Which creative studio do you most admire right now, and why? This is a question we asked our community via an ongoing survey. With more than 700 responses so far, these are the top winners. What's striking about this year's results is the popularity of studios that aren't just producing beautiful work but are also actively shaping discussions and tackling the big challenges facing our industry and society. From the vibrant energy of Brazilian culture to the thoughtful minimalism of North European aesthetics, this list reflects a global creative landscape that's more connected, more conscious, and more collaborative than ever before. In short, these studios aren't just following trends; they're setting them. Read on to discover the 25 studios our community is most excited about right now. 1. Porto Rocha Porto Rocha is a New York-based agency that unites strategy and design to create work that evolves with the world we live in. It continues to dominate conversations in 2025, and it's easy to see why. Founders Felipe Rocha and Leo Porto have built something truly special—a studio that not only creates visually stunning work but also actively celebrates and amplifies diverse voices in design. For instance, their recent bold new identity for the São Paulo art museum MASP nods to Brazilian modernist design traditions while reimagining them for a contemporary audience. The rebrand draws heavily on the museum's iconic modernist architecture by Lina Bo Bardi, using a red-and-black colour palette and strong typography to reflect the building's striking visual presence. As we write this article, Porto Rocha just shared a new partnership with Google to reimagine the visual and verbal identity of its revolutionary Gemini AI model. We can't wait to see what they come up with! 2. DixonBaxi Simon Dixon and Aporva Baxi's London powerhouse specialises in creating brand strategies and design systems for "brave businesses" that want to challenge convention, including Hulu, Audible, and the Premier League. The studio had an exceptional start to 2025 by collaborating with Roblox on a brand new design system. At the heart of this major project is the Tilt: a 15-degree shift embedded in the logo that signals momentum, creativity, and anticipation. They've also continued to build their reputation as design thought leaders. At the OFFF Festival 2025, for instance, Simon and Aporva delivered a masterclass on running a successful brand design agency. Their core message centred on the importance of people and designing with intention, even in the face of global challenges. They also highlighted "Super Futures," their program that encourages employees to think freely and positively about brand challenges and audience desires, aiming to reclaim creative liberation. And if that wasn't enough, DixonBaxi has just launched its brand new website, one that's designed to be open in nature. As Simon explains: "It's not a shop window. It's a space to share the thinking and ethos that drive us. You'll find our work, but more importantly, what shapes it. No guff. Just us." 3. Mother Mother is a renowned independent creative agency founded in London and now boasts offices in New York and Los Angeles as well. They've spent 2025 continuing to push the boundaries of what advertising can achieve. And they've made an especially big splash with their latest instalment of KFC's 'Believe' campaign, featuring a surreal and humorous take on KFC's gravy. As we wrote at the time: "Its balance between theatrical grandeur and self-awareness makes the campaign uniquely engaging." 4. Studio Dumbar/DEPT® Based in Rotterdam, Studio Dumbar/DEPT® is widely recognised for its influential work in visual branding and identity, often incorporating creative coding and sound, for clients such as the Dutch Railways, Instagram, and the Van Gogh Museum. In 2025, we've especially admired their work for the Dutch football club Feyenoord, which brings the team under a single, cohesive vision that reflects its energy and prowess. This groundbreaking rebrand, unveiled at the start of May, moves away from nostalgia, instead emphasising the club's "measured ferocity, confidence, and ambition". 5. HONDO Based between Palma de Mallorca, Spain and London, HONDO specialises in branding, editorial, typography and product design. We're particular fans of their rebranding of metal furniture makers Castil, based around clean and versatile designs that highlight Castil's vibrant and customisable products. This new system features a bespoke monospaced typeface and logo design that evokes Castil's adaptability and the precision of its craftsmanship. 6. Smith & Diction Smith & Diction is a small but mighty design and copy studio founded by Mike and Chara Smith in Philadelphia. Born from dreams, late-night chats, and plenty of mistakes, the studio has grown into a creative force known for thoughtful, boundary-pushing branding. Starting out with Mike designing in a tiny apartment while Chara held down a day job, the pair learned the ropes the hard way—and now they're thriving. Recent highlights include their work with Gamma, an AI platform that lets you quickly get ideas out of your head and into a presentation deck or onto a website. Gamma wanted their brand update to feel "VERY fun and a little bit out there" with an AI-first approach. So Smith & Diction worked hard to "put weird to the test" while still developing responsible systems for logo, type and colour. The results, as ever, were exceptional. 7. DNCO DNCO is a London and New York-based creative studio specialising in place branding. They are best known for shaping identities, digital tools, and wayfinding for museums, cultural institutions, and entire neighbourhoods, with clients including the Design Museum, V&A and Transport for London. Recently, DNCO has been making headlines again with its ambitious brand refresh for Dumbo, a New York neighbourhood struggling with misperceptions due to mass tourism. The goal was to highlight Dumbo's unconventional spirit and demonstrate it as "a different side of New York." DNCO preserved the original diagonal logo and introduced a flexible "tape graphic" system, inspired by the neighbourhood's history of inventing the cardboard box, to reflect its ingenuity and reveal new perspectives. The colour palette and typography were chosen to embody Dumbo's industrial and gritty character. 8. Hey Studio Founded by Verònica Fuerte in Barcelona, Spain, Hey Studio is a small, all-female design agency celebrated for its striking use of geometry, bold colour, and playful yet refined visual language. With a focus on branding, illustration, editorial design, and typography, they combine joy with craft to explore issues with heart and purpose. A great example of their impact is their recent branding for Rainbow Wool. This German initiative is transforming wool from gay rams into fashion products to support the LGBT community. As is typical for Hey Studio, the project's identity is vibrant and joyful, utilising bright, curved shapes that will put a smile on everyone's face. 9. Koto Koto is a London-based global branding and digital studio known for co-creation, strategic thinking, expressive design systems, and enduring partnerships. They're well-known in the industry for bringing warmth, optimism and clarity to complex brand challenges. Over the past 18 months, they've undertaken a significant project to refresh Amazon's global brand identity. This extensive undertaking has involved redesigning Amazon's master brand and over 50 of its sub-brands across 15 global markets. Koto's approach, described as "radical coherence", aims to refine and modernize Amazon's most recognizable elements rather than drastically changing them. You can read more about the project here. 10. Robot Food Robot Food is a Leeds-based, brand-first creative studio recognised for its strategic and holistic approach. They're past masters at melding creative ideas with commercial rigour across packaging, brand strategy and campaign design. Recent Robot Food projects have included a bold rebrand for Hip Pop, a soft drinks company specializing in kombucha and alternative sodas. Their goal was to elevate Hip Pop from an indie challenger to a mainstream category leader, moving away from typical health drink aesthetics. The results are visually striking, with black backgrounds prominently featured (a rarity in the health drink aisle), punctuated by vibrant fruit illustrations and flavour-coded colours. Read more about the project here. 11. Saffron Brand Consultants Saffron is an independent global consultancy with offices in London, Madrid, Vienna and Istanbul. With deep expertise in naming, strategy, identity, and design systems, they work with leading public and private-sector clients to develop confident, culturally intelligent brands. One 2025 highlight so far has been their work for Saudi National Bank (SNB) to create NEO, a groundbreaking digital lifestyle bank in Saudi Arabia. Saffron integrated cultural and design trends, including Saudi neo-futurism, for its sonic identity to create a product that supports both individual and community connections. The design system strikes a balance between modern Saudi aesthetics and the practical demands of a fast-paced digital product, ensuring a consistent brand reflection across all interactions. 12. Alright Studio Alright Studio is a full-service strategy, creative, production and technology agency based in Brooklyn, New York. It prides itself on a "no house style" approach for clients, including A24, Meta Platforms, and Post Malone. One of the most exciting of their recent projects has been Offball, a digital-first sports news platform that aims to provide more nuanced, positive sports storytelling. Alright Studio designed a clean, intuitive, editorial-style platform featuring a masthead-like logotype and universal sports iconography, creating a calmer user experience aligned with OffBall's positive content. 13. Wolff Olins Wolff Olins is a global brand consultancy with four main offices: London, New York, San Francisco, and Los Angeles. Known for their courageous, culturally relevant branding and forward-thinking strategy, they collaborate with large corporations and trailblazing organisations to create bold, authentic brand identities that resonate emotionally. A particular highlight of 2025 so far has been their collaboration with Leo Burnett to refresh Sandals Resorts' global brand with the "Made of Caribbean" campaign. This strategic move positions Sandals not merely as a luxury resort but as a cultural ambassador for the Caribbean. Wolff Olins developed a new visual identity called "Natural Vibrancy," integrating local influences with modern design to reflect a genuine connection to the islands' culture. This rebrand speaks to a growing traveller demand for authenticity and meaningful experiences, allowing Sandals to define itself as an extension of the Caribbean itself. 14. COLLINS Founded by Brian Collins, COLLINS is an independent branding and design consultancy based in the US, celebrated for its playful visual language, expressive storytelling and culturally rich identity systems. In the last few months, we've loved the new branding they designed for Barcelona's 25th Offf Festival, which departs from its usual consistent wordmark. The updated identity is inspired by the festival's role within the international creative community, and is rooted in the concept of 'Centre Offf Gravity'. This concept is visually expressed through the festival's name, which appears to exert a gravitational pull on the text boxes, causing them to "stick" to it. Additionally, the 'f's in the wordmark are merged into a continuous line reminiscent of a magnet, with the motion graphics further emphasising the gravitational pull as the name floats and other elements follow. 15. Studio Spass Studio Spass is a creative studio based in Rotterdam, the Netherlands, focused on vibrant and dynamic identity systems that reflect the diverse and multifaceted nature of cultural institutions. One of their recent landmark projects was Bigger, a large-scale typographic installation created for the Shenzhen Art Book Fair. Inspired by tear-off calendars and the physical act of reading, Studio Spass used 264 A4 books, with each page displaying abstract details, to create an evolving grid of colour and type. Visitors were invited to interact with the installation by flipping pages, constantly revealing new layers of design and a hidden message: "Enjoy books!" 16. Applied Design Works Applied Design Works is a New York studio that specialises in reshaping businesses through branding and design. They provide expertise in design, strategy, and implementation, with a focus on building long-term, collaborative relationships with their clients. We were thrilled by their recent work for Grand Central Madison (the station that connects Long Island to Grand Central Terminal), where they were instrumental in ushering in a new era for the transportation hub. Applied Design sought to create a commuter experience that imbued the spirit of New York, showcasing its diversity of thought, voice, and scale that befits one of the greatest cities in the world and one of the greatest structures in it. 17. The Chase The Chase Creative Consultants is a Manchester-based independent creative consultancy with over 35 years of experience, known for blending humour, purpose, and strong branding to rejuvenate popular consumer campaigns. "We're not designers, writers, advertisers or brand strategists," they say, "but all of these and more. An ideas-based creative studio." Recently, they were tasked with shaping the identity of York Central, a major urban regeneration project set to become a new city quarter for York. The Chase developed the identity based on extensive public engagement, listening to residents of all ages about their perceptions of the city and their hopes for the new area. The resulting brand identity uses linear forms that subtly reference York's famous railway hub, symbolising the long-standing connections the city has fostered. 18. A Practice for Everyday Life Based in London and founded by Kirsty Carter and Emma Thomas, A Practice for Everyday Life built a reputation as a sought-after collaborator with like-minded companies, galleries, institutions and individuals. Not to mention a conceptual rigour that ensures each design is meaningful and original. Recently, they've been working on the visual identity for Muzej Lah, a new international museum for contemporary art in Bled, Slovenia opening in 2026. This centres around a custom typeface inspired by the slanted geometry and square detailing of its concrete roof tiles. It also draws from European modernist typography and the experimental lettering of Jože Plečnik, one of Slovenia's most influential architects.⁠ A Practice for Everyday Life. Photo: Carol Sachs Alexey Brodovitch: Astonish Me publication design by A Practice for Everyday Life, 2024. Photo: Ed Park La Biennale di Venezia identity by A Practice for Everyday Life, 2022. Photo: Thomas Adank CAM – Centro de Arte Moderna Gulbenkian identity by A Practice for Everyday Life, 2024. Photo: Sanda Vučković 19. Studio Nari Studio Nari is a London-based creative and branding agency partnering with clients around the world to build "brands that truly connect with people". NARI stands, by the way, for Not Always Right Ideas. As they put it, "It's a name that might sound odd for a branding agency, but it reflects everything we believe." One landmark project this year has been a comprehensive rebrand for the electronic music festival Field Day. Studio Nari created a dynamic and evolving identity that reflects the festival's growth and its connection to the electronic music scene and community. The core idea behind the rebrand is a "reactive future", allowing the brand to adapt and grow with the festival and current trends while maintaining a strong foundation. A new, steadfast wordmark is at its centre, while a new marque has been introduced for the first time. 20. Beetroot Design Group Beetroot is a 25‑strong creative studio celebrated for its bold identities and storytelling-led approach. Based in Thessaloniki, Greece, their work spans visual identity, print, digital and motion, and has earned international recognition, including Red Dot Awards. Recently, they also won a Wood Pencil at the D&AD Awards 2025 for a series of posters created to promote live jazz music events. The creative idea behind all three designs stems from improvisation as a key feature of jazz. Each poster communicates the artist's name and other relevant information through a typographical "improvisation". 21. Kind Studio Kind Studio is an independent creative agency based in London that specialises in branding and digital design, as well as offering services in animation, creative and art direction, and print design. Their goal is to collaborate closely with clients to create impactful and visually appealing designs. One recent project that piqued our interest was a bilingual, editorially-driven digital platform for FC Como Women, a professional Italian football club. To reflect the club's ambition of promoting gender equality and driving positive social change within football, the new website employs bold typography, strong imagery, and an empowering tone of voice to inspire and disseminate its message. 22. Slug Global Slug Global is a creative agency and art collective founded by artist and musician Bosco (Brittany Bosco). Focused on creating immersive experiences "for both IRL and URL", their goal is to work with artists and brands to establish a sustainable media platform that embodies the values of young millennials, Gen Z and Gen Alpha. One of Slug Global's recent projects involved a collaboration with SheaMoisture and xoNecole for a three-part series called The Root of It. This series celebrates black beauty and hair, highlighting its significance as a connection to ancestry, tradition, blueprint and culture for black women. 23. Little Troop New York studio Little Troop crafts expressive and intimate branding for lifestyle, fashion, and cultural clients. Led by creative directors Noemie Le Coz and Jeremy Elliot, they're known for their playful and often "kid-like" approach to design, drawing inspiration from their own experiences as 90s kids. One of their recent and highly acclaimed projects is the visual identity for MoMA's first-ever family festival, Another World. Little Troop was tasked with developing a comprehensive visual identity that would extend from small items, such as café placemats, to large billboards. Their designs were deliberately a little "dream-like" and relied purely on illustration to sell the festival without needing photography. Little Troop also carefully selected seven colours from MoMA's existing brand guidelines to strike a balance between timelessness, gender neutrality, and fun. 24. Morcos Key Morcos Key is a Brooklyn-based design studio co-founded by Jon Key and Wael Morcos. Collaborating with a diverse range of clients, including arts and cultural institutions, non-profits and commercial enterprises, they're known for translating clients' stories into impactful visual systems through thoughtful conversation and formal expression. One notable project is their visual identity work for Hammer & Hope, a magazine that focuses on politics and culture within the black radical tradition. For this project, Morcos Key developed not only the visual identity but also a custom all-caps typeface to reflect the publication's mission and content. 25. Thirst Thirst, also known as Thirst Craft, is an award-winning strategic drinks packaging design agency based in Glasgow, Scotland, with additional hubs in London and New York. Founded in 2015 by Matthew Stephen Burns and Christopher John Black, the company specializes in building creatively distinctive and commercially effective brands for the beverage industry. To see what they're capable of, check out their work for SKYY Vodka. The new global visual identity system, called Audacious Glamour', aims to unify SKYY under a singular, powerful idea. The visual identity benefits from bolder framing, patterns, and a flavour-forward colour palette to highlight each product's "juicy attitude", while the photography style employs macro shots and liquid highlights to convey a premium feel.

