Podcasts about London Design Festival

In this episode Jayda and Jocelyn explore the intricate intersections of climate science, social justice, and technology, with Jocelyn offering really interesting perspectives on finding hope for the climate. Joycelyn shares her journey from an unconventional background in astrophysics and journalism to her groundbreaking work in conservation technology. Delving into her platform, Climate in Colour, and her PhD research in bioacoustics, Joycelyn discusses the importance of centring indigenous knowledge and addressing environmental racism. She also unpacks how our perceptions of success are deeply impacted by colonialism and the need to shift towards more inclusive, just frameworks. This episode tackles the nuanced concept of hope within the climate movement, emphasising that hope is a discipline involving stamina and long-term commitment rather than immediate wins. Tune in for an inspiring conversation that offers new perspectives on building a just and hopeful future through community and innovation.Follow Jocelyn LongdonFollow Jayda GFollow Here's Hoping PodcastMore on our guestJocelyn Longdon's websiteJoycelyn is an award-winning environmental justice technologist, communicator, and PhD candidate at the University of Cambridge. She researches conservation tech with forest communities in Ghana, using bioacoustics—like Shazam for nature.She founded Climate in Colour, an inclusive climate education platform, and has worked with the UN, Channel 4, and the Wellcome Collection. A TEDx speaker, she won the 2022 Emerging Designer Medal at the London Design Festival, was featured in British Vogue's ‘Forces for Change' issue, and named a 2024 Climate Creator to Watch. Her debut book, Natural Connection, What Indigenous Wisdom and Marginalised People Teach Us About Environmental Action, was published in April 2025. Hosted on Acast. See acast.com/privacy for more information.

The Monocle team rounds up highlights from this year's edition. Expect Design Innovation Medal winner Natsai Audrey Chieza, the landmark pavilion ‘Vert' and a visit to Kindred record store. See omnystudio.com/listener for privacy information.

At the end of a week filled with violence in the Middle East, Yossi Mekelberg joins us from Israel to discuss the latest and what the next stage of the Israel-Gaza conflict will look like. Also on the programme: we round up the latest technology news from Norway, hear the highlights from London Design Festival and discuss the New Zealand bird of the year competition. Plus: we sit down with the curator of London's Ukrainian Film Festival.See omnystudio.com/listener for privacy information.

My Life in Design is back - recorded LIVE at the London Design Festival with designer Domenic Lippa, Pentagram partner (and chair) and Festival design director.Earlier this week we had the absolute pleasure of hosting a LIVE podcast recording of ‘My Life in Design' as part of the London Design Festival. Marking the 50th episode and start of series 6, Domenic sat down with host Claire in front of an audience at the gorgeous art'otel in Hoxton London to share his life in design so far…  Domenic shares his journey into design, from a home full of creativity, to a focus on graphic design from an early age that no art teacher could shift! His early experiences working in agencies, forming a partnership with future Pentagram partner Harry Pearce, their agency Lippa Pearce, and joining the world's best known design consultancy Pentagram.Links:Red SetterdbaPentagram

