Michael Davies is head of Stix Design, the graphic design and branding arm of architecture firm Sheppard Robson. He’s worked on BBC Cardiff, UCL Marshgate and Freshfields law firm’s London HQ. Design What would your monograph be called? No, I don’t shop at High and Mighty. I am the first-born son of West African parents, and growing up, I stood out because I was very tall – I’m now 6’ 7” – and also one of the only black kids at school. This led to a strong desire to fit in. Maybe this has made me always feel really comfortable as part of the team, working shoulder-to-shoulder to create work that stands out. But, of course, this instinct to collaborate is balanced with my idiosyncrasies and expressing my own perspectives on work and life. And yes, I shop at the same places as everyone else. What recent design work made you a bit jealous? I really like the wayfinding scheme at Borough Yards by f.r.a. When I first went there, the designs really spoke to me as a body of work. The work hit every button – intuition, intrigue, interaction, story-telling. The lot. It’s how I would love to have answered the brief. f.r.a.’s wayfinding work at Borough Yards What’s an unusual place you get inspiration from? I have a few. Salts Mill at Saltaire – a former mill housing art galleries, shops, and cafe and diner – and The Pheasantry Cafe at Bushy Park, but my current favourite has to be the ground floor cafe at the V&A. The sheer scale of its beauty and ambience is always surprising. They’ll throw in a quartet every now and then, in case you might think it isn’t atmospheric enough. It’s great for people-watching, too – I bet it’s a good spot for writers. Name something that is brilliantly designed, but overlooked. It has to be a brand new pencil. The very sight of one conjures up so much potential before you’ve even made a mark. What object in your studio best sums up your taste? Perhaps not strictly an object, but I Iove the cupboard-sized meeting room in the far corner of the second floor of our Camden office. It has a huge, cantilevered window that looks out onto our green roof. In the summer it turns into a full-on meadow. It’s a great place to feel the breeze, feel connected to nature and think. The view from the second floor meeting room Leadership What feedback felt brutal at the time, but turned out to be useful? Earlier in my senior career I worked for someone who’d employed a number of us from a previous agency. The familiarity was a key factor in why I took the position. A good friend and design director there advised me to step up and assume full responsibility for all aspects of the projects I worked on – “Don’t wait for instruction from your design leader, try to come forward with solutions rather than asking what should you do.” His implication was, “Don’t be too comfortable” and try not to lean into my design leader too often. Be more proactive. This proved to be a difficult period of transition for me at the time, with lots of sleepless nights questioning my every decision. Eventually, I learned there’s a value to making mistakes as it afforded me the opportunity to grow. That outcome was career-changing. What’s an underappreciated skill that design leaders need? Make the process as enjoyable as you can. A little self-deprecation and good humour goes a long way. Don’t take yourself too seriously, and be honest with praise – say when something goes well or looks great, just as you would when it doesn’t. What keeps you up at night? I work with a smallish team in a large organisation, so occasionally, several jobs might come in from different directions, all at the same time. That can be quite stressful. There’s always that one job that’s taking too long to land, you take on others to fill the gap and then it suddenly drops – arrrgh! What trait is non-negotiable in new hires? Working alongside so many different skill-sets here at Sheppard Robson affords us the luxury of attacking problems from all sides. The key to doing this successfully is through open lines of communication. I need good communicators and great listeners. Their work will always speak for itself, but those two traits make all the difference. Complete this sentence, “I wish more clients…” …would allow us to just lead the way. I know this isn’t always easy for clients, seeing as creativity is a totally different language/science to some. However, there’s no need to fight the process. Take your time selecting the right agency, then trust us, and enjoy the journey. #designleader #sheppard #robsons #michael #davies

6 June, 2025 In our weekly interview series, design leaders answer five questions about design, and five questions about leadership. Michelle Noel is the founder and strategy director at London branding and design agency Studio Noel, whose clients include Centrepoint, the Natural History Museum, and Imperial College London. Design What would your monograph be called? I actually asked my team about this one, and this is what they came up with – That Pencil Better Be Sharp. This may be down to me only ever writing in pencil and them taking the piss! What recent design work made you a bit jealous? It’s not recent, but I still love Pentagram’s Battersea Cats and Dogs home rebrand. I love the energy in the identity and the illustrative approach which feels really expressive and representative of all the different breeds. What’s an unusual place you get inspiration from? It’s always been about going outside and getting away from the screen. Walking helps me get inspired as it gives my mind the ability to be still, and I find then that ideas naturally come. Name something that is brilliantly designed, but overlooked. The pencil sharpener. There are some beautifully designed old ones that are really interesting in how they work. What object in your studio best sums up your taste? We commissioned Rachel Joy to create a piece of art for our studio. I love the bold typography and colour palettes that she uses in all of her signwriting artwork. Studio Noel’s Rachel Joy artwork Leadership What feedback felt brutal at the time but turned out to be useful? When we