Who knows where branding will go in the future? However, for many of us working in the creative industries, it's our job to know. So it's something we need to start talking about, and Frontify Futures wants to be the platform where that conversation unfolds. This ambitious new thought leadership initiative from Frontify brings together an extraordinary coalition of voices—CMOs who've scaled global brands, creative leaders reimagining possibilities, strategy directors pioneering new approaches, and cultural forecasters mapping emerging opportunities—to explore how effectiveness, innovation, and scale will shape tomorrow's brand-building landscape. But Frontify Futures isn't just another content platform. Excitingly, from a design perspective, it's also a living experiment in what brand identity can become when technology meets craft, when systems embrace chaos, and when the future itself becomes a design material. Endless variation What makes Frontify Futures' typography unique isn't just its custom foundation: it's how that foundation enables endless variation and evolution. This was primarily achieved, reveals developer and digital art director Daniel Powell, by building bespoke tools for the project. "Rather than rely solely on streamlined tools built for speed and production, we started building our own," he explains. "The first was a node-based design tool that takes our custom Frame and Hairline fonts as a base and uses them as the foundations for our type generator. With it, we can generate unique type variations for each content strand—each article, even—and create both static and animated type, exportable as video or rendered live in the browser." Each of these tools included what Daniel calls a "chaos element: a small but intentional glitch in the system. A microstatement about the nature of the future: that it can be anticipated but never fully known. It's our way of keeping gesture alive inside the system." One of the clearest examples of this is the colour palette generator. "It samples from a dynamic photo grid tied to a rotating colour wheel that completes one full revolution per year," Daniel explains. "But here's the twist: wind speed and direction in St. Gallen, Switzerland—Frontify's HQ—nudges the wheel unpredictably off-centre. It's a subtle, living mechanic; each article contains a log of the wind data in its code as a kind of Easter Egg." Another favourite of Daniel's—yet to be released—is an expanded version of Conway's Game of Life. "It's been running continuously for over a month now, evolving patterns used in one of the content strand headers," he reveals. "The designer becomes a kind of photographer, capturing moments from a petri dish of generative motion." Core Philosophy In developing this unique identity, two phrases stood out to Daniel as guiding lights from the outset. The first was, 'We will show, not tell.' "This became the foundation for how we approached the identity," recalls Daniel. "It had to feel like a playground: open, experimental, and fluid. Not overly precious or prescriptive. A system the Frontify team could truly own, shape, and evolve. A platform, not a final product. A foundation, just as the future is always built on the past." The second guiding phrase, pulled directly from Frontify's rebrand materials, felt like "a call to action," says Daniel. "'Gestural and geometric. Human and machine. Art and science.' It's a tension that feels especially relevant in the creative industries today. As technology accelerates, we ask ourselves: how do we still hold onto our craft? What does it mean to be expressive in an increasingly systemised world?" Stripped back and skeletal typography The identity that Daniel and his team created reflects these themes through typography that literally embodies the platform's core philosophy. It really started from this idea of the past being built upon the 'foundations' of the past," he explains. "At the time Frontify Futures was being created, Frontify itself was going through a rebrand. With that, they'd started using a new variable typeface called Cranny, a custom cut of Azurio by Narrow Type." Daniel's team took Cranny and "pushed it into a stripped-back and almost skeletal take". The result was Crany-Frame and Crany-Hairline. "These fonts then served as our base scaffolding," he continues. "They were never seen in design, but instead, we applied decoration them to produce new typefaces for each content strand, giving the identity the space to grow and allow new ideas and shapes to form." As Daniel saw it, the demands on the typeface were pretty simple. "It needed to set an atmosphere. We needed it needed to feel alive. We wanted it to be something shifting and repositioning. And so, while we have a bunch of static cuts of each base style, we rarely use them; the typefaces you see on the website and social only exist at the moment as a string of parameters to create a general style that we use to create live animating versions of the font generated on the fly." In addition to setting the atmosphere, it needed to be extremely flexible and feature live inputs, as a significant part of the branding is about the unpredictability of the future. "So Daniel's team built in those aforementioned "chaos moments where everything from user interaction to live windspeeds can affect the font." Design Process The process of creating the typefaces is a fascinating one. "We started by working with the custom cut of Azurio (Cranny) from Narrow Type. We then redrew it to take inspiration from how a frame and a hairline could be produced from this original cut. From there, we built a type generation tool that uses them as a base. "It's a custom node-based system that lets us really get in there and play with the overlays for everything from grid-sizing, shapes and timing for the animation," he outlines. "We used this tool to design the variants for different content strands. We weren't just designing letterforms; we were designing a comprehensive toolset that could evolve in tandem with the content. "That became a big part of the process: designing systems that designers could actually use, not just look at; again, it was a wider conversation and concept around the future and how designers and machines can work together." In short, the evolution of the typeface system reflects the platform's broader commitment to continuous growth and adaptation." The whole idea was to make something open enough to keep building on," Daniel stresses. "We've already got tools in place to generate new weights, shapes and animated variants, and the tool itself still has a ton of unused functionality. "I can see that growing as new content strands emerge; we'll keep adapting the type with them," he adds. "It's less about version numbers and more about ongoing movement. The system's alive; that's the point. A provocation for the industry In this context, the Frontify Futures identity represents more than smart visual branding; it's also a manifesto for how creative systems might evolve in an age of increasing automation and systematisation. By building unpredictability into their tools, embracing the tension between human craft and machine precision, and creating systems that grow and adapt rather than merely scale, Daniel and the Frontify team have created something that feels genuinely forward-looking. For creatives grappling with similar questions about the future of their craft, Frontify Futures offers both inspiration and practical demonstration. It shows how brands can remain human while embracing technological capability, how systems can be both consistent and surprising, and how the future itself can become a creative medium. This clever approach suggests that the future of branding lies not in choosing between human creativity and systematic efficiency but in finding new ways to make them work together, creating something neither could achieve alone.

