Arts Professional has reported that Creative Access has announced its new CEO, Mel Rodrigues in its ArtsPeople section.

Read: Creative Access appoints CEO

Advanced Television has reported Creative Access’ new CEO appointment, ex-Channel 4 diversity lead and founder of Gritty Talent, Mel Rodrigues.

Read: Creative Access appoints Rodrigues as CEO

Heather Fallon has covered news of Creative Access’ new CEO appointment, Mel Rodrigues, former Channel 4 diversity lead and founder of Gritty Talent.

Read: Former C4 diversity lead to run Creative Access

Creative Access has appointed ex-Channel 4 Diversity Lead and award-winning business leader and inclusion consultant, Mel Rodrigues, as its new Chief Executive.  

Rodrigues will take over the role in September from outgoing CEO, Bibi Hilton, who is returning to a role in the comms sector. She will report to Creative Access founder and Executive Chair, Josie Dobrin OBE, and work in close partnership with Becky Smith, recently promoted to the new role of Chief Culture & Operating Officer.  

After a 20-year career in the screen and digital sectors, in 2019 Rodrigues set up the highly successful Gritty Talent, a Bristol-based media-tech company, with the mission to connect the best, diverse creative talent with decision-makers in the industry. 

Prior to this, she worked in TV production with a range of network credits and leadership roles, including Creative Diversity Lead at Channel 4 and producer of the BBC Digital Cities initiative across the UK. 

Josie Dobrin OBE, Executive Chair of Creative Access said:

“We are delighted to have Mel join Creative Access as CEO and lead us into the next phase of our mission. With her deep expertise in diversity, equity and inclusion; in developing and supporting talent from historically under-represented groups and leadership roles in both commercial and not for profit environments, Mel brings a wealth of experience to Creative Access. Originally from the West Midlands and having been based in Bristol for many years, Mel also critically brings a non-London-centric perspective that will be invaluable as we focus on increasing our reach, impact and partnerships across the UK.”     

Mel Rodrigues added:

“I’m thrilled and really honoured to be taking up the CEO role at Creative Access. I’m a long-time fan of the important and in-depth work that Creative Access does to support creative talent and employers across the UK. I’m looking forward to bringing my experience, perspective and leadership to the Creative Access team, and to amplifying the mission to support people from all backgrounds to access exciting careers and thrive.” 

Did you know that 89% of people listen to the radio each week? And it’s a growing sector with podcasts and smart speakers rapidly gaining in popularity. In our latest masterclass, we headed up to the BBC MediaCity offices in sunny Salford to dive into the world of audio, hearing all about the wealth of roles on offer and the skills you need to succeed in the industry!  

Panel: 

• Dean McCullough (host) – radio presenter, BBC Radio 1 
• Priya Matharu- assistant producer, Hits Radio  
• Rohan Sethi – producer, BBC Sport (Creative Access alumni)  
• Rebecca Gaskell – head of production, Reform Radio  

Our panelists all stressed that the best place to start is by gaining some experience though community or student radio, after all, this is how they all cut their teeth in the industry!  

For Rebecca and Priya, they both fell in love with radio at university. Whereas Rohan had been volunteering at community radio from the age of 14 before he broke into the industry via a Creative Access internship, and Dean has been a presenter everywhere from Riverside Radio in London to Gaydio in Manchester.  

Priya’s biggest tip is to always follow up with any connections you make. She works at Hits Radio’ local breakfast shows across the West Midlands, Staffordshire and Cheshire and has covered on BBC West Midlands and BBC Radio 1. Her route into her job at Bauer (Hits’ parent company) came after taking part in Kiss Summer School, when she contacted the person who ran the summer school and said, “I’m based in Birmingham, do you have any roles coming up in the area?” and they had positions at Hits. Priya assured our audience: “There’s no harm in asking – the answer is always no if you don’t ask”. 

