Creative Access announces results of annual survey charting business & career sentiment among diverse talent & employers regarding DE&I goals 

• Career optimism has shifted – majority now feeling pessimistic (was 1 in 2) 
• Disabled individuals’ optimism significantly lower than average (13%) 
• 2 in 3 employers admit to focusing DE&I efforts at entry-level despite need for mid to senior focus 
• 1 in 4 employees are provided with no wellbeing support at work 

New research from leading diversity & inclusion social enterprise Creative Access confirms a drop in optimism about career futures for individuals from under-represented groups in the creative industries, as well as a lack of robust DE&I reporting from employers and workplace wellbeing support. 

The Creative Access’ Thrive Report 2024 findings come after a turbulent year for the creative industries, including TV & film’s ‘work drought’ (Bectu 2024), uneven access to sector funding (Greater London Authority 2023) and continued high cost of living. The not-for-profit’s survey finds DE&I reporting standards are not being met, insufficient focus on mid and senior-level talent and stagnant DE&I spending are critical obstacles in the way of achieving higher career optimism and progression among individuals.  

In Creative Access’ 2023 Thrive report, four in five employers acknowledged the need for a shift in DE&I focus from entry-level to all stages, however this year, most employers (66%) admit to continuing to prioritise entry-level talent. 

This isn’t the only mark of a DE&I spending hold, as the survey finds: 

• Only one in three employers have increased DE&I spending over the last 12 months, a significant drop from 60% the previous year. 
• 41% of organisations demonstrate poor DE&I reporting practices 

This is mirrored in a lack of wellbeing and mental health support from employers, with the survey revealing one in four of respondents have no access to wellbeing support at work. Factors such as working hours (19%), team dynamics (19%), and lack of focus on wellbeing (15%) were the most commonly cited reasons for work negatively impacting mental health.  

Only half of employers (51%) reported an increase in representativeness of their workforce, a fall against last year (65%). This comes as a worrying amount (41%) of employers admit to having poor or non-existent DE&I reporting practices, and has resulted in a drop year-on-year in career optimism from (51% to 46% overall), with disabled individuals experiencing one of the lowest rates of career optimism (30%). Over a quarter of those from lower socio-economic backgrounds said finances were the greatest barrier to their career progression, (11% higher than the average). 

Freelancers, representing a third of the workforce, are facing acute challenges with 48% reporting a decrease in work volume this year. The precarious nature of freelance work, especially in the current economic climate, makes professionals from under-represented backgrounds particularly vulnerable (Creative Access Freelancers in the Creative Economy 2023).  

For individuals from Black, Asian and ethnically diverse backgrounds, there appears to be a career ceiling, citing the biggest barrier to progression as organisation structure (36%), whereas those who identify as disabled (26%) and from lower SES backgrounds (20%) ranked location as their greatest barrier to progression. 

The data highlights a crisis in the PR sector, where employees are the least impressed with their organisation’s DE&I progress (59%) and report the lowest levels of working in an inclusive and supportive environment (54% versus the average 64%). 

It’s in the TV and film industry, however, that optimism levels among individuals were reported to be the lowest; with only 32% of workers feeling optimistic about their future in the sector (versus the average 46%).  

Recipients of Creative Access’ services appear to be somewhat protected from the wider destabilising effects of industry-wide issues due to the support and opportunities that Creative Access provides. 61% of individuals in receipt of Creative Access services have reported achieving career progression in the last year, versus 37% of those not in receipt of services.  

Respondents from lower socio-economic (SES) backgrounds also reported a severe gap in access to contacts & networks to progress their career (56% in receipt of services versus 13% not in receipt of services). Meanwhile 82% of organisations attributed progress against their DE&I goals to working with Creative Access.

Read the report: Thrive 2024: Development in DE&I

Josie Dobrin, co-founder & executive chair, Creative Access: 

“The creative industries are at a critical juncture in their DE&I efforts. Despite intentions to expand support beyond entry-level roles, data tells a different story, leading to decreased career optimism, especially among individuals with disabilities and freelancers facing a shrinking market. 

To foster true inclusivity bold actions are needed at all talent stages, including tailored career development programs, mid-level positive action traineeships, and elevating under-represented mid and senior-level employees. 

The industry must shift from intentions to decisive action. By adopting comprehensive DE&I strategies, organisations can enhance career optimism and enrich the creative landscape. The time to act is now for a more vibrant and inclusive industry.” 

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.” 

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.

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.

Creative Access ‘The Class Ceiling in the Creative Industries’ report findings mentioned in opinion piece, ‘Crossing the class divide: are the creative industries a closed shop for the working class?’. Read the article by Tom West at Marketing Beat.

Creative Access data from their report: The Class Ceiling in the Creative Industrues reveals that over half of Public Relations professionals (PRs) say working class is underrepresented in the industry. 70% of PRs agree working class representation is worse at senior level – research from Creative Access and FleishmanHillard. Article by Elizabeth Wiredu at PR Week

Arts Professional covers Creative Access report stating: Class barriers persist in the creative industries. The publication reports 74% of employees in the creative industries, including those in the Creative Access community state it’s harder for working-class people to land a role in the creative industries. Click the link to read the article by Arts Professional