Despite 2023’s challenges, Creative Access made remarkable strides in supporting under-represented talent directly and helping organisations within the creative industries on their DE&I journey. With the writers’ strike and financial hurdles affecting 68% of film and TV workers, Creative Access stepped up to provide critical support & development opportunities across the creative economy.

• Mentoring programmes: 418 participants
• Career development support: 312 people
• Careers advice and training: 4773 individuals
• Increased confidence: 84% of individuals
• Boosted career optimism: 90% of individuals
• Enhanced knowledge and skills: 87% of individuals
• Expanded professional networks: 64% of individuals

Join us in celebrating these achievements and explore how our efforts are transforming the creative economy.

Browse and download the full Creative Access Impact Report 2023-2024 here.

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.” 

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…

As we enter the busy post-summer recruitment period, this new research report on unwritten codes around hair & clothing from Creative Access and Red Consultancy shows how important it is for employers to provide clear guidance to candidates on all aspects of the recruitment process, including what to wear. Navigating vague or confusing dress codes or no dress code at all is adding an extra layer of unnecessary anxiety and our research shows is particularly impacting those from under-represented groups. The bottom line? Clear and inclusive practices benefit everyone, especially when:

• 59% of Black candidates worry ‘dressing like themselves’ or wearing their hair ‘naturally’ will result in discrimination at work
• Half (43%) of respondents said they have never received guidance on what to wear for a job interview or when starting a new job
• 59% of neurodivergent individuals stated they would find it difficult to navigate what to wear/how to style their hair without guidance for an interview

Over 2,000 people were surveyed by Creative Access on their experiences in interviews and the workplace to explore the experiences of different ethnicities and socio-economic groups.

Based on those findings, Creative Access has outlined how those in influential hiring or people management positions can communicate any expectations clearly & inclusively about how to style or present yourself, and in some cases check their own biases at the door.

Read the full report & guidance: Navigating hair & clothing codes in the workplace

The annual Thrive report by Creative Access examines business sentiment around DE&I with employers and career sentiment amongst individuals from our community, the majority of which (70%) come from groups underrepresented in the creative industries. 

This study conducted over a two week period in May 2023 sets out to compare how far the dial has moved for individuals when it comes to career progression and what employers are doing to facilitate this. We also looked into whether enough is being done to secure and foster mid to senior diverse talent to thrive in the creative industries. A career level where we’ve consistently seen industry-wide under-representation.

• For employees, we looked at whether they felt they have the necessary tools and resources for career progression, such as a strong network, skills and knowledge as well as more intangible factors such as confidence
• In our research with employers, we examined their progress towards putting in the structures needed to support employees and building inclusive business cultures

Key findings:

• The number of respondents reporting feeling sufficiently prepared and resourced for advancing their careers has dropped since 2022
• Feelings of confidence, optimism and being well resourced are also lower amongst disabled respondents than amongst other groups, this is especially true when intersectionality is considered, for example when disabled candidates are also Black, Asian, or Ethnically Diverse (BAED)
• Individuals who have not received support from CA are less also likely to report working in a supportive and inclusive culture (73% versus 59%), less likely to report that their organisation is making progress on equity, diversity and inclusion (76% versus 65%). And they’re also much less likely to report feeling confident or optimistic, or having the skills, knowledge, contacts and networks they need to progress in their careers 
• While most employers recognise that their DE&I focus has been concentrated at entry level so far, there is recognition that this needs to shift towards the whole of the organisation, especially at mid to senior level
• 89% of employers said working with CA contributed towards their organisation’s progress against their DE&I goals. And the majority report that they have a strategy in hand (38%)

Read the report in full here.

A new press announcement from Creative Access on freelancers in the creative industries reveals that freelance talent demands change from creative organisations. Although freelancers are broadly happy with their career path, there is a breakdown in the relationship between freelancers and employers within the creative economy as 1 in 2 freelancers say they ‘don’t feel supported by employers’ they work with. 

Although demand for freelance workforce support in the creative industries shows no signs of shrinking, overall satisfaction is waning among the self-employed.

