on Trust & Engagement is to develop a better understanding of the perception of our brands within the wider media / advertising industry. Together with The Third Culture and the Brixton Finishing School, we recently conducted our first-ever survey on Inclusion & Trust in the commercial side of the media sector.

We conducted almost 300 interviews with media agencies, creative agencies and media companies, with a particular focus on the younger end of the industry. The survey examined organisational culture and inclusion practices and looked at the perceptions about what was important commercially.

D&I products and services have more commercial impact than policies

Overall, respondents placed a higher value on D&I products and services and how they impact on commercial decisions than D&I policies.

Almost half of the respondents (44%) agreed that providing insight and data that captures a diverse range of audiences was important. Thirty one percent thought an organisation should provide products and services for more inclusive advertising, and 23% wanted to see organisations demonstrating commitment to fully inclusive advertising.

Respondents considered D&I policies to have less of an impact on commercial decision-making. Thirteen percent of respondents thought it was important for organisations to integrate inclusion principles into mission/vision/values. The same number felt organisations should have special programmes that support underrepresented groups. Ten percent felt it was important that the people who worked at an organisation are representative.

Agency vs media perceptions on D&I differ

Having a representative group of people from various backgrounds on teams is already becoming standard during the agency pitch process, and there’s an expectation that a company will have an ERG programme to support underrepresented groups. However, when we drill down into the agency vs media perceptions of how diversity and representation impact commercial decisions, there is a dramatic difference of opinion.

Those working in media place a much higher value on D&I policies and practices than their agency counterparts. This is likely to be because established media outlets are brands in their own right. Implementing broader cultural policies is important to their business to the extent that not having a diverse staff may have a negative impact on sales.

For agencies, there’s less concern about a media partner having diverse staff as long as they have the ability to show insight into diverse audiences and demonstrate inclusive advertising and content.

The research, which has been shared with WMG members, has provided interesting insights for our media brands to consider. This includes the need for clearer articulation of the diverse editorial content that already exists across the World Media Group’s brands. We look forward to updating you on our progress in the coming months.[/vc_column_text][vc_single_image image=”21681″ img_size=”large”][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]

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Working for a government department, are there any restrictions you’ve come up against that limit what you can do with your content marketing campaigns? If so, how have you combatted that?

The only limits are those we place ourselves, when we limit our own creativity or imagination. Of course, there are technical limitations or financial boundaries we can’t cross but these only limit our ability to execute the ideas in the way we initially intended. There’s nothing stopping us from executing them differently.

When you look at what we’ve produced over the past few years, the scale, innovation and ambition we’ve demonstrated, you clearly see we live and breathe our country’s motto: Impossible is Possible. We thrive on these three words.

 

Why do you think there’s been a growth in content-led advertising campaigns over the last few years?

Capturing and retaining people’s attention, when there is an avalanche of messages and sources of distraction, is the real battle for marketers. This is particularly poignant when attention spans are dropping to levels below those of a goldfish, at around eight seconds today. There is also a deficit of trust in a lot of institutions. Traditional messages, interruptive ads or communications are no longer cutting through the way they once did.

While personalisation helps, if done sensibly, what really gets through to people is content-based communications. Content gets you found, liked and, where applicable, bought. It builds awareness and credibility in a far less intrusive way than traditional advertising. What’s more, it’s shareable. It doesn’t matter if you don’t become viral, you will still expand your audience when people share your content with their friends and followers.

Brands are thinking and acting more and more as publishers. If they put their audience’s needs first, they stand to get levels of trust, affinity, attention, and preference ad campaigns can only dream of.

 

What are the biggest changes you’ve noticed in content over the last five years and what sort of trends do you expect to see in the future?

Like most things, content has moved from print to digital platforms. We’re therefore focusing more and more on audio-visual and, interestingly, voice, with podcasts. While social media has led to the bitesizification (wish I could trademark this) of content, I do believe there is also a place for long-form. Look at the performance of documentaries.