In a confident nod to the enduring power of print, Glasgow-based Newspaper Club has launched The Printing Press, its first-ever self-published newspaper. Known for helping designers, brands, and artists print their own publications, Newspaper Club is now telling its own story through a medium it knows best. "We're always sharing the brilliant things people print with us – usually online, through our blog and Instagram," explains CMO Kaye Symington. "Our customers have some great stories behind their projects, and it just made sense for a newspaper printing company to have a newspaper of its own!" Teaming up with their brilliant design partner Euan Gallacher at D8 Studio, Kaye said they also wanted to show what's possible with the format: "A lot of people just think of newspapers as something for breaking news, but there's so much more you can do with them." The tabloid-style publication explores the creative resurgence of newspapers as branding tools and storytelling devices, which is music to our ears. Inside, readers will find thoughtful features on how modern brands are embracing print, including interviews with Papier's head of brand on narrative design, Cubitts' in-house designer on developing a tactile, analogue campaign, and Vocal Type's Tré Seals on transforming a museum exhibition into a printed experience. Why the mighty turnaround? "There's just nothing quite like newsprint," says Kaye. "It slows you down in the best way, especially when there's so much competing for your attention online. A newspaper isn't trying to go viral, which is refreshing." She adds: "Putting together a newspaper makes you think differently. It's scrappy and democratic, which makes it a great space to play around and tell stories more creatively. And at the end of it, you've got something real to hand someone instead of just sending them a link." To celebrate this almighty launch, Newspaper Club is going beyond the page with a striking national ad campaign. In partnership with Build Hollywood, the company has installed billboards in Glasgow, Birmingham, Brighton, and Cardiff, all proudly showcasing the work of Newspaper Club customers. These include colourful pieces from artist Supermundane and independent homeware designer Sophie McNiven, highlighting the creative range of projects that come to life through their press. In London, the celebration continues with a special collaboration with News & Coffee at Holborn Station. For two weeks, the kiosk has been transformed into a shrine to print — complete with stacks of The Printing Press and complimentary coffee for the first 20 early birds each weekday until 17 June. The timing feels deliberate. As digital fatigue sets in, social media continues to disappoint, and brands look for fresh ways to stand out in a 'post-search' world, newspapers are experiencing a quiet renaissance. But they're being used not just for news but also as limited-edition catalogues, keepsakes for events, and props in photo shoots. It's this playful, flexible nature of newsprint that The Printing Press aims to explore and celebrate. Since 2009, Newspaper Club has built its reputation on making newspaper printing accessible to all — from major brands like Adobe and Spotify to indie creators, students and storytellers. This campaign marks a new chapter: a chance to turn the lens inward, shine a spotlight on the creative possibilities of print, and reassert the joy of ink on paper. As Kaye puts it, "We want people to see that newspapers can be a really creative format. It might be a traditional medium, but that's exactly what makes it stand out in a digital world. "Sometimes the hardest part is just knowing where to start with a new project, so we hope this campaign helps spark ideas and inspire people to print something they're excited about!" As The Printing Press hits streets and kiosks across the UK, one thing is clear: print isn't dead. It's just getting started.

For most of us, music is a background hum that we tap into for motivation, relaxation, or simply to fill the silence. But what if it could be something more? Something like a portal into our most creative, focused selves? Yes, this is as cool as it sounds. And that's the premise behind Flow State, a new content series from AlphaTheta – the brand more commonly known for its Pioneer DJ products – created in collaboration with countercultural media platform HUCK and agency OCD Studio. Rooted in AlphaTheta's brand values of innovation, mindfulness and personal growth, Flow State signals a deliberate move beyond the decks and into a broader creative conversation. Through a series of stylised vignettes and intimate interviews, the series challenges audiences to think differently about music, not just as entertainment but as a tool for unlocking peak mental and creative performance. "We saw an opportunity to shift the perception of AlphaTheta beyond just DJ gear and toward a broader idea that music is a tool for peak performance," explains Tom Young, creative director at OCD Studio. "With more creatives talking about flow and mindfulness, now felt like the right time to connect the science of sound with the experience of creating." The framing is no accident, as AlphaTheta's very name alludes to alpha and theta brainwaves, which are both linked to heightened creativity, focus and flow states. By positioning music as a direct trigger for these mental modes, the series opens up a more expansive, holistic narrative around the brand. It's a strategy that builds on earlier efforts, such as AlphaTheta's documentary 'We Become One', which explored the psychological effects of dance music and collective experiences. With Flow State, the ambition goes deeper: to position AlphaTheta as a catalyst for creativity across disciplines, not just DJ booths. Visually, Flow State is stripped-back and cinematic. Each film captures a different creative immersed in their craft, whether that's music production, DJing or movement. Featuring names like Object Blue, Anu and Joel Mignott, the series offers a window into moments where chaos falls away and instinct takes over. "Your flow and how you get into it is quite personal," says Tom. "So we stripped back the aesthetic to reflect that. Clean frames, close textures, emotional clarity. The style mirrors the stillness creatives feel when they're in the zone." That quiet intensity runs throughout the series, mirroring the mental landscapes it seeks to explore. In an age where distraction is constant and attention spans are short, the ability to tune out noise and find focus has become its own kind of cultural currency. As Tom puts it: "In a world of AI-generated everything, your ability to lock in amongst a world of clutter and distraction communicates that you are a person of purpose and clarity." HUCK's editorial team played a central role in shaping the stories, drawing on their reputation for spotlighting subcultures and emerging creative voices. Known for championing artists like Mac Demarco, Flying Lotus and Ghetts before they hit the mainstream, HUCK's involvement ensures the series feels rooted in authenticity rather than product placement. "HUCK understood that this was about how people create," says Tom. "Their deep-rooted culture journalism helped us tell richer, more honest stories and made sure each film felt like a genuine reflection of the artist, not a product demo." While Object Blue, Anu and Joel Mignott each bring distinct disciplines and backgrounds to the table, what connects them is their emotional approach to creativity. Whether it's finding comfort in sound, using movement as a form of self-expression, or chasing a sense of presence, each story reveals that true flow isn't forced. "Interviewing them really showed that flow state only really comes when they're feeling open," says Tom. "It's not something that comes with extreme discipline." Beyond celebrating individual journeys, Flow State also taps into wider conversations about mental health, mindfulness and creative wellbeing. It reflects a growing shift in how brands engage with creative communities, moving away from surface-level aesthetics toward more nuanced, human-centred narratives. "Deep knowledge and understanding are status symbols," says Tom. "People want these deeper stories. Brands who understand that and help people tap into their full creative potential are the ones who will stay relevant." At a time when AI-generated content threatens to homogenise the creative industries, Flow State offers a timely reminder: creativity isn't just about output; it's a state of being. Sometimes, all it takes to access it is the right soundtrack.

Where others have become obsessed with speed and trends, Sergio Membrillas has built a career on slowing down and staying true to his craft. Over 13 years as a professional illustrator, he's evolved a distinct style – bold, graphic, and quietly playful – that feels both timeless and entirely his own. But this evolution, as he's quick to point out, wasn't something he forced. "I believe evolution is essential for every artist," Sergio reflects. "Change is not something I resist; it's something I enjoy and welcome as part of the creative journey." His work, initially influenced by a love of Mid-Century graphic design, has gradually absorbed references as diverse as Etruscan art, Mesopotamian motifs, and early 20th-century traditional tattoos. It's a portfolio built on curiosity, not conformity. Despite his stylistic clarity, Sergio's process remains refreshingly analogue at its core. He still begins each project with pencil and paper, leaning into the tactility of drawing by hand. "I've always valued having a physical relationship with art," he says. "There's something essential about feeling the wood of the pencil, manually erasing mistakes, rather than simply double-tapping a screen." His philosophy of working slowly, attentively, and with purpose shows in the balanced compositions and confident use of negative space that has become his signature. Sergio credits his background in graphic design for this instinctive sense of structure. "There has always been a strong graphic sensibility within me," he says, noting that the discipline of design continues to inform his illustration practice, particularly in editorial and poster work where clarity and storytelling must co-exist. Yet, like many creative careers, his path into illustration wasn't plotted from the start. Initially, Sergio imagined illustration would complement his design projects, not become the main event. "At first, I thought I would incorporate my illustrations into my graphic design projects – but in the end, it turned out to be the other way around." A commission for EasyJet's in-flight magazine marked a pivotal moment that reframed illustration from a hobby to a profession. "It made me realize that being an illustrator is a real profession, just like any other." Fast-forward to today, and Sergio's client list reads like a who's who of publishing and design, from The New Yorker to Pentagram. While the calibre of collaborators has changed, what matters most remains the same: trust. "When a client trusts your work and approaches projects with an open mind, collaboration flourishes," he says. It's in these open, trusting relationships that Sergio finds the space to experiment and further develop his ideas. Unsurprisingly, editorial work holds a special place for him. "Editorial projects offer wider creative margins, allowing for greater flexibility and innovation," he explains. Compared to the tighter confines of advertising, editorial illustration offers the opportunity to tell nuanced stories, and Sergio is clear that he views every assignment, regardless of format, as a collaborative effort. If one thing is clear, though, it's that he's not that he's afraid to say no when needed. Maintaining a strong personal voice is non-negotiable. "I always strive to stay true to myself and ensure that every project I undertake reflects a clear personal signature," he says. For Sergio, authenticity isn't just a matter of artistic pride; it's what differentiates an illustrator in a saturated, increasingly automated industry. Valencia is home for Sergio, a city he credits with much of his creative energy. "Oh, Valencia! It's a beautiful city that inspires me and brings me joy," he says, describing it as a European cousin to Los Angeles with its sun-soaked streets and vibrant cultural scene. The blend of tradition and modernity fuels his practice, offering constant inspiration without the sensory overload that often accompanies larger creative hubs. Given the pressure many creatives feel to keep pace with shifting trends, Sergio's approach feels almost radical. "I'm not particularly interested in trends," he says. "What truly matters to me is the feeling of having done something meaningful and fulfilling by the end of the day." Instead of chasing what's fashionable, he draws inspiration from a surprisingly eclectic bookshelf, mixing everything from Wim Crouwel's graphic design classics to studies on Scandinavian tattoos and Alec Soth's photography. It's a reminder that fresh ideas rarely come from looking where everyone else is looking. In the era of AI and content overload, the role of the illustrator is changing, but Sergio remains optimistic. While machine learning might churn out images at record speed, it can't replicate the nuance and emotional intelligence that underpin great illustration. "Illustrators can tell stories, evoke emotions, and create meaningful connections that machines simply cannot replicate," he says. "Our role is shifting, but the value of authentic, thoughtful illustration remains indispensable." That insistence on authenticity carries through to the advice he offers younger illustrators navigating a commercial landscape. "Create work that makes you happy when you go to sleep at night," Sergio advises. "It's important to find projects that align with your values and passions so your artistic voice remains authentic." It's an ethos that has carried him through more than a decade of creative highs and industry shifts. Perhaps it's the real secret behind the clarity of his practice, which he has built not on chasing trends or algorithms but on careful craft, deliberate evolution, and the simple, enduring joy of a well-made pencil and a blank piece of paper.