• Freelancers ask for reasonable adjustments & employer training to thrive 
• 50% of freelancers don’t feel supported by the employers they work with  
• 1 in 5 (22%) became a freelancer due to negative experiences in a perm role  
• Disabled individuals 30% more likely freelancing after negative perm role experience 
• 54% say they’re offered a day rate or salary below their level 

However, the research also showed that freelancers are overall pleased with their career path, pointing to several positive aspects about being self-employed, suggesting their job gives them satisfaction, namely around:  

• remote work (62%) 
• project diversity (61%) 
• independence (61%) 
• it being beneficial to their health & wellbeing (42%)  
• and freedom to select clients (32%) 

Read the full report: Freedom or working for free? Freelancers in the creative economy 2023

Read Creative Access’ employer resource here: How employers can better support freelancers

Creative Access partnered with global communications agency FleishmanHillard to explore the extent and impact of this “language discrimination” on employer cultures, employees and aspiring employees and on the work they produce in the creative industries and beyond.

The report reveals the impact of accent bias within the creative industries, and how those affected are feeling under pressure to change their accents to advance in their careers and appease management and clients. Over three quarters (77%) of respondents working in the creative industries have felt they had to change their accents in the workplace – specifically when dealing with clients. Meanwhile 89% of our Creative Access community have felt prematurely and sub-consciously judged by others based simply on their accent and manner of speech.

The report draws on a survey of 301 members of the Creative Access community, and a nationally representative survey of 2,000 UK adults based on age, gender, region, ethnicity, sexual orientation and socio-economic status.

Read the report in full here: Language of Discrimination

Employer resource: The language of discrimination – class barriers and accent bias

In 2022 we commissioned a survey in consultation of all those within the Creative Access community who identified themselves as disabled, Deaf or neurodivergent. 

The findings, published in a new report, show a pressing need for creative employers to improve access for disabled workers and support progression within the sector. Key observations about disabled individuals working in or looking to break in to the creative sector were:

• Only a quarter feel they have access to the contacts and networks needed to progress their creative career (vs. 62% of general respondents)
• 88% cite the two biggest barriers as: lack of employer understanding of ‘reasonable adjustments’, and awareness of disability issues among colleagues
• Many candidates choose not to disclose disability to potential or current employers

Over three quarters said they would like to see more flexible working and training for line managers in supporting disabled employees to thrive.

Read the report in full here: Disability inclusion report 2022.

Read our employer resource on disability equity in the creative industries here.

The second phase of our ‘The Verge’ research in December 2021 looked at changes in financial and job stability for people working in the creative industries as a result of the pandemic. Key findings included:

• Financial stability has declined – in May 2020 53% said they had enough money to live on versus 42% in 2021
• 45% said their mental health had been negatively impacted – rising to 64% amongst those with a disability
• 42% said their ability to save money had been negatively impacted
• 25% said it had negatively impacted their job security
• Over 10% have had to re-locate due to Covid-19 to find work – 48% re-located to London/the South-East showing how important it is for employers to support housing costs in the capital

But there was some positive news:

• A third (33% said their mental health had been positively impacted through greater flexibility and time at home
• A third (36%) said the pandemic had a positive impact in giving them more time for hobbies and interests outside work
• 30% said they felt their creativity had been positively impacted

Read in full here.

In February 2022, we commissioned our first Thrive survey to provide a snapshot of candidates’ confidence and optimism about their career progression and to understand what stage employers in the sector are at in their diversity, equity and inclusion plans. The survey was conducted across our own Creative Access community, employer partners and the wider industry. Key findings included:

Candidates:

• 69% of candidates report seeing opportunities for career progression
• 85% report having the necessary skills and knowledge to progress their career

Employers:

• 69% employers reporting an increase in representativeness of workforce

• 36% reporting increased equity in progression and rewards

We conducted research into the expectations and ambitions of over 800 young people looking to work in the creative industries post-pandemic – the first generation to do so. The research revealed:

• When considering where they would like to work, this generation claim to be more influenced by an organisation’s reputation and how well they look after employee wellbeing rather than the salary they are offering (12%)
• When looking at specific roles, the job description sounding inspiring and challenging is more important than salary
• 82% of respondents are expecting to be promoted within the first year of their first role
• Just a quarter are quite or very optimistic about finding a role post-education, with well over half (57%) who are not optimistic

You can read the full press release here.

The pandemic has worsened pre-existing inequalities in the creative and cultural industries by causing job insecurity and financial instability among ethnically diverse people employed in the sector, according to a new report. This is particularly concerning given the underrepresentation of these groups within the industries.