first started out as an agency, our website and logo were intentionally minimal. But during a pitch, a client casually remarked, “We didn’t really have a brand identity.” It was a passing comment, but it stuck with me. I realised that while we were focused on our clients, our own identity wasn’t shining through, especially in our proposals. That moment prompted a shift. We went back to refine and strengthen how we presented ourselves, making sure our brand was clear, consistent and confidently expressed in everything we created from that point on. What’s an underappreciated skill that design leaders need? Leadership is about stepping back and giving others the space to grow. Creating room for more junior team members to try and even fail. This accelerates their development and builds confidence. We’ve also learned that great ideas can come from anyone in the business, regardless of their role or level. Embracing that mindset has been key to our agency’s growth. What keeps you up at night? Often it’s an idea or opportunity sparked by something I’ve read. It could be a new way to approach a strategy, a shift in how we work, or even a big-picture concept that could shape our growth. What trait is non-negotiable in new hires? We’re looking for curious, collaborative individuals eager to learn and grow with us. There’s no room for big egos. As we grow the business, we want people who are just as invested in shaping its future. Complete this sentence, “I wish more clients…” ….prioritised accessibility in their branding. We do a lot of work in this area, including training teams on both the client and agency side, and we’ve seen first-hand how powerful it can be. Often, the barrier is simply a lack of knowledge, both in what makes a brand accessible and in the broader benefits, like significantly increasing audience reach. With nearly one in five people in the UK living with a disability, that’s a huge portion of their audience that could be unintentionally excluded. Brands in this article What to read next design/leader: OCCA founder Kate Mooney Interior Design 8 May, 2025 #designleader #studio #noel #founder #michelle

22 May, 2025 In our weekly interview series, design leaders answer five questions about design, and five questions about leadership. Julia Beardwood is founder of Beardwood&Co. The New York-based branding and strategy agency works with B2C and B2B clients like Danone, Pottery Barn and Rabble Wine. Design What would your monograph be called? Illuminating Possibilities. Everything we do is about helping clients see opportunities that aren’t obvious. Whether that’s a new take on their category, bringing an unusual perspective informed by experience and insights we’ve uncovered in completely different fields, or a big creative idea with legs to run on for years. What recent design work made you a bit jealous? The Brooklyn Museum identity by Other Means and Brooklyn Museum design team. The interlocking of the double O’s in Brooklyn and two dots bookending the logo together create a distinctive word mark that feels a bit quirky, yet rooted in a rich history, like the borough itself. What impresses me most is the thoroughness of the brand experience, from the t-shirts the staff proudly wear to the exhibit communications. They completely nailed the strategy, which is to be a modern, multi-faceted and thoroughly engaging museum that serves the diverse community of Brooklyn, and attracts visitors from all over the city and the world. The new Brooklyn Museum logo by Other Means and the in-house team What’s an unusual place you get inspiration from? Riding on any kind of public transport gets my mind whirring. It doesn’t matter if it’s a bus, tube, train or ferry. From the incredible variety of people and pets, funny and tawdry ads, to the surprising scenes I see out the window, I find stimulation in observing daily life. It’s a mental game to brainstorm for projects based on what you’re seeing and hearing. Name something that is brilliantly designed, but overlooked. Paper clips – so useful, so simple, so elegant! It’s a miniature work of art that does its job perfectly. I keep a few in my pocket at all times because they’re so multi-purpose, like when I need to pop open my iPhone sim card. What object in your studio best sums up your taste? This wooden owl – designed and made in the UK by Matt Pugh – is our gift for team members on their fifth anniversary with us. Carved from sustainably sourced oak with a painted head, it’s sleek and simple, and a symbol of the uncommon wisdom we seek to bring our clients. It brings me immense pleasure to share these beauts with our team. The wooden owl given to Beardwood&Co staff on their fifth anniversary at the studio. Leadership What feedback felt brutal at the time, but turned out to be useful? It came from a client who I had massive respect for. We’d just finished a major rebrand project and were feeling rightly proud. She said, “We’re thrilled with how this turned out, but the journey to get there was horrible.” That made me realise that the client experience is equally as important as the design work. Now we pay a lot of attention to ensure that every client feels welcomed and appreciated, that communication is crystal clear and transparent, that we are fully aligned, and that meetings are fun and inspiring. Every project should make our clients feel like it was a career highlight to brag about. What’s an underappreciated skill that design leaders need? Translating design into the language of business, so that the people who buy our work understand why it’s so valuable. Designers are not taught this in school, so it’s a skill they often learn on the job. It’s a reason why some of the strongest design leaders have gone to business school. Language matters – you don’t want design to sound esoteric or mysterious. You need your clients to understand it’s all about building brand equity, creating irresistible desire to attract new customers, and instilling insatiable loyalty among your biggest fans. What keeps you up at night? How to ensure AI is serving humanity and not the other way