Pentagram's latest project introduces a striking new identity for TwelveLabs, an AI company redefining how machines comprehend video. At its heart, the rebrand marks a conceptual shift, positioning video not as a linear sequence of frames but as a volume. For TwelveLabs, this reframing is more than a technological advancement, as it's setting them apart in the fast-moving AI landscape. For Jody Hudson-Powell and the Pentagram team, it became the foundation for the entire creative direction. "The 'video as volume' idea became our way of visualising their technology," Jody explains. "Traditionally, AI sees video as separate frames – individual moments, isolated. But TwelveLabs understands everything at once, an interconnected whole. This shift in perspective became the core idea guiding all our design choices." Turning such an abstract and dynamic concept into a tangible brand identity was no small feat. In a sector often awash with dense data visualisations and corporate clichés, Pentagram's work for TwelveLabs stands out for its clarity and restraint. Described by the team as "smart, elegant, alive", the identity not only enhances the product's appearance but also helps explain it. "Abstract concepts can easily get complicated, but by staying closely focused on 'video as volume,' every decision felt purposeful and naturally clear," says Jody. A key part of this clarity is the system's use of diagrams and modular layouts. These elements do the heavy lifting when it comes to representing TwelveLabs' complex technology in a way that's accessible to a wide range of audiences, from engineers and developers to enterprise clients and creatives. "Complexity becomes understandable when you strip things back to what's truly important," Jody says. "We spent time refining the diagrams to say just enough – clear for everyone but authentic to those who really know the tech. When engineers see their work clearly represented, and others intuitively understand it, you've found some interesting ground." What's striking is how the identity balances the technical with the emotive. It's a visual language that feels structured but not cold, intelligent but not aloof. According to Jody, this tension was carefully calibrated. "Technology can feel distant, cold, but it's built around human experiences: images, memories, moments," he explains. "Our system provided clarity and structure, creating natural space for these human elements to emerge, balancing intelligence and warmth." Motion, too, plays a critical role in bringing the brand to life. Given that TwelveLabs' platform revolves around continuous, connected reasoning, it made sense for motion to echo that logic, being subtle but purposeful. "Motion always means something, even subtly," says Jody. "Every bit of movement mirrored the continuous reasoning of the platform. Allowing room for gentle expressiveness and even playfulness didn't take away from clarity – it enhanced it." One of the most distinctive elements of the new identity is the horse symbol. On the surface, it's a nod to Eadweard Muybridge's pioneering photographic studies of motion and an iconic reference for any visual technology. But there's a deeper connection, as TwelveLabs already named its AI models after horses. The Pentagram team simply brought that story to the forefront. "Often, the best ideas are already there, just waiting to be noticed," says Jody. "We simply amplified that story, connecting it back to Muybridge's historical images, allowing it to clearly communicate motion and intelligence in a fresh yet familiar way." Throughout the project, the team had to consider the diversity of TwelveLabs' audience, from developers and researchers to large-scale enterprise clients and the broader creative community. The result is an identity system that feels accessible without being simplistic and capable of meeting users at every level of expertise. "We aimed for a universal tone – clear, direct, and welcoming for everyone, regardless of their expertise," Jody says. "Precision doesn't have to be complicated, and clarity invites everyone in. Finding a voice that felt calm, clear, and honest meant meeting each person exactly where they are." The outcome is an identity that doesn't just repackage complex AI technology. It embodies the very qualities that make TwelveLabs' approach revolutionary: interconnected, intelligent, and distinctly human.

When YARA + DAVINA became mothers within a month of each other, they didn't step back from their practice – they stepped forward together. The socially engaged artist duo began collaborating as a job share, determined to remain visible in an industry that too often sidelines mothers. Their work – which spans everything from poetry to bronze public sculptures – is rooted in play, accessibility and political intent, often exploring themes of care, identity, and who art is really for. In this candid Q&A, they reflect on making time (and peace) with imperfection, the pressures of doing it all, and why motherhood has only deepened their creative drive. How has motherhood influenced your creative process or career choices? Brian Sewel, the art critic, said in 2008 that "Female artists fade away in their late 20s or 30s. Maybe it's something to do with bearing children". Yes, motherhood has had a profound influence on our career choices. We became a duo after becoming mothers, and we had a deep wellspring of desire to nurture our babies and also nurture our art practice, not letting it fade away. Being a mum gave us a wider range of being and a deeper depth of what it means to be human. It filled us with more ideas, not less… we had more determination and more creative ideas than ever. In 2016, our hack on motherhood was to start collaborating as a duo as a 'job share'. We had been friends and admirers of each other's work for 11 years prior, and both of us became parents within a month of each other. We realised we both wanted to be present mothers but also visible artists. We literally started working together so we could work part-time but have a full-time practice between us. We are driven to make powerful, playful and fun contemporary art, alongside being mothers, to challenge ideas like Tracy Emin, who said, "There are good artists that have children. They are called men." We are good artists, and we are not only women; we are mothers! Photo credit: Alice Horsley What's been the biggest challenge in balancing creativity and caregiving? Time and some guilt! Quite literally, there is little time to parent and make art. But we were both determined to be part-time mums, part-time artists and full-time friends. This duo works because we both understand the limitations of our free time: we are always there to step up when the other needs a break, has sick children, or craves space for ourselves. It was almost like an intuitive dance, where we had become in tune with each other's outside demands and rhythm. As artists, we often have to travel extensively for work, which can put considerable pressure on our partners and be unsettling for our children. So guilt slips in every now and then. Luckily, we both support each other in those times and remind each other that to parent and care for others effectively, it is essential that we make time for our art practice and thus ourselves. With time, we hope our children will respect and understand the role art played in our lives and why we had to find a balance that worked for us as creative beings. We work together every weekday, and we always find ourselves talking and supporting each other with our parenting alongside making work. We both deeply feel that we were put on this planet to create great art, to push the boundaries of what art is and can be, and with whom it can be made and for whom it can be made. And we can do this while raising children. Photo credit: Alice Horsley Have you felt pressure to 'do it all,' and how do you navigate that? Yes, we feel it all the time, from ourselves as much as from society! One of our mottos that we tell ourselves is 'Good Enough'. We have talked about getting these as matching tattoos ( we love to wear matching outfits). Essentially, it is impossible to do everything really well. We need to prioritise what things need to be brilliant and what things can just be good enough. These priorities shift daily, creating an interplay between our personal and professional lives. Being a duo allows us to pick up each other's slack when needed. Photo credit: Nick Turpin What changes would you like to see in the creative industry to better support mothers? In 2016, we participated in a British Council residency at Portland State University titled 'Motherhood: A Social Practice'. We explored motherhood in the creative world, and our passion was to create more family-focused residencies and secure funding to support childcare. We wanted programmers to consider simple things, such as family-accessible residences, and work around term times. Things have dramatically changed since then, but we need to see more changes. People like Lizzie Humber and her daylight collective are doing amazing things, thinking about programming parent-accessible daytime culture. When we live in a time where Evening Standard art critic Brian Sewell says things like, "Only men are capable of aesthetic greatness.", women, in general, have a tough time, never mind mums! We are passionate not only about supporting artist mothers but also about working with and for mothers. Our public artwork, WOMAN - WHOLE, was created alongside, with, and for mothers on the Regents Park Estate, commissioned by ODAC, Camden. We subverted the idea of manholes, creating a series of bronze-cast covers embedded in the pavements of Camden. These permanent public artworks playfully remind us that, as women, we are whole. Photo credit: Hugo Glendinning

It's the same every year. Like clockwork, both social media and real media clamour to do what they do best: moan. Not about politics. Not about the trains. Not even about the weather. No, it's Glastonbury Festival time, which means it's time for the annual whinge-fest over how much it costs and how bad the line-up is. It's a tradition as sacred as Glastonbury itself. Within minutes of the headliners being announced, someone somewhere will tweet "WHO?" as if that settles the matter. The tickets, they declare, are extortionate. The food is overpriced. The toilets are... well, they're not wrong there, to be fair. And yet Glastonbury sells out. Every. Single. Time. In minutes. Not hours, not days, but minutes; just 35 of them, this time around. A digital stampede of fans crashes the ticketing servers, elbows each other out of the virtual queue, and desperately parts with £373.50 of their hard-earned cash. If people really thought it wasn't worth it, why would that happen? Deep down, Glastonbury fans know it is worth it. Not just for the vibes. Not just for the bragging rights. In terms of basic maths alone, it remains a much cheaper way to see all your favourite bands compared with buying tickets to individual gigs. Let's break it down. From this year's stacked, genre-hopping, generation-spanning line-up, these are my 10 ride-or-die bands, the ones I'm determined to see come hell or high water at this year's Glastonbury. And next to them is a reasonable estimate of how much it would cost to see them individually on tour. Alanis Morissette: £60-£135 Charli XCX: £85-£200+ English Teacher: £25-£35 Gracie Abrams: £100-£400+ John Fogerty: £35-£130+ Lola Young: £25-£40 Olivia Rodrigo: £120-£200+ Raye: £50-£100+ Wet Leg: £30-£40 Wolf Alice: £40-£60 You can quickly see how these individual tickets would add up, and that's before the beer-soaked chips and £17 parking surcharges at the O2. But at Glastonbury, they're all included, alongside more than two thousand other acts. Plus five nights of camping, firewood, circus performers, standup comedy, theatre performers, secret gigs, DnB raves, late-night poetry slams, kids' clubs, drone shows, the visionary chaos of Shangri-La, a bloke dressed as a badger doing tai chi at 4am, and the very real possibility of watching Chris Martin duet with a kestrel. All for less than the price of one premium Olivia Rodrigo ticket at the Birmingham NEC with a half-decent sightline. © Amy Fern © George Harrison © Amy Fern No one involved with the festival will ever say this out loud... but in truth, this is underpricing. Glastonbury doesn't cost too much; it's that it's charging less than it's worth. The organisers know it, the scalpers know it, and deep down, so do we. Why else would the event remain massively oversubscribed year after year? The lesson for freelancers Herein lies the lesson for anyone who's ever said yes to a freelance gig, then immediately regretted it because the fee barely covers your oat milk habit. Every time you flinch at raising our rates, worrying, "What if they say no?" you need to remember that people will always complain about the price. But then they pay it anyway, if what you're offering is good. Just like a Glastonbury ticket, your work has value that goes beyond the sum of its parts. Clients might baulk at a day rate, grumble at a quote, or attempt the classic "Can you do it for exposure?". But if they really want you, they'll find the budget. Sure, you could try to undercut your peers. Offer the cheapest design package. Throw in extra concepts for free. Discount your fee before they even ask. But all that gets you is the creative equivalent of being the sad burger stand next to the rave tent: underpaid, undervalued, and slightly sticky. Here's the uncomfortable truth: clients don't always know what things should cost. They base their expectations on their last hire, a Fiverr ad, or what their mate's cousin paid a graphic design student in 2017. © George Harrison © Yushy Pachnanda © JodyHartley But it's not your job to price yourself within their comfort zone. It's your job to price yourself according to your value. If clients can't afford you, that's not rejection; that's redirection. Someone else—someone better, someone ready—will always pay you what you're worth. Just like someone always buys the last Glastonbury ticket. So ignore the noise. Just like the festival, you're not for everyone, and that's fine. Your rates should make you feel slightly nervous, not make your client feel overly comfortable. That's how you grow. That's how you stay booked. That's how you avoid burnout and build a business rather than a bargain bin. In other words, next time you feel the urge to knock 20% off your quote "just to be safe", picture yourself standing in a Somerset field surrounded by 200,000 sweaty strangers who all agreed—despite the price, despite the moaning, despite the toilets—that it was absolutely worth it. And then charge accordingly.