Dean couldn’t agree more explaining that he literally knocked on the door of Gaydio’s offices when he first moved to Manchester in 2018 whilst in the building to meet a friend working on a different floor. He told our audience that if you are going to try this method, make sure you research before you approach the organisation, but ultimately, he said the most important thing is to: “Believe that you deserve to be sat at that table” 

Rohan is currently a producer at BBC Sport but has worked in different departments at BBC, including 1xtra, since he started as a Creative Access intern at Five Live in 2015. He loves his job because it’s so varied, telling us that just a couple of weeks ago he was in Saudi Arabia at the Fury vs Usyk on the ground chasing current and former boxers getting social media content. His focus has always been on social media and the digital world and advised our audience to think about what their strengths are when pursuing a career in radio; “There’s so many more jobs than just presenters and producers and you can always switch once you’ve got your foot in your door”. 

Dean echoes this point and tells our audience that his boss and current head of Radio 1, Aled Haydn Jones, started out as the tea boy for Chris Moyles!  

Speaking with over 15 years’ experience in specialist radio, Rebecca said that what really matters is that the employer can see you’re trying to build these skills versus necessarily having direct radio production experience. She said: “You want evidence that people are dedicated and have demonstrable experience in content creation, even if it’s making Instagram videos, it shows me they can edit and they can tell a story – both of which are transferable skills” 

Priya also added that there’s a misconception that you must be ‘naturally creative’ to work in the creative industries, “it’s a learnt skill!”. She said nowadays it’s easier than ever to learn the skills you need to be a producer. You can literally use your mobile phone to record and edit a radio show, or practice editing on TikTok, she advised.  

With news dropping recently that only 8% of people working in TV, film & radio are from working-class backgrounds, our audience were keenly aware of how tough it is right now to break into the industry if you’re from an under-represented background. Our panelists were honest about their own struggles juggling full-time paid work and volunteering at community radio stations to gain experience. Whilst breaking into and succeeding in the radio industry takes hard work, our panelists all agreed that it’s worth it once you get there and there are creative ways to navigate the more difficult parts of the industry. 

Rohan had a word of warning about short-term contacts, which are really common in the media industry. He said personally he hadn’t been expecting that when he started out, but on a positive note he said, “it did force me into other jobs and now my CV is so varied.” He recommended to always apply for jobs before your current contract has finished and said that you can learn so much from interviews, so don’t be afraid to put yourself out there and apply.  

And because the industry is competitive, it pays to be kind to your colleagues! Priya emphasised that radio is a small world explaining that someone she knew from student radio is now in the office at Hits with her. Dean told our audience: “Make friends with the production team and editors as they’re going to help you get your next job!”.  

Rebecca chimed in from the perspective of working at the independent Reform Radio: “Indies are on tight budget sand don’t have loads of time to look for new people. So, if you’re there sticking your hand up a lot and saying you can help that’s going to get you a shift and then, hopefully, more regular work”.  

Priya also had an amazing tip for anyone who’s feeling frustrated during the job hunt. She told our audience write down all your achievements so “you can reflect whenever you feel down or like you’ve not achieved enough, and you’ll realise you’ve actually done so much”.  

All of our panel are based outside London and it felt fitting to emphasise to our audience in Salford that this a really exciting time for the audio industry across the UK and there are some incredible opportunities in other cities like Birmingham, Manchester and Leeds. Dean wanted our audience to know that “you don’t have to move to London… it’s not the be all and end all”.  

While regional and accent representation was certainly on the agenda for a panel, they also told us why it’s so vital to make audio more diverse and inclusive of different audiences. Rohan summed it perfectly: “The mainstream needs diverse content because diverse content is authentic and entertaining. It’s lacking in mainstream but isn’t lacking on social media. The content is stronger if you’ve got a diverse team… So, back yourself if you’re going into these rooms, they need you!” 

Meanwhile, Priya said that whilst there’s currently not enough South Asian voices on air and behind-the-scenes, she’s hopeful that change is coming. She said: “You go where you feel seen… if you’re not reflecting, you’re cutting out a big portion of listeners. The big thing with radio is to think about how you can be real and engage new listeners”.  