Nearly two decades ago, while swimming in the Aegean Sea, Yasmine encountered a distressing sight: plastic waste clinging to rocks. This observation marked a turning point in her life. Over the years, the situation worsened, with more plastics dumped into the oceans, often with poorer countries being paid by the Western world to accept this waste. This realisation struck a chord with her, especially since she has always had a passion for materials in her roles as a designer and architect.It was then that her interest in sustainable materials took root. She dedicated her time and that of her team to researching and experimenting with recycled materials and various sustainable alternatives from around the globe. Yasmine's ambition is about demonstrating tangible, viable design and architectural solutions that avoid environmentally harmful materials like plastics and concrete, the latter of which accounts for a significant portion of global CO2 emissions.Today, she and her team have amassed a library of over 300 sustainable materials. Gradually, they started incorporating these into their projects, and it's only in recent years that the demand for sustainable options has surged. Yet, the battle against greenwashing persists. Yasmine is committed to demonstrating that sustainable decisions not only benefit the environment but can also enhance financial returns, contrary to common misconceptions. Her mission is to change the way we build by utilising alternative materials that are not only environmentally friendly but also aesthetically pleasing. This journey began with a single, transformative moment in the Aegean Sea, and it has propelled her to advocate for a more sustainable future in design and architecture.This meaningful moment extends beyond her personal realisation and into her broader mission to mobilize others towards sustainability. Her involvement in global discussions on sustainability, such as those at COP28 and during the World Economic Forum, has provided her with a platform to share her experiences and advocate for the adoption of sustainable materials. These talks are an integral part of her effort to not only showcase the environmental benefits of such materials but also to highlight their positive impact on our health. This awakening drove me to explore beyond traditional material research into the realm of 3D printing, specifically with recycled plastics, leading to global recognition and opportunities to exhibit her work at prestigious venues like Design Miami in Basel, the Venice Architecture Biennale, and the London Design Festival. Follow and learn more about my guest today:Websites: Impact Design & www.mahmoudieh.comInstagram: Yasmine MahmoudiehLinkedIN: Yasmine MahmoudiehTo learn more about SHIFT HAPPENS, click here To learn more about Claudia's business Curated Conversations and her Salons in New York, Zurich and Berlin, click hereYou can also connect with Claudia on Instagram @shifthappens.podcast and LinkedIn at ClaudiaMahlerNYCThis podcast is created, produced and hosted by Claudia Mahler.Social Media support Magdalena Reckendrees

Having a knock-out creative career five decades long is one thing. Setting up a charity to inspire the same creativity in the next generations is another. But the iconic British design duo, who are also husband and wife - Sir John Sorrell CBE and Lady Frances Sorrell CBE - have done just that. Frances and John started their lives in design both aged of 14 when, in different parts of London, they attended free Saturday morning classes at their local colleges of art and design. Neither were from well-off families. John had never been to an art gallery and most of his peers were dropping out of school aged 15 to get jobs. The experience was a revelation that paved the way for full-time study and their careers in design. It was also the prime motivation for the formation of the Sorrell Foundation in 1999 with the aim of inspiring creativity in young people to change their lives and make the world a better place. After meeting through work, the Sorrell's launched their now legendary design studio, Newell and Sorrell, in 1976. They've redesigned some of the UKs most high-profile organisations, including British Airways, The BBC and the Royal Mail. After 25 years in business, they sold to Omnicom, and have spent the past 25 working to give young people pathways to higher education in the creative industries. Their achievements and accolades are too long to list. John is co-founder and chairman of London Design Festival and co-founder of London Design Biennale and is a UK Business Ambassador, appointed by successive prime ministers to help promote Britain's creative industries abroad. John was appointed CBE in 1996, was awarded the Royal Society of Arts Bicentenary Medal in 1998 and holds numerous honorary fellowships and degrees. John was awarded a knighthood in the 2008 New Year Honours List for services to the creative industries. Frances is a tour de force in her own right. She is Chancellor of the University of Westminster, London, has Honorary Fellowships from the Royal Institute of British Architects, Falmouth University, Hereford College of Arts and Plymouth College of Art. She holds Honorary Doctorates from the Open University, Coventry University and University for the Creative Arts, and has been a visiting Professor at University of the Arts London. As Creative Director at Newell and Sorrell she won over a hundred awards for creativity and effectiveness. Listen in as Vince, Sir John and Lady Frances Sorrell discuss; cold calling BP fresh out of art school and designing their exhibition stand at the Paris Air Show six weeks later, growing up on the same working-class council estate as Rod Stewart, and why you have to put your money where your mouth is if you really believe in something. See omnystudio.com/listener for privacy information.