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

From Tokyo to Taipei, Ho Chi Minh to Seoul, Asia Pacific has long been a powerhouse in global esports. However, until now, the region's role in the League of Legends ecosystem lacked a central stage. That's all about to change with the inception of League of Legends Championship Pacific (LCP), Riot Games' ambitious new league for APAC. This is the game developer's most significant step yet in unifying its fragmented competitive landscape. To bring that vision to life, Riot partnered with brand and digital studio Koto to craft an identity that would speak to fans across cultures, languages, and gaming styles. The result is a full-spectrum design system shaped by the region, for the region, and built to evolve alongside the fast-moving world of esports. "At its heart, this project was about building pride and momentum," says Koto creative director Melissa Baillache. "Riot made it clear from the beginning: they wanted to give fans a brand that belongs to them." The LCP brand makes that intent clear from the get-go. Under the platform What We're Made Of, Koto constructed an identity rooted in regional passion, from Japan's Oshi-style fandoms to Southeast Asia's hyper-social esports culture. The line isn't just a slogan; it's a rallying cry, making it clear that APAC isn't just participating in global esports – it's here to lead. Designing for competition and community Visually, the brand needed to deliver across an incredible range of touchpoints, from social teasers and broadcast graphics to merch, memes, and fan-created content. The design system is centred on The Pinnacle: a five-player emblem representing unity and competitive intensity. Rendered in molten, 3D finishes, it's a symbol of regional ambition and the raw energy of top-tier play. That energy carries through a modular graphic system inspired by League's own gameplay, specifically the three in-game lanes that structure how matches unfold. This system offers a flexible yet distinctive frame for everything from stat-heavy broadcast overlays to highlight reels and in-arena hype moments. The motion language is just as purposeful. It's fast, focused, and reactive, designed to mirror the breakneck pace of in-game action and the way fans consume esports content in real-time. Whether counting down to kick-off or amplifying a clutch play, the system pulses with immediacy. Voice with impact Koto also worked to develop a voice that cuts through the noise of a crowded digital space. LCP's tone is raw, energised, and emotionally charged, with tight headlines and punchy copy that speaks directly to fans. It's not just branding; it's storytelling engineered for social moments, match trailers, post-game celebrations, and everything in between. The studio's verbal system extends to campaign slogans, hashtags, and commentary-style callouts, all of which work together to build momentum, fuel rivalries, and stoke regional pride. A custom typeface that sets the tempo At the core of the visual identity is LCP Ignite, a custom variable typeface designed to capture the rhythm and sharpness of League gameplay. Inspired by the 'fired up' ethos of competitive play, it flexes across every format, from match stats and player quotes to dynamic on-screen graphics. Given the region's linguistic diversity, the system also includes a suite of secondary typefaces (including Archivo, Kinkakuji and Thonglor Soi 4 Nr) to ensure legibility and consistency in languages across APAC. The goal here was to create a type system that speaks to everyone, from die-hard fans to casual mobile viewers wherever they are. Fuel for fandom Koto's system goes beyond expectations by creating tools that grow with the community. A suite of icons and illustrations—all drawn from the strokes and geometry of LCP Ignite—provides creative fuel for Riot and fans. These assets flex across platforms, helping commentators, players, and creators build content that feels cohesive but never prescriptive. Gerald Torto, senior strategy director at Koto, says: "The goal with LCP was to frame the league not just as a competition, but as a cultural force. The energy and sentiment captured in the idea 'What We're Made Of' is a fitting platform. It gives APAC an unapologetic and proud voice that looks ahead to an exciting future." The scale of the system matches that ambition. Alongside Riot's APAC PubSports team, Koto delivered a complete brand toolkit with hundreds of assets – spanning physical, digital, and broadcast formats – built to scale across seasons, teams, and evolving tournament formats. Setting the stage for APAC's next era What sets this project apart is its commitment to longevity. LCP is a vast infrastructure investment into the future of competitive gaming in APAC, and the brand has already begun rolling out teaser campaigns, test broadcasts, and live events, setting the stage for a new chapter in League of Legends. As Koto continues to expand its presence in the region, the LCP identity is a strong signal of what's possible when global ambition meets regional nuance. It's also a showcase of what the Sydney studio brings to the table: cross-cultural fluency, strategic storytelling, and a flair for building scalable, high-impact identities with soul. With the official launch of LCP now live, Riot and Koto are inviting the world to witness what the region is made of.

The rebrand of Brussels Airlines doesn't touch the logo, colours, or name. It focused more on elevating the brand from the inside out, resulting in a deeper transformation that prioritises feeling rather than just form. In collaboration with WeWantMore, the airline has introduced a new identity system that spans brand touchpoints, reshaping perception through subtle changes rather than grand declarations. The result is a brand that finally feels like the airline it has always claimed to be: warm, refined, personal, and unmistakably Belgian. Back in 2021, the airline refreshed its visual identity in the wake of COVID, but while the fleet was repainted and the brand technically modernised, the core experience still felt corporate and distant. "We knew resistance to the brief was futile," says Sebastian Greffe, creative director at WeWantMore. "The rebrand was still fresh, and the CEO had personally signed off on the current logo." With the visual foundations off-limits, the studio focused on atmosphere. Anchored in the essence of "You're in good company," the new concept – "Small details. A world of difference." – frames the brand through a lens of considered hospitality. That idea comes to life in subtle but strategic ways: a single "focus dot" that leads the eye across layouts, a bespoke typeface inspired by the golden era of aviation, and a richer, warmer palette that complements rather than competes. "Those tight constraints became our greatest asset," says Sebastian. "With no room for superficial changes, we had to dig deeper, crafting an identity that hinged entirely on thoughtful details and meaningful experiences." Photography, for instance, avoids the usual stock tropes. Instead, it captures quiet moments: a smile exchanged with cabin crew, a view out the window, a handwritten note left in a lounge. The dot, used sparingly and always with purpose, reinforces this focus-led approach, while the brand's tone of voice trades promotional polish for a more honest, conversational cadence. One of the most distinctive design moves was the creation of Cirrus Sans, a custom typeface channelling the golden age of aviation through a Belgian lens. With geometric capitals and warm, humanist lowercase forms, it bridges nostalgia and clarity. In business communications, it pairs with the elegant Mackinac serif, which adds a soft touch of luxury to elevated materials. The type system transitions smoothly from crisp, all-caps headlines to more relaxed body copy, striking a balance between professionalism and personality. That balance is central to the whole project. Brussels Airlines wanted to evoke the feeling of a boutique hotel in the sky, not extravagant luxury but thoughtful hospitality. "It's not about gold trim or mood lighting," explains Sebastian. "It's about Stella Artois served properly. Neuhaus chocolates waiting at your seat. Indirect warm lighting instead of fluorescents." From lounges to livery, the new identity works across a broad ecosystem, extending into unexpected places. Meanwhile, motion principles inspired by flight dynamics add energy to digital assets, and the cabin interiors have been subtly refined through the use of warm materials and tactile finishes – a process closely guided by Priestman Goode. Perhaps the most rewarding aspect of the rebrand is its restraint. There is no new, shouty symbol, no palette overhaul, and no fanfare. What has changed is the way the brand feels. "Flying has become something accessible, and some say it's lost a bit of its magic," says Sebastian. "But Brussels Airlines consistently ranks as one of the most hospitable. We just had to help them show that." The refreshed identity has already helped shift Brussels Airlines' positioning in a competitive sector, particularly against tour operators whose branding can often be perceived as interchangeable. Subtle typographic cues, considered materials, and the deliberate use of space all work together to convey a sense of quality without drawing attention to it. From a broader industry perspective, the project also hints at the future of airline branding. As travel becomes more intentional and emotionally driven, brand identities are under pressure to do more than decorate. They need to create a connection. "The industry is moving away from superficial glamour," says Sebastian. "Travellers want more than efficiency. They want sincerity, depth, and a sense of place." Brussels Airlines now delivers just that, not through spectacle but through quiet confidence: a red dot, a kind word, or a handwritten note.

Sometimes, you've to set aside everything you've been taught in order to truly tap into your creativity. It's a brave move but one that has certainly led to big things for Berlin-based illustrator Marc Majewski. In 2024, he won the Best Illustrated Children's Book award from The New York Times and the New York Public Library for As Edward Imagined, and he's currently an in–demand artist in both children's publishing and editorial illustration. Marc grew up in the French Alps, near the border with Switzerland, surrounded by nature and with a great love of traditional picture book illustration, which was fed by his aunt. To reach his dream of becoming an illustrator, he trained the classical way, learning to paint highly realistic imagery – what everyone would call "good illustration". But something wasn't right. This just wasn't him. On the side, he would create the loose, playful sketches he loved but never conceived of them as proper illustrations. Marc's new book Parks is out 5 June. "Then I had a moment where I decided I wanted to paint and create with the same joy and freedom I had felt as a child," says Marc. "I stopped making pictures the way I'd been taught and started painting the way I did in my sketchbooks, directly with paint. The result was much livelier and more joyful illustrations." One epiphany was followed by another when he wrote and illustrated Butterfly Child. This wasn't the first book he'd worked on, but to Marc, it felt like it was. He continues: "The book touches on what it was like to be a queer kid in the countryside and on bullying – so parts of me felt like the child in the book. I think making any book is a vulnerable process, but creating something that explores more personal parts of ourselves can trigger a lot. In my case, the fear of being rejected, shamed, or bullied – which are experiences many kids, and especially queer kids, go through." Published in 2022, it has been translated into 10 languages and resonates with children around the world, supporting kids and encouraging them to express who they really are. From Butterfly Child. Marc is drawn to stories that bring that bring nature and creativity together. He grew up in the Alps, and nature continues to inspire him. In Butterfly Child, As Edward Imagined, and Peter Pan, he explores characters who build, craft, and imagine things, bringing their storybook worlds to life; his simple, Lowry-like figures burst with enthusiasm. Peter Pan is one of his favourites so far. "I knew the story before I started the project, but as I dove deeper into it, I began learning about Barrie's life and how much of it was woven into Peter Pan. That really resonated with me and my own work. I was also inspired by the author's playful spirit – how he balanced lightness and whimsy with meaning and depth," says Marc. From Peter Pan. Return of the Wolves. In future, he'd love to work on a film, and Hayao Miyazaki has always been a big influence. If there's one thing he wants to avoid, it's getting too comfortable or set in his ways. "It's important for me to stay connected to that feeling I had when I first embraced the childlike process of painting and to keep my mind open to playful exploration," says Marc.