For Dean being a white gay man on radio, he’s aware of his privilege but said it’s his mission to ‘uplift other folk in my community that really need it’.  

All of our panel wanted to express to our audience that they deserve to feel confident about their careers and encouraged them to harness their unique skills and experiences. Rebecca ended the conversation by explaining: “The next generation of people coming through are going to shape the future of radio, I’m absolutely listening to what young people have to say so don’t be afraid to tell us what you think”.  

A massive thank you goes to our amazing panel for all their honesty and insights into navigating the world of radio! And of course, a big shout out goes to BBC and Radiocentre for hosting us and our audience in Salford for being so engaged and bringing such great questions and stories to the conversation.  

Keep your eyes peeled on our opportunities board for our next masterclass! 

For May’s masterclass, we visited the book-lined London offices of Pan Macmillan, tucked away down a charming side street of Farringdon. Pan Macmillan is the publisher responsible for literary works by the likes of Tennyson, Hardy, H.G. Wells, and contemporaries such as Adeyemi and Donaldson. Unveiling the innerworkings of publishing and how to get into the industry was top of the agenda for our incredible panel featuring professionals from Pan Macmillan who shared their career journeys and advice. We learnt about the realities of their roles, the importance of persistence in forging a path in publishing, and the biggest mistake you can make when writing an application.   

Chaired by Ella Darlington, head of comms & marketing, Creative Access 

Andy Joannou, audience development director 

When the breadwinner in Andy’s family was no longer in the picture, he was 17 and needed a job – fast. Andy skipped university and went straight into the working world in magazine publishing. He shared how his early experience as a community manager there – before the age of social media – helped him develop crucial people skills. “People are scared of the digital sphere, they don’t understand it or are frightened of it. Sitting people down and explaining the reason why we do something or the benefit of it is crucial,” Andy explained. His role now involves overseeing Pan Macmillan’s digital media, ensuring their books reach as many hands as possible. 

Samia Gundkalli, CA alumni and editor (Macmillan Children’s Books) 

With a history degree and initial aspirations for journalism, Samia found her way into publishing through a Creative Access internship at Society of Authors. Now, she develops novelty books for children aged 0-5, from ideation to print. She’s noticed a major shift in right direction of representation in recent years: “Part of the reason that I’m in this industry is because I wanted to make the books I didn’t have growing up. Books from creators of colour that explores race and culture, and looking ahead, the goal is for people to just be writing their own stories.” 

Laura Marlow, senior audio editor 

Laura shared her journey from a third-year student at Goldsmiths to her current role. It was the initial setback of not securing an editorial assistant position (the most in demand of all the divisions), that led her to finding a place in the audio department. “I advise being as open-minded as possible because there are so many areas of publishing,” Laura noted. Her daily tasks include casting and production for audiobooks, one of the fastest growing parts of publishing, and a great way to meet stars like Olivia Coleman and Bill Nye.  

All three panellists offered their experience and valuable advice on making your application stand out in such a competitive industry, and we heard what the red and green flags in an application are! 

Number one red flag? Andy cautioned against using ChatGPT for writing applications. “No.1, don’t use ChatGPT. We can read straight through it; it doesn’t convey the sense of passion and desire to work here,” he said. Instead, he named his green flag; applicants showcasing their love for books in their cover letters. 

Laura highlighted the importance of transferable skills over direct publishing experience: “I’m more interested in your transferable skills, whether that be running a university newsletter or working in hospitality. Make your application really specific for the role, because it stands out when a candidate has put a lot of effort into it.” 

Samia advised applicants to let their personality shine through: “Don’t be afraid to put your personality into your cover letter. Publishing is a really fun place to be, so put your sense of humour and self into it.”  

Networking and mentorship were two key points brought up when discussing how individuals can advance their publishing career.  

Samia emphasised the value of mentorship, recounting her own positive experience with a mentor assigned through Creative Access: “Find your personal cheerleaders. I really valued having a mentor and I still remember the advice she gave me”. 