Experts from The University of Manchester’s Centre on Dynamics of Ethnicity partnered with career support organisation Creative Access to collect data on the experiences of ethnically diverse workers – and those aspiring to work – in the industries.

The researchers found that only 29% of respondents were in employment a year after the first lockdowns – a huge drop of 22 percentage points – and 48% of respondents said they are either becoming financially unstable or need immediate assistance to pay their bills.

The overwhelming majority of ethnically diverse creative workers report feeling anxious or worried, with insecurity being a major contributing factor – 70% of all respondents were worried about their job security, and a staggering 89% of workers with over 10 years of experience said the pandemic had made their job less secure.

One respondent told the researchers that they were unable to claim money from the SEISS [Self-Employment Income Support Scheme] despite having no income – they were existing on Universal Credit, which was barely enough to cover their outgoings. They said their mental health had plummeted from not being able to secure any kind of work.

58% of respondents said that their primary source of income had changed, and alarmingly, 30% of these said they had left the creative and cultural industries for another sector – this suggests a risk that as the industry recovers from the aftermath of the pandemic, it may be even less diverse than before.

37% of respondents said their careers had been affected by discrimination because of their ethnic or racial identity, but many reported that 2020’s Black Lives Matter protests had only seen limited subsequent improvements despite many employers declaring their intent to reduce discrimination and increase diversity. Only 14% agreed that more paid opportunities were available as a result of the protests, and these were also likely to be junior positions.

The report’s authors are calling for a host of changes at creative and cultural organisations to tackle these issues including the adoption of employment targets, guidelines for recruitment practices and financial incentives for organisations which develop targeted schemes for graduates from ethnically diverse backgrounds who have lost out as a result of the pandemic.

“Our findings are extremely worrying because they demonstrate that ethnically diverse creatives and cultural workers are having to deal with the severe impact of Covid on employment in the creative and cultural industries, on top of pre-existing racism, and indicates a potentially lost generation of ethnically diverse talent who are struggling to enter the sector,” said Roaa Ali from the Centre on Dynamics of Ethnicity. “We believe that the pandemic has significantly compounded issues of ethnic and racial inequality in the sector, and we are calling for urgent and specific actions championed by both industry and policy decision makers to address this – this, too, is integral to the levelling up agenda.”

“The creative and cultural industries were already the site of fundamental race and ethnic inequalities, and our findings suggest that the pandemic has deepened them,” said Professor Bridget Byrne from the Centre on Dynamics of Ethnicity. “This sector is critical not only for its contribution to the economy, but also because it shapes the cultural life of the country – this is why structural racism faced within the sector is so concerning.”

“We need action within individual organisations, but also more broadly at a policy level to both collect the data needed to track ethnic inequalities and also to implement proactive actions to ensure that ethnically diverse people have fair access to training, jobs and promotion within the sector.”

“Clearly, the Covid pandemic hit everyone who works in creative and cultural industries – but it also exasperated existing inequalities in this sector,” said Dr Anamik Saha from the Centre on Dynamics of Ethnicity and Goldsmiths, University of London. “While media and cultural organisations were quick to pronounce their support for the Black Lives Matter protests that occurred during the pandemic, our research found this translated into relatively few new opportunities for Black people in particular.”

“Our hope is that in shining a light on their circumstances, media and cultural organisations can better support creative workers from minoritised communities, ensuring fair and equal treatment during these difficult times.”

“On the second anniversary of the pandemic, we are seeing yet further proof of the disproportionate impact of covid on people from groups under-represented in the creative industries in terms of ethnicity. With the huge loss of funding, income and job opportunities in the sector, it’s critical that organisations like ours work with employer partners to ensure that people from these communities do not lose out on career access or progression as a result,” says Josie Dobrin, founder and CEO, Creative Access.

Full report: https://www.research.manchester.ac.uk/portal/files/212029276/Impact_of_covid_and_blm_on_ethnically_diverse_creatives_and_cultural_workers_report.pdf

‘The impact of Covid-19 and BLM on Black, Asian and ethnically diverse creatives and cultural workers’ R Ali, S Guirand, B Byrne, A Saha and H Taylor, Centre on the Dynamics of Ethnicity, March 2022.

Watch the recording of ‘On and off screen diversity: Why does it matter?‘ an event held on Thursday, 11 November 2021. Speakers: Roaa Ali (CoDE), Sadia Habib and Shaf Choudry (The Riz Test) and Josie Dobrin (Creative Access).