Just a week after its launch, Mud has already left a paw print on the pet care industry. The brand's debut product, The Everyday Wash for Dirty Dogs, is more than a niche grooming product: it's a manifesto. Developed over 18 months and recently awarded at D&AD 2025, the brand aims to challenge a culture of canine coddling. According to co-founders Angelina Pischikova and Karina Zhukovskaya, too often, dogs are treated as ornaments rather than animals. "Dogs don't want to smell like a candle shop," says Angelina. "They have 300 million scent receptors. Most washes are hell for them." Instead, The Everyday Wash is made with oat, aloe, panthenol and bioenzyme odour-fighting tech. It smells like... nothing – but that's on purpose. Not only is it pH-balanced, 100% dog-safe, plant-based and purposefully unscented, but the bottle even swaps out a standard pump for a fully recyclable, squishy nozzle, keeping both form and function canine-conscious. For Angelina and Karina, Mud™ isn't just a clean product; it's a clean break. "We exist to honour the wild in every dog," says Karina. "We think it's time to shift cultural convention away from treating pets as lifestyle accessories and toward recognising them as instinct-driven animals with emotional depth and needs of their own." While the launch range is intentionally minimal, more products are in the works – all guided by a philosophy rooted in respect rather than control. It's this perspective that sets Mud™ apart in a market saturated with pastel palettes, pun-based names and synthetic fragrances. "There is no other brand that does what we do in the category," says Angelina. And she's not just talking about the ethos. Mud™'s design system is just as provocative as its product. The brand's identity, developed in-house, is reactive by nature, including online; the logo expands or contracts based on local weather data. On the packaging, it vanishes and reappears thanks to thermal ink technology. "It's a metaphor for the mess, the rinse, and the return to it," says Karina. "The logo reacts to the weather – expanding with rain, contracting in the dry – just like the mud under their paws." This responsiveness extends to the user experience. The thermal ink on the bottle invites physical interaction, while the weather-reactive digital elements offer a subtle, sensory delight that encourages engagement, play, and even shareability. It's branding as conversation, not a billboard. Mud is also produced in small batches in the UK. Bottles are 100% recyclable and printed directly with eco-compliant inks, eliminating the need for wasteful labels and adhesives. It's a product that feels good and does good, all without shouting about it. For the founders, sustainability is inextricably linked to ethics. "Most dog shampoos are just human ones in disguise," says Karina. "We don't put anything in the bottle that doesn't serve your dog. Nothing that messes with their fur, their senses, or the earth beneath their paws." [2ximage] What Mud™ is ultimately selling isn't just pet care – it's perspective and a rewilding of the pet industry. They're reasserting that animals are not accessories, and if the early traction is any indication, it's a message that resonates well beyond the dog-owning demographic. "We already had people say, 'I don't even have a dog, but your brand and the info on the website changed how I think about them,'" says Angelina. "That's an amazing response." With more products in development, Mud is only just getting started, but its early moves suggest a brand with bite. Clearly, it's not afraid to get dirty, ask difficult questions, and bring a bit of instinct back into a sanitised world.

In 2020, while many studios were battening down the hatches, a new name quietly entered the scene with a tongue-in-cheek wink to the times. Born Ugly didn't just rebrand in the middle of a global crisis – it was born during it. "You could say we were born in the ugliest of times," the team reflects. Yet, despite the chaos, the studio emerged with a clear sense of purpose, ready to challenge conventions and bring fresh energy to branding – from consumer to B2B and everything in between. Born Ugly wasn't your average startup, though. It sprang from the former headquarters of Elmwood, a globally recognised agency with a decades-long legacy. When Elmwood demerged at the end of 2019, its Leeds and Melbourne studios branched off to become independent entities. Many of the team had been part of Elmwood for years, but with the split came the opportunity and necessity to reinvent. "One day, we were the HQ of a major international business; the next, we were virtually a startup no one had ever heard of," they explain. "It's a shift that takes a bit to get your head around in every way – attitudinally, mentally and in how you approach your work." Building the Born Ugly brand wasn't just a cosmetic exercise. It required deep strategic thinking – the kind the studio is now known for. "We had to rethink what we were about, our new business strategy and the culture we wanted to build. We didn't quite grasp the scale of the change needed immediately… it felt as though we could just keep going when actually, we had to start afresh but without losing all the great things that had made us successful in the past," says the team. That tension between heritage and reinvention, between structure and spontaneity, continues to define Born Ugly's approach. While they're fiercely proud of their Northern roots ("Being here in the North keeps us grounded and our work real"), the studio operates globally, with clients spanning the US, New Zealand and Europe. They've long worked with Leeds-based Astonish, a household cleaning brand that's quietly grown into a national success story, and they're committed to championing other under-the-radar businesses in the region. The project that truly put Born Ugly on the international map was their transformation of MitoQ, a New Zealand cell health supplement looking to break into the US and Chinese markets. When they started, MitoQ was positioned as a standard supplement. Born Ugly reimagined it from the ground up, evolving it into a premium cellular health brand and carving out an entirely new category. From science visualisation to packaging to brand storytelling, it was a full-spectrum overhaul. "It made us realise the impact we could have, and it opened the door to other opportunities," they say. One of those doors led to Carlsberg and its global cider brand Somersby. What began as a branding refresh has evolved into a long-term partnership spanning eight years and counting. "Somersby has grown globally to be a brand that is about a lot more than just cider," the team explains. "We've evolved the brand to ensure it fits with a changing consumer and can stretch across an expanding portfolio while having a bigger impact on the Carlsberg business." Born Ugly explains why they make a point of staying "industry agnostic" – a deliberate choice rooted in curiosity. "What excites us is tackling interesting problems, no matter the industry," they say. "If there's an Ugly Truth to uncover and solve with creative thinking, we're in." That idea – the "Ugly Truth" – is more than just a brand hook. It's a strategic lens that drives everything they do. Rather than accepting a client brief at face value, the studio pushes deeper, asking: What's the real issue? What's being avoided? What hard truth needs to be faced? "We aren't here to just be creative," they clarify. "Proper strategic and creative thinking is about transformation… if a client comes with a brief we don't think will move their business forward, we'll say so. We don't do work for the sake of it – we do work that's meaningful, effective and transformative." That mindset also shapes their internal culture. Born Ugly describes itself as having a startup mentality, adding that the team is encouraged to be fearless, to take risks, and even to fail. "That's often where the most brilliant ideas come from," they say. "We believe diversity in experience and perspective leads to the best work." Their Leeds studio is built to support that way of thinking. Collaboration is baked into the workflow, with 'psycho rooms' (their affectionate nickname for strategy war rooms) used to map out every nuance of a brief. Three days a week, the team comes together in person to bounce ideas, solve problems and make decisions as a unit. "We're also happy to use outside experts to make sure we're offering the best possible thinking," they add, a reflection of their openness to collaboration beyond their own walls. True to form, Born Ugly is already looking for the next creative hill to climb. "One of our own Ugly Truths is that we are quite restless and always looking for the next big thing and to do something new and exciting," they hint. While they're not giving too much away, that restless energy and that refusal to settle is exactly what's made Born Ugly a name to watch. In a world where beauty is often only skin deep, Born Ugly reminds us that the most powerful work comes from getting uncomfortable, asking difficult questions, and digging into the mess of real business challenges.

For many, it's the biggest and most nerve-wracking night in the creative calendar. D&AD held its 63rd awards ceremony last night (Thursday 22 May) at London's Southbank Centre and handed out a record-breaking 668 Pencils across all categories. Most significantly, three coveted Black Pencils—the highest D&AD accolade—were awarded to groundbreaking work that exemplified the year's themes of commercial impact and narrative excellence. With no quota system for Pencil awards, D&AD maintains its reputation for uncompromising standards. In some years, no Black Pencils are given out at all, making the awarding of three a significant achievement for these winners: Designing Paris 2024 by W Conran Design won in Graphic Design for its innovative approach to sports marketing. The judges highlighted how the design created a unifying yet distinctive feel that successfully merged heritage elements with modern sporting aesthetics. A$AP Rocky - Tailor Swif by Iconoclast LA won in Music Videos, exemplifying the year's emphasis on narrative storytelling. The winning work featured long-form storytelling where music was integral to the narrative structure rather than an afterthought, demonstrating how narrative arcs can transcend different mediums and artistic disciplines. Spreadbeats by FCB New York won in Digital Marketing for what the agency described as "Innovation through nostalgic technologies." This work aligned with a trend of brands cleverly inserting themselves into events, sports, and games through inventive approaches. Commercial and creative This year's judging process marked a major evolution in D&AD's approach. Jurors emphasised the critical importance of commercial viability, seeking work that demonstrates tangible business impact and drives meaningful behavioural change rather than celebrating creativity for its own sake. In other words, if there was ever a danger that agencies would make work primarily to win awards rather than serve the client, that's now history. In 2025, you have to do both. "This year's awards celebrated the power of design not just as a form of art but as a catalyst for commercial success and behavioural change," noted Dara Lynch, CEO of D&AD. "The idea is that innovative ideas must possess both aesthetic appeal and tangible impact." The Black Pencil winners perfectly embodied this philosophy. For instance, W Conran Design's 'Designing Paris 2024' was recognised for illustrating how design thinking can transform an entire city's attitude and behaviour. Judges from the Graphic Design category praised it as "a breakthrough for sports marketing and traditional sports marketing aesthetics," noting its playful yet scalable approach that successfully blended heritage with contemporary sport. The return of craftsmanship Alongside commercial effectiveness, jurors were looking for exceptional craft. From Radio and Audio to Film, their message was clear: in an increasingly automated creative landscape, looking good simply isn't enough. "The resurgence of craftsmanship stands as a reminder that in an era of automation, true excellence lies in the thoughtful execution of ideas," Dara explained. "It's not enough just to look good; true creative excellence must also leave a lasting impression." This was particularly evident in D&AD's new Creator Content category, where judges called for clearer definitions of craft excellence and higher standards in content creation. The winning entries all demonstrated work that creates meaningful impact and genuinely engages audiences. Global Participation The 2025 D&AD Awards achieved unprecedented global reach, with entries submitted from 86 countries worldwide—the highest number in the awards' history. This international participation resulted in over 30,000 pieces of work from 11,689 total entries. "It's exciting to see so many brands and companies refreshing their identities," said D&AD trustee Lisa Smith, global executive creative director at Jones Knowles Ritchie. "Judging has been challenging. Too many entries follow the same established design codes and trends, making everything start to look and feel alike, regardless of category. The work that stood out was the kind that breaks away from the expected: inspiring, well-crafted, and truly fit for purpose." The awards ceremony also recognised outstanding agency performance across various specialisations. FCB New York claimed the prestigious title of Advertising Agency of the Year, while Serviceplan Design was named Design Agency of the Year for the first time. DIVISION continued their remarkable winning streak, earning Production Company of the Year for the fifth consecutive year. In the network categories, Serviceplan took home Independent Network of the Year, while FCB was also named Network of the Year. Apple received recognition as Client of the Year, acknowledging its commitment to creative excellence across its marketing initiatives. Presidential recognition The 2025 D&AD President's Award went to Koichiro Tanaka, founder of interdisciplinary creative boutique Projector. Chosen by D&AD President Kwame Taylor-Hayford, Tanaka was recognised for his pioneering work at the intersection of storytelling, interactivity, and craft, which helped define a formative era in digital creativity. "I'm very honoured," Tanaka said. "To receive this award from D&AD, which has lived longer than I have, and to feel part of its long story is now something I live with. Being recognised with care and an open heart is a special thing to me." Kwame, who is co-founder of Kin, explained his choice: "Koichiro Tanaka's pioneering work at the intersection of storytelling, interactivity, and craft helped define a formative era in digital creativity. His career journey, bold ideas, and meticulous attention to detail have been a constant source of personal inspiration." Beyond the three Black Pencils, the ceremony awarded three White Pencils, 48 Yellow Pencils, 176 Graphite Pencils and 434 Wood Pencils. Additionally, four Future Impact Pencils were awarded, recognising work that demonstrates potential for significant positive change. The diverse range of winning work spanned 44 categories, from traditional advertising and design to emerging areas like Gaming & Virtual Worlds and the newly introduced Creator Content category. Craft categories collectively garnered 198 Pencils, underscoring the year's emphasis on exceptional execution. The complete list of Pencil-winning work and shortlisted entries are showcased on the D&AD website, while the official D&AD Rankings will be released alongside the digital D&AD Annual. These rankings provide definitive tables of the most successful companies, networks, countries and clients based on the awards results.