Andy pointed out the importance of asking questions and building a network: “The industry is not very transparent, and there’s lots of acronyms and confusing terms, so asking questions is crucial. I’m in a lot of Facebook groups of people that want to enter publishing and you can ask questions that way”, he shared. 

Laura echoed this, noting that chance conversations at events significantly contributed to her career progression: “Building your network at events, that’s how I progressed.”  

“The dream is always to be in editorial, it’s the most in-demand. But don’t be tied to one particular team. If you have skills in audio, sales, marketing, use those to get your foot in the door”, Andy advised.  

Samia agreed, telling the audience about colleagues who had side-stepped in the publishing industry having tried sales or rights and moved laterally to editorial or marketing. If you want insight into what someone’s role is like, Samia said: “Don’t be afraid to reach out to someone already in that role and ask for a coffee.” 

Laura pointed out that audio production often intersects with other fields, such as music and sound editing. “Look at what skills you can bring to the business that someone might not have if they’re already in,” she recommended. 

In recent years, technological change has altered the publishing industry forever; with BookTok and audiobooks on Spotify we’re observing the power that digital has to dramatically boost sales of books and whole genres. What does our panel have to say about this transformative digital age and the publishing industry? 

Laura’s particularly excited about the potential changes in the audio market with platforms like Spotify entering the publishing space: “It’s going to change a lot of things in audio and open up audiobooks to non-traditional book buyers… The experience of listening to an author or celebrity reading their own book is a separate experience to reading it. Both here in-house and industry is very excited about it.” 

Andy described how social media channels are used to test marketing strategies and reach broader audiences. “We can test shout lines on social media. I don’t think anyone can question the impact of digital when there’s BookTok. TikTok has helped people that were always there find their voice,” he said. 

Wow! Another successful masterclass! We couldn’t have done without the fantastic team at Pan Macmillan and our amazing community, who asked brilliant questions and networked after. See you at the next one! 

Feeling like you missed out? Click here to watch the video of the whole panel discussion!

Evie Barrett has written: “Global comms agency Grayling has announced that its UK offices will partner DE&I social enterprise Creative Access on a new initiative…

In practical terms, this involves Grayling UK launching a paid summer internship programme, initially at its London and Manchester offices.

Creative Access will oversee the recruitment process and provide ongoing career support to participants via its Springboard entry-level career support programme, which spans personalised mentorship, monthly masterclasses and other professional development opportunities.”

Read the article in full.

In our latest masterclass, we were joined by a panel of three talented writers from our own alumni community who have pursued different types of careers across the creative industries. From journalists to screenwriters to novelists and copywriters for advertising campaigns, here’s what they had to say about navigating a writing career and finding your voice…  

The panel: 

• Aniefiok ‘Neef’ Ekpoudom, a freelance writer & storyteller who has just released his first book, ‘Where We Come From: Rap, Home and Hope in Modern Britain’ 
• Isabella Silvers, a freelance lifestyle journalist who has written for the likes of Cosmo, Elle, Women’s Health and Digital Spy 
• Katrina Smith-Jackson, screenwriter and lecturer, who has written for Hollyoaks and Waterloo Road and is also part of the Regional Breakthrough Writers programme 

“Be discerning and set intention about what kind of writer you want to be” – Neef 

Izzy who, alongside freelance writing, writes her own newsletter Mixed Messages, emphasised that you have to be proactive: “You need to actively put yourself in those places”. You can use social media to your advantage and join Facebook groups such as No. 1 Female Media Women and Lightbulb; follow commissioning editors on X (formerly Twitter) and Instagram; sign up to Sian Meades’ & Jem Collins newsletters; and use platforms like JournoResources. Following on from this, Izzy said “I post a lot about what I’m doing because you never know who’s looking.” But her top piece of advice? “Aim for rejection – if you aim for one ‘no’ a week, at least you’re putting yourself out there, and one day that ‘no’ will be a ‘yes’.” 

For Neef, it’s all about being intentional from the outset. He told our audience to think about: What kind of opportunities do you want? What are you looking to write about and where do you want to write it, and what style do you want to write it in? What editors and places can help you best communicate what you want to write? He recommends checking out the landscape first and to read *a lot* to “find the places your work can exist in”.  