Obviously, while content is largely used to build a brand and its affinity, including by championing causes or promoting social responsibility, marketers still want it to generate leads or sales. We’re probably going to see more efforts in this direction.

Another aspect is the deprecation of third-party cookies on Chrome and the focus on first-party data it will eventually generate. Marketing to a database of known consumers or visitors will heavily rely on content to push people down the funnel and rely on its shareability to contribute to audience expansion.

 

With a recession potentially on the horizon, do you think now is the right time for brands to invest more heavily in marketing or will we see the industry cutting back?

Typically, with any signs of economic contraction and lower revenues, most businesses respond with cost-cutting measures. Some will go further and reduce or delay investments. What appears to be financial prudence could actually be the corporate equivalent of shooting yourself in the foot when it comes to marketing.

With every crisis or downturn marketers go through the same debate, should we/shouldn’t we, with agencies and industry associations trying to convince the others about what course to take. There is ample evidence that short-term budget-cutting reactions are never as effective as long-term investments for brands – or the economy. Brands that keep on investing through a crisis bounce back better and maintain or grow their share better than those that cut budgets

A downturn also presents opportunities to invest in your brands with better commercial conditions and less competitive pressure. I am not advocating recklessness of course, just looking outside the box and a bit of bravery. Call it a leap of faith.

 

What do you think the specific challenges will be for your sector in the year ahead?

Besides a general contraction in revenues and therefore budgets, possibly, we’re likely to see a lower appetite for international investments and possibly tourism, with inflation cutting into budgets. It’s nothing we haven’t seen before though, and certainly not as unexpected as the pandemic. We have a built-in resilience, I feel, in our economy. Every time, we’re returning to pre-crisis levels faster than the previous downturn. We may get bruised, but we don’t get scars, which is a good thing.

In terms of communications, as tech makes everything immediate and accessible, government communications need to become much more two-way, fast and effective. This is particularly true for Gen Z consumers. Rather than campaign-based, we’re adopting always-on more and more.

 

One of the reasons you were nominated for the award was because of the transformative way you approach communications, behaving more like a brand than an institution. What’s the one piece of advice you would give to your peers in other government institutions?

Creativity is not just for commercial brands but also for public sector brands, which often have a greater purpose to fulfil. From nation-building to branding, from philanthropy to public diplomacy, from small trips to interstellar missions, we’ve transformed the way the UAE Government communicates. And it’s won multiple awards at some of the most prestigious festivals. How did we achieve this? We went All Out.

First, we OutEmphathised: we became people-centric to always humanise our communications and ensure they are meaningful. Second, we decided to OutThink: we became bold, unique, distinctive and brave enough to test, experiment and dare to truly innovate and capture attention. We also OutCared: we found and pushed a greater purpose in our work. Finally, we OutCollaborated: we developed many collaborations with partners, not suppliers, who share your vision and contribute multiple perspectives for better results.

At the UAE Government Media Office, we ensure the strategic communication needs of the government are met, helping it communicate with its domestic and international audiences on a broad range of challenges and initiatives. This includes working on the Emirates’ nation brand. We’re particularly focused on soft power and public diplomacy strategies, managing the visual media identity, and managing media campaigns for strategic national projects and official events. At the Mohammed Bin Rashid Al Maktoum Global Initiatives, we ensure the success of philanthropic and developmental campaigns through smart media ideas and activations.

 

Finally, what campaign are you most proud of and why?

I have a soft spot for the World’s Tallest Donation Box. The idea was to sell each LED light on the façade of the Burj Khalifa, the tallest building in the world, to raise money for the 10 Million Meals campaign. We gamified the humanitarian campaign by putting the Burj Khalifa on sale. Each one of the 1.2 million lights was sold, providing 1.2 million meals to people directly or indirectly affected by the COVID-19 outbreak across the country. This shining display of social solidarity and cohesion brought hope and smiles to people who needed it the most.