Formula E has always felt like a sport from the future, with electric cars zipping through city circuits and drivers navigating attack modes and energy boosts with joystick-like precision. So when Nissan's Formula E team wanted to create a campaign for their home race in Tokyo, leaning into the world of retro gaming didn't just make sense—it felt inevitable. The result is 'NISMO Electric Racer Tokyo', a '90s-style arcade game developed by creative agency Dark Horses in collaboration with Japanese-Australian illustrator Kentaro Yoshida. Free to play on desktop and mobile, the game puts players in the hot seat of a stylised Nissan Formula E car, tearing through an 8-bit Tokyo cityscape at top speeds of 322kph, which is the same velocity as the real Nissan E-4ORCE 04. With nods to pixelated classics like Outrun and Street Fighter, the game channels the energy of a bygone gaming era while cleverly linking back to real motorsport. "We've always talked about how Formula E itself feels like a video game," says Dark Horses creative Hannah Rendell. "With its unpredictability, pit boosts, and attack modes, it felt natural to bring those mechanics into a playable world." It's essentially a nostalgic thrill ride packed with thoughtful details. From cherry blossoms and Mount Fuji in the background to lightning bolt speed boosts symbolising attack mode, everything has been designed to reflect both the culture of Japan and the mechanics of the race. Get too slow, and you'll see a 'Game Over' screen – a cheeky nod to Formula E's emphasis on energy management. For creative duo Hannah and Lara Hallam, Tokyo provided the perfect setting for such a concept. "Nineties gaming is making a huge return to pop culture," explains Lara. "So playing into that nostalgic and retro world for the Tokyo E-Prix, a city so iconic for its gaming culture, felt like a no-brainer." The game is part of a wider campaign activation that includes a special edition race livery, which was recently revealed ahead of the Tokyo E-Prix on 14 May. The livery, also designed by Kentaro, reimagines the team's Sakura theme through the same vibrant, pastel-toned aesthetic seen in the game. His illustrations were then translated into crisp pixel art, creating visual cohesion across both digital and physical formats. "Using Kentaro's illustrations as a base, and then transforming them into 8-bit pixel art, meant we ended up with designs that felt truly unique to our game and Japanese culture as a whole," says Hannah. It marks Kentaro's first foray into the world of gaming and one that's already generating buzz across design and motorsport circles alike. Creative consistency was key across the entire campaign, from the game itself to the accompanying video spot, which riffs on classic 90s toy commercials. Live-action footage is spliced with gameplay and VHS-style overlays, mimicking the look and feel of old-school arcade advertising. It's tongue-in-cheek and era-authentic but with a modern twist, much like the game itself. "This is our strategy of noisy thinking," said Dark Horses creative directors Sean Johnson and Josh Pearce. "Generating creatively distinct and individual social-based ideas that drive constant awareness and engagement, working at its very best." The studio has built a reputation for unconventional sports marketing, and this campaign is no exception. While most motorsport content focuses on realism, tension, and competition, NISMO Electric Racer Tokyo invites a sense of play, not just for superfans but also for casual players and culturally curious audiences. "You don't have to be a Formula E fan to want to battle it out on the track in our game," says Lara. "But you can guarantee that after playing it, you'll see Nissan as an exciting team to watch out for." Nissan's Formula E journey is a story of resilience and ambition. Having entered the championship in 2018, the team started at the back of the pack, but this year, they're leading the standings. That trajectory mirrors the underdog thrill of a good racing game: start slow, learn the mechanics, and eventually take the win. "We're very excited to return to our home E-Prix in Tokyo," said Tommaso Volpe, managing director and team principal of the Nissan Formula E Team. "This race is not only a major moment for us as a team but also a chance to celebrate our Japanese heritage. With 'NISMO Electric Racer Tokyo', we've created something that captures the energy we bring to the track while celebrating Japan's legendary gaming culture." For Nissan, this campaign is part of a broader push to electrify its brand identity through how it connects with fans and its vehicles. As the first Japanese manufacturer in Formula E and a pioneer in electric powertrains, Nissan has long positioned itself as a future-forward player. But this activation also shows they're equally comfortable mining the past for creative inspiration. It's quite a unique blend of heritage and innovation through a campaign that brings together game design, illustration, advertising, and automotive branding in one cohesive world. Whether you're a gamer, a designer, or a motorsport die-hard, there's something irresistibly satisfying about seeing a 90s-style arcade racer reimagined for the electric age. If you're thinking of trying it out, just be aware that Nissan's own drivers, Oliver Rowland and Norman Nato, have already set the bar high on the leaderboard (and that it's just a little bit addictive once you start playing).

The ocean. Inspiration doesn’t come much bigger than that, and it’s the theme French artist Jean Jullien is celebrating with his latest work – Osaka Kaiju. The installation, now on display in the France Pavillion at EXPO 2025 in Osaka, is an enormous whale-like being, which might just be the biggest piece in the artist’s career so far. Kaiju come from Japanese folklore and continue to feature in popular culture, in Japan and around the world. They’re the monsters you see in the Godzilla films, but Osaka Kaiju isn’t bent on destruction. His mission is a peaceful one: his skin tells the story of the ocean so people realise the importance of the sea and protecting it. (c) Yuki Onishi (c) Nanzuka (c) Nanzuka “Osaka Kaiju’s body is covered in drawings, lines, scars or tattoos – however you want to see it – creating a panorama of the many myths, gods and legends that tell of our relationship with the ocean,” says Jean. “From Poseidon to European sea dragons to Inca deities, with a large emphasis on Japanese Yokai as well.” As the artwork continues along his flanks, new mythical creatures appear, which Jean has created to represent topics like over-fishing, dangerous migration by sea, climate change, plastic pollution and more. “I’ve always been fascinated by storytelling and how mythology manages to sum up big, complex notions and funnel them into characters. I wanted to use that language to address contemporary matters,” he adds. Typically, Jean Julien’s work consists of highly accessible, humorous, hand drawn, comic strip-style artwork. Here he is taking it into three dimensions, painting directly onto the surface of the sculpture. Inside Osaka Kaiju is a metal and wooden frame, which is covered in a balloon-like material. The installation was built in a warehouse in Tochigi by AD Japan and the Nanzuka art gallery for Jean. (c) Balthazar Jullien (c) Balthazar Jullien (c) Balthazar Jullien When complete, the skin was removed, and the artwork transported to the pavilion and reconstructed. To accompany the piece, the artist’s brother Nicolas Julien has composed thematic music which plays as Osaka Kaiju floats among colourful fish, illuminated in its darkened space. Evenly lighting the creature was one of the trickiest parts of the display. “The ocean is important to me for two reasons. Sentimentally, first, because of my upbringing and family roots in Britanny. I grew up in Nantes and we would go to Lesconil where the fishing industry was alive but slowly declining,” says Jean. “Secondly, it’s important to me as a human being, because we literally can’t live without it. It’s an essential part of life. Without it we all die.” (c) Nanzuka (c) Nanzuka And the big message in this enormous work? “You have to know where you come from in order to know where you’re going,” says Jean. “It's important to realise that as our knowledge of the ocean has deepened, how we tell its story has lightened. In mythology it’s often threatening, dark, mysterious and a bringer of death. Now, when we tell stories its incarnation is often very friendly and joyful. I'm hoping installations and narratives like the Osaka Kaiju can inspire younger generations to become positive actors for the future.” Osaka Kaiju is a collaboration between Jean Jullien and the Tara Ocean Foundation, in partnership with AXA, Cofrex and Nanzuka. The gentle creature will be on show at EXPO 2025 until 12 June.