Neef also told our audience: “Don’t be afraid to be annoying! I emailed The Guardian every week to follow up on a pitch and about 3 months later, an opportunity to interview came about from it. It’s never personal if someone hasn’t responded right away, they’ve probably just received 100 emails that day. So be persistent”. This persistence is vital and Neef also recommends emailing your favourite writers to ask them for advice on landing a piece; they might even introduce you to the editor! 

As a scriptwriter, Katrina mainly finds her opportunities through her agent, but prior to that she echoes Izzy’s recommendation of being active on social media. She often finds opportunities via WhatsApp groups like Black Women in Scripted and the Creative Access TV groups, and especially on X (formerly Twitter),but, she said, you have to be following the right people! Because so much of the industry and finding work is from word of mouth, Katrina explained it’s vital to make short films or web series to get your name out there: “It’s about connections. When people know your name, they’re going to bring it into the room”.  

“Be annoying, chase up and follow up on all the recent connections you’ve made and see what projects they’re working on and if they have any work going.” – Katrina 

We all know that freelancing right now is especially tough, however within the media, TV and writing industries freelancing is a career choice that you often can’t escape. And while our panel have varying levels of experience in full-time freelancing, they have all been doing it long enough to have picked up some valuable tips for others as they navigate the world of self-employment.  

Izzy is a full-time freelancer as of six weeks ago, having worked in branded content at Hearst for eight years alongside freelance journalism. Branded content wasn’t the route she thought her career was going to take, she knew that she’d be working with the editors at Hearst Magazines such as Cosmo and Elle and her attitude was to “take the opportunity as you never know what you’re going to get”. She did her job part-time alongside freelance journalism to satisfy her creative side and explains that going full-time freelance wasn’t like “jumping off a cliff” because she’s been planning it for two and a half years.  

Whilst Izzy planned her jump, Neef decided to go freelance on a whim. However, he did advise that people should analyse their situation and see what needs to be covered first; for him he was living at home and was able to take the risk. “It’s difficult to make all of your money just via journalism”, Neef said and explained that he does a lot of work to supplement the book writing and his journalism, such as working with agencies writing on campaigns for the likes of Nike and Adidas. He shouts out his Creative Access internship at The Marketing Store for introducing him to agency land. He continued, “Doing other work gives me the freedom to write what I want to write about rather than having to write about everything anything”.  

With this, Neef suggested: “Don’t feel like all your income has to come from freelance writing, often it involves doing other work on the side.” Our panel wanted to reassure aspiring writers that lots of people do work that’s completely unrelated to writing to supplement their creative work and that it’s important to keep hold of your dream and your reasons for writing.  

Katrina continued the conversation by telling our audience: “We all have rent and bills to pay” so it’s best to get prepared before you make the jump She said that while you’re never ready, you can assess your situation, which may involve working a salaried job and saving a few years to get into the right financial position to make the leap. This financial cushion can also prepare you for low commissioning months. Katrina also emphasised that you have to remember why you’re pursuing writing as a career; “always hold on to why you’re doing what you’re doing, I know there’s nothing else I’d rather do than writing.”  

“Find your people who can be there for you” – Izzy 

On the theme of staying motivated, our panel had some incredible practical advice on structures and routines that keep them going. Having reached out to the author Paul Canter for advice, Neef was told take time out of his day and copy inspiring writing into a word document. He explained that this process “gets you used to technical details that you’ll almost absorb the practices through osmosis”. And the proof that it improves your writing is there: “I did this every day and within 6 months, my writing shot up to a different level. This helps a lot with writer’s block; once you get into a routine with writing it almost becomes like a faucet of a tap that you can turn on and off.” 

Katrina suggested that you need to find out how you work best whether that’s your work environment or the time of day where you produce your best work. For her, distractions become too much in her flat, so she heads to her local library. For other people it might be a cafe or working with a friend. She also made clear the importance of a balance between ‘work and play’: “If I work on a script all week, I’ll be miserable. I have to find time to see a friend for lunch or go to the cinema.” 