Institutions, companies and the general public bought one or more lights for 10 AED ($2.7) each. One light would provide one meal. The skyscraper’s 1.2 million lights turned it into a beacon of generosity. This got global attention and the media around the world featured the story and images of Burj Khalifa powered by kindness. This is marketing as a force for good.

This campaign has been a massive success, providing meals for the needy, positive PR for the UAE, contributing to building the nation brand, and gaining an impressive number of awards (70 in total). More importantly, it helped the 10 Million Meals campaign exceed its goal by over 50%, raising enough funds to provide 15.3 million meals to low-income families and individuals impacted by the pandemic.

 

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Brands including Accenture, Citi, De Beers, Forbes, Hyundai, Lombard Odier, Mærsk, Reuters, Samsung / Samsung Galaxy, Sony Pictures Entertainment, Visit Sweden and Volkswagen were amongst those receiving accolades for their impressive category entries this year during the awards celebration at the Ham Yard Hotel in London.

The full case studies for this year’s winning entries, along with the winners of previous years, are available to read in the World Media Group’s Creative Vault here.

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‘The Ones Who… Keep Walking’ campaign wins this year’s Grand Prix

The 2022 World Media Awards Ceremony last night was shadowed by the sad news of the death of Her Majesty The Queen. WMG President Damian Douglas began the event by offering condolences on behalf of the World Media Group and invited the audience to take part in a minute’s silence to reflect on the news.

Despite the difficult circumstances, we felt it was important to celebrate the amazing work of all our finalists, and we are pleased to announce Johnnie Walker as the Grand Prix winner of the 2022 World Media Awards.

The awards, supported by Smartology this year, are the only global awards to recognise brands, agencies and media partners who, together, create the most effective cross platform, cross border, content-driven advertising campaigns.

Brands including Accenture, Citi, De Beers, Forbes, Hyundai, Lombard Odier, Mærsk, Reuters, Samsung / Samsung Galaxy, Sony Pictures Entertainment, Visit Sweden and Volkswagen were amongst those receiving accolades for their impressive category entries this year during the awards celebration at the Ham Yard Hotel in London.

The Grand Prix-winning campaign from Johnnie Walker, which also won the Luxury & Lifestyle category, was built around a feature documentary directed by Amarachi Nwosu, which sets out to explore what the spirit of Keep Walking means for creative and change makers in Africa. The film features more than 20 defiantly optimistic voices from the artists, designers and musicians shaping the cultural scene in Africa today. It delivers an insight into how fresh creative energy, sheer determination, and a pioneering spirit is bringing authentic African expression to the world.

“Despite a raft of strong contenders, the judges were unanimous when it came to voting for the Grand Prix. This disruptive campaign demonstrates the power of storytelling through content-driven advertising in the right media environment,” said Belinda Barker, Chief Executive of the World Media Group.  “It uses storytelling to reimagine how we see Africa and the creative renaissance taking place there, highlighting those who embody the spirit of Keep Walking by igniting collective progress across Africa.”

A panel of 37 senior jurors from leading international advertisers, agencies and publishers co-chaired by Hamish Goulding, Head of Global Brand Strategy for HSBC and Ritu Lakhanpal, Managing Partner, IPG MEDIA BRAND, were tasked with selecting winners from the many global submissions. The full list of judges can be seen here.

The full case studies for this year’s winning entries, along with the winners of previous years, are available to read in the World Media Group’s Creative Vault here.

The winners of the World Media Awards 2022 are as follows:

 

AUTOMOTIVE  

Winner – The New Polo Challenger Series: Conquering New Stadiums
Brand: Volkswagen
Entered by: PHD Germany
Credits: Twitch, DDB/Voltage

Judges’ comments: The campaign addresses the issue of ad-blocking by its target market by going to where the younger audience is concentrated; the product is at the heart of the campaign.