around. It’s a moment for immense change as big as the introduction of the internet. Uncertainty creates anxiety, but also opportunity. We’re all exploring and experimenting to figure out the best uses for AI, and so far, it’s super-helpful. But we know clients expect to reap cost savings from their agencies. You just have to keep demonstrating value and how to use AI to bring efficiency. What trait is non-negotiable in new hires? Telling us what they think. Speaking up with fresh ideas to make us and our clients better. Being brave enough to call out group think. Every individual hire that joins us has the power to change and improve our firm. Silence is not golden – we want and need to hear strong opinions. Complete this sentence, “I wish more clients…” …asked more questions. Clients often feel like they need to know it all, so they don’t ask as many questions as they should because it makes them feel vulnerable to criticism. In my experience, when clients are brave enough to ask more questions, they feel empowered and equipped to make braver choices in the work. Brands in this article What to read next design/leader: F37 founder Rick Banks 17 Apr, 2025 design/leader: Lucky Dip co-founder Katie Cadwell 17 Jan, 2025 #designleader #beardwoodampampco #founder #julia #beardwood

Bronwen Westrip is executive creative director of Denomination, a female-founded branding agency which specialises in the wine and spirits sector. Design What would your monograph be called? Design is cheap, ideas are priceless. With AI advancing, creativity remains our most valuable asset. Trends come and go, but a great idea stands the test of time. From a brand design perspective, the real currency lies in original thinking, not just aesthetics. What recent design work made you a bit jealous? I loved a conceptual piece done by Muuv that I thought was super clever and so on point – a collaboration between Absolut and Italian tomato brand Mutti to make a Bloody Mary. It was a perfect example of jumping on the trend for unusual formats combined with brand mash-ups that felt totally on point, fun and was beautifully considered. I hope Absolut took note! What’s an unusual place you get inspiration from? The New Scientist magazine. My parents were both scientists, so I grew up with its constant presence on the periphery of our home. It is full of the most amazing stories, from tiny new fluorescent life forms to mind-blowing photography in deepest space, that pull me out of my usual frame of visual reference into a world of the micro and macro. Name something that is brilliantly designed, but overlooked. Worcestershire sauce – a little gem of history, hiding in plain sight. It carries the same energy as Angostura Bitters – brilliant yet often uncredited. Lea & Perrins Worcestershire Sauce, first invented and sold in 1837, has remained virtually unchanged for over a century, with its bottle, label, and secret recipe standing as a testament to enduring design. A quirky Victorian staple that has stood the test of time, it’s an unsung hero of FMCG branding – instantly recognisable, reliably familiar, and likely found in almost every household. What object in your studio best sums up your taste? It’s an unusual one. In the 1970s, my mum, a research scientist, took an evening class in resin casting. While others preserved dried flowers or lace, she embedded a rat embryo, its translucent body revealing purple bones and pink veins. To most, it might seem unsettling, but to her, it was beautiful – a fusion of science and art. That perspective shaped my creativity too – finding beauty where others might not. The rat embryo, forever suspended in resin, is more than an object – it’s a reminder of how design, like science, is about seeing the world differently and finding beauty in unexpected places. Bronwen Westrip’s rat embryo Leadership What feedback felt brutal at the time, but turned out to be useful? That I care too much… it wasn’t doing me any favours. Initially I was confused that something which had propelled me up the ranks and ensured I delivered could be seen as a bad thing. I’ve worked incredibly hard over the years, and when you reach a certain level that can lead to burnout and set a bad example to those below. It took me a while to realise that a pinch of chill goes a long way to being a better creative director, having a better perspective on projects and personal balance. What’s an under-appreciated skill that design leaders need? The ability to have fun. Our industry is hard work and often feels unrewarding when projects go on for extended periods or clients don’t share your vision. Covid and Zoom calls have meant it’s much harder to build a culture that’s enjoyable beyond the work, but it’s important as it’s why most of us joined the industry in the first place. What keeps you up at night? The search for a better idea. Whether it’s a project I’m working on or just a thought experiment, I’m always asking – what’s the best possible way to do this? Recently, Ian Ritchie, former owner of JKR, told me a story about the Fosbury Flop – how for decades, athletes high-jumped by going sideways over the bar until Dick Fosbury flipped the approach, quite literally, by going over backwards. It changed the sport forever. That challenge – what’s my Fosbury Flop? – is what runs through my head at night. The left-field idea that isn’t just different, but fundamentally better. What trait is non-negotiable in new hires? A work ethic. I can’t tolerate those who aren’t in for the team effort and the propensity to put in the extra when needed. Creativity isn’t a clock-in and clock-out business. Complete this sentence, “I wish more clients…” … trusted their agencies more. Short-term marketing can lead to risk-averse decisions that tick boxes in research, or placating consumers rather than inspiring them. We always push our clients to be braver – when done intelligently it leads to higher commercial gains, but also category defining work, whether that be radical re-invention or simply protecting a treasure. Brands in this article #designleader #denominations #bronwen #westrip