For Izzy, staying motivated is all about having a clear vision with good people around you to pick you up when rejections happen. She says that she can visualise her book on the shelves of Waterstones and has broken down the steps she needs to get there. In moments of feeling frustrated that things aren’t moving quickly enough in your career, she recommended that the audience “keep hold of any moments of praise and be proud of yourself, even just by going to events like this, you’re taking more steps than others might.” 

For even more pearls of wisdom from our panel, watch the masterclass in full: 

Thanks so much to Izzy, Neef and Katrina for joining us and sharing their stellar advice and a big thanks also to our audience for being so engaged and asking brilliant questions! Keep your eyes peeled on our opportunities board for our next masterclass. 

Did you know the most common form of stress is work-related? April is #StressAwarenessMonth and here our tips on how to prevent and reduce anxiety and stress whilst at work…

We know it sounds obvious but seriously, step away from the computer! Whether it’s receiving a barrage of emails, prolonged eye exposure to harmful blue light, or lacking creative inspiration that’s causing you stress, the best thing you can do is take 10 minutes away from your screen. Not only are you doing yourself a favour by giving your eyes a rest, but you’re giving your brain a chance to recalibrate too.

Before work, on your lunch break or after work head out for a walk around your local park. It’s scientifically proven that being out in greenery calms us down and it can help you create that needed separation between work and leisure time. Plus, exercise is a great and healthy way to blow off some steam, releasing endorphins which counteract our feelings of stress. 3. Change of scenery 🚶🏻‍♀️ If you can, it can help to work outside your bedroom so you can separate your workspace from your living space that you relax in. If the office isn’t an option, you could head to a co-working space, a cafe, or a friend or family member’s house who’s also working from home for some company. You can even take a meeting outside on the phone whilst having a walk!

What can you change and what can’t you change in stressful situations? A helpful exercise is to think about what you have control over, such as your actions and how you respond to other people’s actions. It can feel overwhelming when we worry about things that happen outside of our control, but try and shift to a problem-solving mindset: you are only in control of yourself, so how can you can react, respond or take action in the best way?

Importantly, know that you don’t have to go through this alone. A good first step is to make your line manager aware of how you’re feeling. They can help you prioritise and break down any tasks which feel overwhelming, or bring in extra support from the wider team. Make sure you use what your organisation has on offer too; lots of organisations have Employee Assistant Programmes which include free, confidential health and wellbeing support, mental health services such as counselling as well as legal and financial advice.

If you are struggling to cope with feelings of anxiety and stress, please speak to your doctor or the NHS via the 111 number. For urgent mental health support, Samaritans and Mind also have helplines you can call and online resources.

Creative Access trainer and clinical psychologist Dr. Victoria Mattison has also put together her top tips on taking care of your mental health in the workplace.

Remember, you’re never completely alone.

Upper middle class unaware of working-class underrepresentation in senior roles 

Social enterprise Creative Access & PR firm FleishmanHillard UK reveal new findings on class ceiling within creative industries 

• Most creative industry professionals agree working class representation is lacking most at senior level (according to 73% of working-class individuals and 46% of upper/upper middle individuals) 
• 74% agree it is harder for working-class people to land a role in the creative industries  
• 70% of respondents say your class affects how you’re seen by your peers 

Creative Access, a leading UK diversity & inclusion social enterprise, unveils startling research on working-class experiences in the UK’s creative sector today. In speaking to professionals from all class groups across the creative industries, findings reveal 70% believe that ‘soft’ social identifiers of class – such as where an individual went to school and your level of confidence – still affect how peers in creative industries see one another, and that class discrimination is still an issue in the workplace today. 

Why now? Figures show that the proportion of working-class actors, musicians and writers has shrunk by half from the 1970s to 2022 (source: Sage Journals), this is despite 48% of the UK identifying as working class the year prior, in 2021 (source: Gov.uk).  