CORPORATE INFLUENCER

Winner – The Upside Of Integrated Logistics
Brand: A.P. Moller – Mærsk,
Entered by: Havas Business
Credits: Creative Agency: &Co.

Judges’ comments: A creative use of media, beautifully integrated with an elegant internal and external application. The campaign demonstrates humour in a potentially dry category and achieves excellent results.

FINANCIAL SERVICES

Winner – Revealing The Unexpected Value Of Nature
Brand:
Lombard Odier Group
Entered by: Banque Lombard Odier & Cie SA
Credits: VMLY&R, Wavemaker, RS Solutions

Judges’ comments: A nice concept brought to life making the financial services category beautiful and interesting. The campaign stands out in the sea of the sameness; the choice of media highlighted the campaign and delivered results.

Highly Commended – Treasury & Turbulence – Sanctions: The Makers & The Breakers
Brand: Citi
Entered by: Euromoney Institutional Investor  

Judges’ comments: This campaign creates emerging content for a niche audience but transferable to others and leveraged audio as distribution strategy.  

LUXURY & LIFESTYLE  

Winner – The Ones Who… Keep Walking
Brand: Johnnie Walker
Entered by: OMG Africa

Judges’ comments: A meaningful and disruptive campaign; a smart way to navigate regularity challenges and a strong brand alignment.

MEDIA & ENTERTAINMENT   Winner – The Source
Brand: Reuters
Entered by: Reuters
Credits: VMLY&R

Judges’ comments: A highly competitive strategy. A strong sense of authenticity, a smart media mix based on strategy, using simple visuals, propelling the brand into the future.

Highly Commended – Spider-Man Swings To Global Success
Brand: Sony Pictures Entertainment
Entered by: OMD EMEA   Judges’ comments: A strong targeted strategy with a clear impressive result of being the most viewed trailer.

TECHNOLOGY & TELECOMS

Winner – The Phone Of The Year Captures The Man Of The Year
Brand: Samsung Galaxy S21 Ultra
Entered by: Starcom Worldwide
Credits: Conde Nast, Edelman

Judges’ comments: Smart integration of premium editorial and premium commercial strategy; strong distribution across all platforms.

Highly Commended – Creating Sustainably
Brand: Samsung
Entered by: T Brand, the content studio of New York Times Advertising

Judges’ comments: They found a unique angle to launch the campaign. A robust audience strategy as the backbone of the campaign and smart use of targeting.

TRAVEL & TOURISM

Winner – Discover The Originals
Brand: Visit Sweden
Entered by: Mindshare
Credits: Forsman & Bodenfors, Hill+Knowlton, B-Reel Films, Ljudbyrån

Judges’ comments: A clever device that made people engage, comment and amplify the campaign, and possibly add Sweden to the bucket list! A real crowd pleaser and perfectly on brand.

GRAND PRIX

Winner – The Ones Who… Keep Walking Brand: Johnnie Walker
Entered by: OMG Africa

SPECIAL CATEGORIES:

BRAND & MEDIA OWNER PARTNERSHIP  

Winner – Okavango Eternal
Brand: De Beers Group
Entered by: National Geographic Judges’ comments: Brave and innovative way to talk about addressing brand perception head on, potentially a controversial issue. Highlights a new topic and is educational. Played to strong sustainability.  

Highly Commended – Accenture Exchange Series And Partner Content
Brand: Accenture
Entered by: Financial Times
Credits: UM

Judges’ comments: A thoughtful insight-led, multiplatform strategy with longevity.  

SOCIAL GOOD

Winner – Journey To Ithaca
Brand: Hyundai
Entered by: BBC Studios (BBC StoryWorks)
Credits: Havas Media Germany, Innocean Worldwide

Judges’ comments: A well-considered, well-executed campaign that generated a genuine positive and demonstratable impact for Hyundai and Ithaca. The project paves the standard for sustainable short-form content production at the BBC.