For our Financial Transparency theme, independent design executive and educator Rachel Gogel gets into navigating pay disparities, pricing for value, and why true success lies in unlocking human energy, not just income. Rachel Gogel’s career spans some of the most recognisable names in publishing and tech – GQ, The New York Times, Meta – and now, as an independent creative executive, she brings that experience to startups, nonprofits, and purpose-driven ventures alike. But the journey to building a financially sustainable, values-led practice wasn’t always smooth. From $12-an-hour gigs to leading multimillion-dollar design teams, Rachel has faced the realities of wage gaps, client pushback, and burnout culture head-on. In this powerful Q&A, she shares the hard-earned lessons that shaped her pricing philosophy, the tools that helped her take control, and why choosing impact over scale is her definition of success. How did you learn to navigate pricing, salaries, or negotiations in your field? My journey with pricing started from a place of absolute uncertainty. After graduating during the 2009 recession amid a hiring freeze, I took an internship at Diane von Furstenberg for about $20 a day, just trying to get my foot in the door. When they later offered me $12 an hour as a “full-time freelancer,” I thought that was a normal starting point! My first real design contract at Travel + Leisure was $20/hour—which felt like a fortune compared to my internship. Around the same time, I quoted a WordPress project for GQ at $60/hour, originally estimating it would take only 15 hours (I was way off). I still remember sending that first email, nervously suggesting just $900 for the entire project. My contact called me immediately to say, “This is not my money, this is GQ’s money. You should have a $1,000 down payment for taking on the project, then charge an hourly rate after that.” That conversation was a trigger to start taking myself more seriously. With each career move, I learned to negotiate better. From my $70,000 base starting salary at GQ (which I barely negotiated because I was so excited about the offer), to $120,000 as Creative Director at The New York Times, to $230,000 plus stock and bonuses at Facebook—each step taught me to advocate for my worth. When I officially launched my independent design business in 2020, I had this history to draw from, but establishing consistent pricing still involved a lot of trial and error. What transformed my approach was implementing a time tracker (I use Toggl) which helped me gather real data on how long projects actually take versus my estimates. This was eye-opening and gave me confidence in pricing conversations. Today, I maintain a sliding scale across client types and engagement models. My fractional executive work commands $375/hour, while nonprofits start at $200/hour. For my Airbnb creative director maternity coverage contract (40 hours weekly), I’ve structured a $200/hour rate with $300/hour overtime. I’ve also diversified beyond hourly rates to include day rates and project-based fees tailored to specific services. The biggest shift came when I stopped thinking about charging purely for hours and started charging for value—my unique perspective, expertise, and what the work will do for a client’s business. As Jessica Strelioff from Goodside puts it: “We built Goodside to do good work for good people but we also built it to fit into the lives we want to live. Staying small is hard but it’s worth it and it’s what works for us.” This resonated deeply with me as I’ve built a practice focused on quality and impact rather than size. Have you ever experienced pay disparity or financial challenges in your career? Absolutely. Early in my career, I discovered through casual conversations that male colleagues with similar or even less experience were making substantially more than me. That realization was both infuriating and motivating—it pushed me to become more assertive in negotiations and more transparent about compensation (see my Contractor Wrapped 2024 on LinkedIn). Throughout my career trajectory, being a woman in this industry has come with distinct financial challenges. I’ve been challenged during salary negotiations and requests for promotions in ways my male colleagues haven’t. As an independent practitioner, I’ve received comments about being “too expensive” from potential clients—feedback that often makes me wonder if male creatives face the same resistance. These micro-aggressions around compensation reinforce why I encourage women—and all marginalized voices—at every stage of their careers to talk more openly about money so we can help each other get paid equitably. Going independent came with its own financial challenges. The feast-or-famine cycle hit hard, especially in 2023 when clients rescinded contracts and my projected income fell short by about $40K from what I had forecasted. There were months when I questioned everything about my business model. But these challenges taught me to build financial resilience—creating a robust emergency fund, diversifying income streams through teaching and speaking engagements, and being much more strategic about planning for both busy and quiet periods. I’ve had to acknowledge the privilege embedded in my trajectory too—being a 37-year-old white woman in a dual-income household has allowed me to capitalise on opportunities not available to all. The volatility can be stressful, but I’ve learned that transparency about these challenges helps others prepare for similar situations. What’s the best piece of financial advice you’ve received as a creative professional? “If you’re not embarrassed by the amount you’re asking for, you’re not asking for enough.” A friend told me this early in my career, and it completely changed my approach to negotiations. As creatives, especially those of us who identify as women, we often undervalue our contributions. This advice pushed me to recognise my worth and ask for compensation that reflects not just my time, but the unique perspective I bring as a designer working at the intersection of brand, culture, and technology. When I transitioned from in-house roles to founding my San Francisco-based solo consultancy, this advice became even more crucial. What’s often left unsaid is that going independent can be financially empowering—especially for those historically underpaid in conventional roles. By setting our own rates and being transparent about money, we’re not just making a living—we’re thriving. While the business logistics may seem daunting (incorporation, taxes, insurance), the real breakthrough is mental: realising we have the ability to create sustainable businesses on our own terms, often matching or exceeding previous full-time compensation. How do you balance making a living with doing work that feels meaningful? I visualise my work as a Venn diagram of activities that bring me joy, generate income, and create impact. The sweet spot is where all three overlap, but I don’t expect every project to hit that trifecta. My consulting work (about 45% of my time) provides financial stability and allows me to be selective about other opportunities. I deliberately allocate time for teaching at California College of the Arts (15%), mentoring and volunteering (20% combined), and both speaking and writing (20% combined). While these non-consulting activities may not always be as financially lucrative, they fulfill my desire to support the next generation of creatives, contribute to causes I believe in, and share my perspective with wider audiences. I’ve learned to say no to projects that might pay well but don’t align with my values or wouldn’t allow me to do my best work. This has sometimes meant walking away from significant income, but it’s preserved my energy for more meaningful opportunities like collaborating with women-founded ventures such as A Space, In Between, Acora, Anew, and Chicken & Egg Films. Success isn’t necessarily about scaling up, and growth doesn’t always mean expansion. For me, it means intentionally keeping things small and intimate. There’s power in being selective; there’s wisdom in recognizing that sometimes, less is more—especially in a society that subconsciously breeds burnout, and women especially are not giving themselves permission to rest. As Jacqueline Novogratz, Founder and CEO of Acumen, once asked: “What if we measured true success not by the amount of money you have, but by the amount of human energy you unlock, the amount of potential you enable? If that were our metric, our world would be a different place.” This question has become central to how I approach my solo venture. For me, it’s always been about depth of impact rather than breadth of reach.

What does it mean to treat food as art? For Bon Appétit, it means more than aesthetic plating or a perfectly crisp croissant on your feed. It's a deeper recognition of the visual culture, artistic intention, and emotional storytelling that underpin how we cook, eat, and experience food. That philosophy is the driving force behind the magazine's first-ever Art & Design issue, a vibrant, visually rich edition that sharply focuses on the often-overlooked connections between culinary culture and the creative industries. "As a brand, Bon Appétit aims to illustrate how food shapes culture and society," says editor-in-chief Jamila Robinson. "It's not only essential for life, but it's a creative expression." That thinking permeates every page of the special issue, from recipes riffing on iconic paintings to cutlery designed with sculptural ambition. The magazine has always been known for its sharp visuals and stylish sensibility, but this issue turns the dial up to eleven, and the cover alone is a striking signal of intent. Commissioned by French-based Argentine artist Matías Larraín, it's a bold, poster-like work that distils the spirit of the edition: colour-forward, culture-rich, and unabashedly design-minded. "His vibrant palette and distinctive aesthetic resonated with our brand's creative direction," explains Creative Director Caroline Newton, adding that his fascination with food as subject matter made him a natural choice for the project. Inside, the magazine takes readers on a multisensory journey across disciplines, from still lifes and museum-inspired meals to flatware that's equal parts sculpture and utensil and a digital cover that nods to Wayne Thiebaud's saccharine 1979 Cake Slice. There are also restaurant features that spotlight spaces like Clemente Bar in Manhattan and Central in Lima, where dining and visual storytelling go hand in hand. When it came to curating the content, Newton says the ideas came thick and fast. "When the theme was announced, our creative team was flooded with ideas," she recalls. "We refined our concepts, seeking a balance of diverse visual and cultural references that explore the intersections of art, design, and food." The result is a publication that feels both eclectic and intentional – not just a celebration of beautiful things but an invitation to look at the everyday through a more creative lens. It's also a showcase of Bon Appétit's own talent. "This issue is an important showcase for our extraordinarily talented creative department who make our dishes look so beautiful," says Jamila. From the editorial team to the test kitchen, there's a sense of creative cross-pollination behind each feature. Take A Bite at the Museum, a centrepiece story that brings together diverse contributors to reimagine food through fine art, flexing a different creative muscle in the process. Food, after all, is a medium most of us use every day. "Food is the art form we all participate in," Jamila writes in the issue's foreword – a mantra that underpins the editorial direction. Whether it's the way colour impacts our cravings or how food photography has evolved in the social media age, the magazine explores the role of visual culture in shaping what and how we eat. "Social media is simply a continuum, a modern means of communicating our relationship with food," Jamila reflects. "Humans have chronicled what we eat from the beginning, whether that's a cave painting, a still life, or a TikTok." Beyond the magazine, the edition also highlights a growing shift in hospitality spaces, from gallery-like interiors to artist collaborations that blur the boundaries between form, function, and flavour. "The visual storytelling in restaurants often gives you a sense of place," says Jamila. "It can convey the relationship the chefs have with these other art forms and helps open people to other kinds of expression." That immersive quality and the idea that food can tell stories beyond the plate is echoed throughout the issue. There's also a sense of fun underpinning it all. "We are not in the business of being bored," laughs Caroline when asked how chefs and creatives are using artistic processes in their work. Whether sketching, sculpting, or throwing a dinner party inspired by personal heritage, the magazine revels in food's ability to inspire and surprise. With its first Art & Design issue, Bon Appétit positions itself not just as a food publication but as a curator of culture that champions creativity in its many edible forms. "I hope readers are inspired to take note of the artist who drew the doodles on their apron," says Jamila. "I hope they gaze at the mural that is outside their favourite taco spot. Or pick up their phone and share a picture of their favourite dish – or something they cooked that turned out beautifully – with the rest of us." If there's one takeaway from this issue, it's that food isn't just something we consume. It's something we create. And sometimes, it belongs on a coffee table just as much as on a dinner plate.

Luxury has always been a moving target – one minute defined by mechanical prowess and the next by minimalist interiors or digital interfaces. In a time of AI advancements, relentless upgrades, and short attention spans, Lexus is betting on something more timeless: emotion. Their new brand platform, The Standard of Amazing, is less a tagline and more a philosophical pivot. Developed in collaboration with creative agency Team One, the platform builds on the Japanese marque's legacy of precision (The Pursuit of Perfection) and experience-led design (Experience Amazing) while introducing a bolder, more unified purpose to make every touchpoint resonate. At its core, The Standard of Amazing is a statement of intent—not just that Lexus vehicles should deliver excellence but that they should stir an unmistakable emotional response in the driver. As Chris Graves, chief creative officer at Team One, puts it, "By re-establishing the driver at the centre, Lexus is ensuring that innovation doesn't come at the cost of emotional connection." The launch follows a strong product run. Recent models like the IS, RX, TX, and the radically reimagined GX have all injected fresh energy into the brand. That momentum gave Team One the opportunity to evolve Lexus' story. Executive creative director Jason Stinsmuehlen explains, "Lexus had come off a series of incredible years of record sales and model success… We had a unique opportunity to build upon recent product momentum and drive overall brand desire." This is about standards as much as it's about desire, though. While Experience Amazing first signalled a shift from engineering excellence to emotional engagement, it was never fully launched with a comprehensive brand campaign. This new platform finally gives it the scale and clarity to land. "We wanted to reintroduce the line with a new POV," Jason continues, "that with 'Amazing' there are no half measures… If an automobile doesn't make you feel something, it stops short of amazing." That sentiment drives the creative thinking across the campaign, from a cinematic 30-second spot titled No Such Thing to expansive OOH placements rolling out in cities like LA, New York, Chicago and Miami this summer. Directed by Johan Renck, the film blends sweeping visuals with intimate moments, portraying a series of high-standard individuals, each hard to impress, each moved by a Lexus. "Our goal was to show a swath of humanity that has almost impossible standards for themselves and for the things they own," says Jason. "A Lexus Driver is someone you must bring your A-Game to impress." The imagery is equally considered in print and outdoors. Photographer Clemens Asher was brought in to capture vehicles not just as objects but as emotional catalysts. The message is clear: Beauty is nothing without meaning, and performance is incomplete without feeling. Underpinning the visuals is a design philosophy defined by three tonal filters: Modern, Elevated, and Human. "If any choice we made missed any of those marks, we recalibrated," says Jason. From colour grading and casting to cinematography, every element was refined to ensure it landed not just aspirationally but with emotional clarity. That human-centric approach is mirrored in the product storytelling. Rather than speak only to specs, the campaign explores how each model creates a different emotional response. The RC might channel confidence, the RX comfort, and the LC pure exhilaration. Lexus' famed Takumi craftspeople and racing teams are also brought into the narrative, not as behind-the-scenes technicians but as emotional engineers. Even the smallest sensory details, like the sound of a door closing or the torque of a dial, are positioned as tools for connection. "Lexus has always considered and anticipated what people need," Jason explains. "The question is, can it serve a higher emotional function? Can a car not just unlock itself for the driver, but actually know the driver and customise itself for them?" That framing is particularly important given the campaign's target: a new generation of luxury buyers who expect more than status. These consumers seek purpose, feeling, and alignment with their values. Crucially, Lexus doesn't need to reinvent the wheel to reach them. "The happy truth is the Lexus lineup is already aimed at this generation," says Jason. "Models like the TX, GX and IS just need their stories authentically told—and the next generation is lining up to buy them." The development of The Standard of Amazing also marks a new level of collaboration between Lexus and Team One. "There has never been more fruitful collaboration across the myriad groups within Lexus and Team One," Jason says. "Our director talked directly to our clients. The lines were blurred like never before. We were on a mission." That mission isn't confined to one campaign, either. The Standard of Amazing will underpin Lexus' marketing, product launches, sales events, and digital touchpoints moving forward.