Respondents were united in placing class representation at senior level as the most urgent topic for employers to address (two in three). However, opinions on the severity of this issue differed between class groups. 73% of working-class respondents identify a lack of senior working-class representation, and only 46% of upper middle-class respondents agree. 

Unpaid internships are still common within the creative industries, with those who identify as working or middle/lower-middle class saying those from upper-class backgrounds benefit the most.  

Research also reveals a stark contrast in perceptions regarding social mobility, with 44% of upper/upper-middle-class respondents believing social mobility in the UK is easier than ever, and only 16% of working-class respondents sharing this view. Black (75%), Mixed or multiple ethnic groups (78%) and Asian (64%) respondents are more inclined to observe class disparities in industry access compared to white respondents (61%). 

Without an inclusive culture in the workplace, working-class individuals do not have the support or resources to thrive. Research showed barriers to career progression include discrimination and unequal reward: 88% of respondents said discrimination based on class is an issue in the UK. In addition, only one in three working-class respondents think they are rewarded equally for their work and contributions (in comparison 67% of upper-class people believe working class people are equally rewarded).  

The findings reveal a disparity between working-class and upper-class individuals’ opinions of the characteristics that indicate class and the state of social mobility today. Working-class respondents were more than twice as likely (68%) to rank where someone went to school as an indicator of class, compared to upper/upper middle-class respondents (28%). Upper/upper middle-class respondents also reported ‘confidence/how someone presents themselves’ higher than working class people.  

The Institute for Fiscal Studies in 2023 found that moving up the social ladder in Britain has become harder than at any point in more than half a century for children born into poor households. For example, those growing up in the north of England and the Midlands, as well as those from a minority ethnic background, find it a lot harder than others to become wealthier than their parents. 

Who did we hear from? 

Creative Access & FleishmanHillard surveyed two audiences. One audience is a diverse range of 200 employees in the creative industries and the other is 192 individuals of the Creative Access community. Observations were made by comparing these two groups and looking at respondents by class groups (working class, middle class and upper class). 

Creative Access has put together its findings alongside its key recommendations for both employers and individuals in the creative industries around this topic. Read the report and its advice: The Class Ceiling in the Creative Industries 

Bibi Hilton, CEO, Creative Access: 

“Class is the one area where we really aren’t making progress in the creative industries, the research proves that access to this space is largely still based on contacts and networks which tend to be in close reach for the privileged. Our research with FleishmanHillard UK, shines a light on these inequities and hopefully kickstarts conversation and action around the stark lack of working-class representation in senior positions. It’s worrying that soft social identifiers are still influencing class prejudice and biases. But as the creative world evolves, we’re urging employers to commit to breaking down these barriers, whether it be levelling up their inclusive hiring or supporting working class staff with access to career support and mentors.”

Ben Levine, Senior Partner and Socioeconomic Steering Group Lead, FleishmanHillard, commented:  

“The disparity in opinion between working class and upper-class individuals when it comes to socioeconomic diversity in the creative industries should give us all pause for thought. If we’re not aware of the challenges and barriers facing certain communities in our industry then progress will continue to be slow. The launch of this report represents an opportunity to start some of these conversations within our businesses and teams, and begin the work of understanding where and how we can do better.  

It’s not a challenge that is unique to any individual organisation or even sector but in the creative industries we are uniquely positioned when it comes to shaping culture and bringing fresh perspectives to old challenges. Within our agency we will be looking again at the culture we create, the ways we assess and progress talent and how we create safe space for colleagues from all backgrounds to share their experiences and insights.”

Report: The Class Ceiling in the Creative Industries 

Watch our webinar, which debuted the findings of the report and featured recommendations from a panel of experts and working class creatives alike…

Advanced Television reported on Creative Access’ 2024 research on class in the creative industries. You can read the coverage, which includes a quote from Head of Bectu Philippa Childs, here.

Heloise Wood writes about the return of the DRF David Miller Internship Programme has been announced, in partnership with Creative Access, with two paid internships providing an entry-level insight into rights and agenting in publishing. Read the article.