Highly Commended – State Of Black Entrepreneurship
Brand: For(bes) the Culture
Entered by: Forbes

Judges’ comments: The project is highly commended for its ambition to rewrite history through the use of media today and going forwards.  

RISING STAR

Winner – Ella Solomon
Wavemaker

Judges’ comments: Ella really impressed us with her entrepreneurial and sustainable efforts. She behaves as a leader in her agency and community. As such, we are keen to see where this takes her and expect Ella to help our industry progress on her net zero agenda.  

Highly Commended –  

Aimee Carpenter
Carat UK

Cristina Correa POLITICO Europe

Georgina Marshall
BBC Studios (BBC Global News Advertising Sales)

Judges’ comments: All highly competent and an asset to their organisations. We fully expect to hear more about all over the next few years.  

CONTENT LEADERSHIP & INNOVATION  

This award is for the individual recognised by peers for their talent in creating exemplary content-driven campaigns with brand bravery, creativity and innovation.

Winner – Khaled AlShehhi, Executive Director of Marketing and Communication for the UAE Government Media Office

#ENDS#

About The World Media Group – Championing International Trusted Journalism

The World Media Group is an alliance of leading global media organisations united in providing trusted and renowned journalism. Its members include The Atlantic, BBC Global News, Bloomberg Media, The Economist, Forbes, Fortune, Insider, National Geographic, Politico Europe, Reuters, The New York Times Company, The Smithsonian, TIME, The Wall Street Journal and The Washington Post, and associate member Euromoney, and partners Permutive and Smartology. To find out more about the World Media Group, please visit www.world-media-group.com.

 

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[vc_row][vc_column][vc_video link=”https://youtu.be/xbnbRGb9K7I”][/vc_column][/vc_row][vc_row][vc_column][vc_column_text][/vc_column_text][vc_column_text]ALLY OWEN IN CONVERSATION WITH THE WORLD MEDIA GROUP’S BELINDA BARKER

Welcome to My Media Life, where we chat with the movers and shakers in the worlds of business and marketing to find out what the media industry means to them. They share their advice for those starting out today and personal insights into their sources of inspiration and motivations.

This month, we’re thrilled to be joined by Ally Owen, the founder of ADcademy and the Brixton Finishing School, which provides programmes for talent from communities currently underrepresented by employers in the adverting industry.

Below are extracts from our conversation – you can watch the full interview in the video above or listen to the podcast here.

What does the media industry mean to you?

I find it fascinating. It’s like a repository for the world’s opinions, thoughts, feelings and positions. It’s all humanity’s views on the world in one place and, how that all connects, and how it all mixes together, and how ideas and concepts can travel within that massive ecosystem. I’ve just loved it since I fell into it nearly 30 years ago.

What’s the one piece of advice that’s helped you in your career?

Give less fucks, especially as a female. When I was younger, I used to give far too much credence to being concerned about what other people thought of me, trying to keep the peace. Classic people pleasing!

I would say I’ve been a lot more successful, well, a lot more relentlessly unstoppable, since I just focused on the thing I needed to do, which is to make change, make the industry more equitable, and stopped listening or concerning myself with stuff out of my control.

You can’t control what people think of you. Obviously not being a twat is an important part of that, but if you’ve done your best every day to be the least twatty human you can be, that’s pretty much as good as it’s going to get. People are going to think what they’re going to think anyway.

What do you enjoy most about your current job?

What’s my favourite thing about the dream job I’ve created for myself? Well, in a real Oscar-winning way, I’m going to say I can’t thank all the bits of my job enough, because they’re all equal for me. It’s just the fact that I’m part of something bigger than myself that’s working.

I’ve always been really passionate about equity, and change, and talent reaching its potential. And now we’ve got this amazing alliance of partners like yourselves, and talent, and it’s just this big change-making engine. And every day you actually feel as if you are doing something worthwhile.

We’re very lucky in the sense that we see the fruits of our labours all around us in the industry now. I had a lovely chat with my community manager this morning and she’s just been doing some work in our mentorship area. And she said the best bit about mentorship is she gets to actually see where she makes a difference.

She came through our programme, but she gets to see in quite a short term, that she’s had a positive effect – hopefully positive – on that person’s outcome. That’s just gold dust.

Was there a single light bulb that started the Brixton Finishing School?

It was in 2016 (but the first Brixton was in 2018) and I was at a very big media company. And they employed a right-wing agitator. Nothing wrong with being right wing – politics has nothing to do with it – but not being nice to people and deliberately being hating towards certain communities pisses me off.

You’ve got your right to an opinion, but you haven’t got a right to put other people down. And this particular commentator – it was Katie Hopkins – because of the work I was doing, I was contributing towards paying her salary through my labours. A strongly opinionated person who doesn’t like the communities I care for. This was not a personal crusade, but she doesn’t even like ginger babies!  So, thanks Katie. Thanks for making me angry, because out of that anger came this wonderful thing!

I just had a moment where I was like, if I’m going to work this hard – and I am, as we say relentless – then I want to put all my talent, all my relentlessness into something that makes the world a more equitable place and improves the industry.

I love the industry. It’s fed me. It’s clothed me. It’s kept me interested for the three decades, but it’s never really involved all the voices we need to make it as brilliant as it could be. We tend to be very lopsided. And this was the kind of touch paper – I just thought, no, not again. We’re not going to have somebody who always gets breaks, getting a break. Why can’t we hear other people’s points of view? Why is it always just one type of person?

What piece of advice you would give somebody considering entering this industry today?

Probably from a safety point of view, I would let them know that they’re going to be a pioneer if they come from communities that aren’t well represented. I think it’s really important that we let our talent know that it is going to be challenging coming into spaces where they aren’t represented.

And interestingly, the people we work with, aren’t actually a minority. They are the majority of people in the UK, is just, they’re a minority in our spaces. Our spaces are actually run by a minority. We’re very unrepresentative. It’s really interesting that we, the majority, are not the majority in places that communicate to the mass market.

And that could be anything. It could be age, it could be race, it could be ability. It could be location. It could be neurodiversity. Class is a massive one. There are so many intersections. It could be that you’re a carer or a parent.

I think [it’s important to] recognise that half the time, it’s not you, it’s the system that’s stopped you succeeding. The system is designed very carefully to let certain people succeed and certain people to support those people to succeed. And it’s going to take a while for us to all work together to make it an equitable system.

We know that’s the best thing that could happen because from a profiteering point of view, as well as a social justice point of view, we would be a lot more shipshape and make a lot more money if we include everybody in the system.

What is your secret talent?

Being ginger! It’s not very secret, but I think being born ginger gives you a series of natural advantages and disadvantages in life. You can never hide. You get a lot of attention, and you very quickly learn to stand your ground. I’m used to being the only one in a room. It’s very rare but yesterday, I think I saw three people that looked like me in the street and I was really excited that I’d passed somebody a bit like me. You’re memorable, so I think you have an innate advantage, I’m going to always stand out whether I wish to, or not. And you get mistaken for other people! My worst fear is to get mistaken for another redhead who’s committed a serious crime!

Where do you get your daily news from?

I’m careful about what I read. I think I’ve got ADHD so I can get really over-interested in stuff. That’s not necessarily going to help me to get into what I need to do that day. So, I have some rules around when and how I consume my news.

I read a bit of The Guardian, but I did this thing that was recommended after the murder of George Floyd in 2020, which was to have a multiple system of news sources. So, I have a Muslim news channel that I read every day. And I’ve signed up to a black news channel in the States, which is really interesting. It’s called The Root. I don’t know who the celebrities are but it’s given me such a better understanding of a massive part of the world’s population’s news and views that I as a white female from Britain would never have. So that’s really interesting.

And I hate to say it, but a bit of Vice and Refinery 29. I’m not going to lie. And I do like a bit of Love Island news, which is really embarrassing.

Although I love Forbes. I love The New York Times. I love a bit of a meaty article as well, so I do have some of your partners on my list. I tend to avoid anything too sensationalist apart from Love Island.

That’s the beauty of the media. On one tablet or phone, I can literally be a thousand different versions of myself. And I think that’s what the internet has gifted us. I used to work in print, and I still love print, but the ability for me to have so many different voices in one place, from different parts of the world and with really different views – I think that’s an incredible richness that we can have as a daily media consumption, if we choose to be that varied.

And I would say to anybody, please fiddle with your settings, go find some stuff you don’t normally listen to. You never know – you may like it!

What other media do you consume?

My daughter and me are true crime fans. If you’ve got a teenage girl, that is true crime territory. I also love docudramas. I’ve been really into the BBC – Crypto Currency; The Heiress That Disappeared; all that kind of stuff.

In terms of news podcasts, because the current news agenda is really depressing for the audiences I care about, I have to be careful how much of that I take on board, so it doesn’t knock the optimism out of me at the beginning of the day. So, I’ll say, today I’m just going to get on with the work rather than listen to yet more austerity measures, because it just brings you down.

I’m on a mission to try and improve people’s outcomes and try and level people up. And obviously the news is a lot about policies and experiences which are narrowing people’s potential, or even the ability to feed themselves in this country. I find it quite stressing.

If you were stuck on a desert island and had to pick two or three media brands, what would they be?

I’m going to go with The Guardian. I worked there for seven years, so it’s Stockholm Syndrome! And also because it’s a nice mix of everything and it’s independently owned. It’s supposed to be a balance of views.

I’m also going to go with Refinery 29 and Vice, because even though I’m 50 next week, in my head I’m still 27, and it’s really nice to see the trends. There’s something really optimistic and hopeful about all the progress that generation are making.

When I think about when I was their age and even things like genders, LGBTQA progress – obviously there’s lots of parts of the world where that’s not happening, but I do feel there’s just so much nice, hopeful, equitable stuff in that generation.

How do you switch off?

I would say I’m either on, off, or in the gym. There doesn’t seem to be a lot of in between. I do a lot of physical stuff to switch my brain off. And I do a lot of lying very still, looking at a tree or a bird or a flower. It’s kind of like all out, then the battery runs down and I’m like, ugh, no more humans for a while please, I’m done for a couple of hours.

I’ll go somewhere quiet and I’ll just look at nature or I’ll do something really physical like box or lift something heavy. And that generally will switch off the doing bit. I’m yet to perfect the art of relaxing. Maybe when I’m 60 or 75, I’ll finally get the idea of downtime right!

Who or what inspires you?  

I mean, there’s a lot of people that have really inspired me in the industry. There are amazing females, and I think as I’ve got older and as we’ve all woken up a bit more to the fact we need to change the stuff around us, the women that have come together in groups, the other activists I work with, especially a lot of the black females I work with, that’s a constant inspiration.

Certainly, I felt from a white female class perspective, I was having a bit of a crap time at points. That is nothing in comparison to my black female colleagues. People like Maria McDowell who runs Lollipop Mentoring, which is a black female mentorship programme that’s amazing and Caroline Forbes at Clear Channel.

There’s a whole list of people that I’m constantly amazed at – how they’ve managed to be so successful. They deserve to be successful obviously, because they were more than talented. But they have not only done that but have brought their own brand of change-making within the industry to put the ladder down and also help everybody better understand what it is we need to move forward on.

I’m very lucky that a lot of people have partnered with us, and I get to spend time with brilliant people all the time. My trustee, Jenna Osler at Meta, my female trustees; my male trustees – they’re major and they’re all brilliant. My trustees are my most inspirational people.[/vc_column_text][/vc_column][/vc_row]