Sara Grady and Alice Robinson co-founded British Pasture Leather in 2020. The duo aim in their own words ‘to link leather with exemplary farming and, in doing so, to redefine leather as an agricultural product'. All of which means creating a new network of systems within the industry. Essentially, the pair are attempting to make the material we buy traceable in the same way food is. In 2022, they created an exhibition, entitled Leather from British Pastures, during the London Design Festival, which included collaborations with the likes of Mulberry and New Balance, as well as Material Matters favourites, Bill Amberg and Simon Hasan. More recently, Alice has written a new book, Field Fork Fashion, which charts a bullock's journey from a field to a series of finished products and dishes – creating her own supply chain in the process.In this episode we talk about: how most leather is made; issues around the chrome tanning process; how British Pasture Leather is trying to make a difference;  increased meat consumption across the globe and why it changes the value of a hide; building a new supply chain; the state of the British tanning industry; producing their material entirely in the UK; redefining quality and embracing imperfection; how leather brought them together; buying a bullock and writing a book. Support the show

In this episode I speak with Ella Bulley, a Material Designer known for her unique blend of textiles, products, art, and set design. Through a fusion of in-depth research, material experimentation, and traditional craftsmanship, Ella Bulley's design philosophy acts as a transformative force, turning basic materials into sophisticated designs. Her work has gone on to be exhibited at London Design Festival, Milan Design Week, Tendence, Ambiente, Sommerset House and the Design Museum, London. Ella's reflections on balancing a thriving professional life with deep personal ties in Ghana is a testament to the power of community and the enduring influence of heritage. Her dedication to sustainability and mentorship in material design is not only shaping her projects but also the minds of future visionaries.Ella shares her passion for collaboration and her vision for documenting her Ghanaian heritage is as tangible as the art she creates.You can connect with Ella at https://www.instagram.com/ellabulleystudio/ and on her website at  https://www.ellabulley.com/ 

It is very common in the design world to collaborate with different people, be it working with another brand to launch a new product range, or an external design agency to design or finesse a product. Good collaboration is at the heart of creating a successful design. In this podcast our head of UK Brands and Designs John Coldham, explores the topic of collaboration with experts from world-renowned design businesses, including: Sara McNeill, head of Licensing, Merchandising, Partnerships – Office of the General Counsel at Aston Martin Lagonda; Gareth McNeil, director of Industrial Design & Innovation at Joseph Joseph; and Martin Darbyshire, founder and chair of tangerine. They discuss the importance of keeping a business's brand identity and DNA across products and how to manage this when working with third parties, and the benefits and risks of collaboration, touching on their own experiences and examples from their companies. You can find this episode and the accompanying transcript on our website: https://gowlg.co/3ZCOIFu  ... Gowling WLG is an international full-service law firm working across a range of industry sectors including real estate, government, financial services, life sciences and technology. We operate across the world with offices in the UK, Europe, Canada and the Middle East. We regularly talk about a broad range of topics that may be of interest to you. Subscribe to receive our latest articles, podcasts and webinars straight to your inbox: https://gowlg.co/35efH2r  Alternatively, you can view our full selection of insights and resources here: https://gowlg.co/3IwEr41  Want to get to know us? Follow us on: LinkedIn: https://gowlg.co/3hqmatB  Twitter: https://gowlg.co/35Do0nY  Facebook: https://gowlg.co/3th2w8N 

In this episode we explore health rituals and the lost practice of bathing in whey. We also drop in at the London Design Festival to hear about artists using offcuts to create beautiful, innovative designs, journey to the foothills of the mountain of Pelion and discuss the therapeutic value of cycling in nature.See omnystudio.com/listener for privacy information.

At this year's London Design Festival we meet social enterprise POor Collective, winner of the Emerging Design Medal, and enter the bright world of artist and designer Morag Myerscough. We also stop by Singapore for this year's edition of Design Fair Asia. See omnystudio.com/listener for privacy information.

Welcome back to TBR and welcome to a bustling SOAR running HQ this Thursday just past.  As part of the brands partnership with the London Design Festival they were hosting a panel.  Entitled Running, A Creative Approach, the discussion explored how creativity and design manifest in and shape all areas of running - yours truly had the honour of hosting. Joining me on the panel was SOAR founder and creative director Tim Soar, Architect and writer Sarah Ackland, Olympian and founder of The Running Channel Andy Baddley and head of marketing for Soho House and founder of Hot Boys Kimiko Ninomiya A big thank you to SOAR for the opportunity to host and to our incredible guests. Follow them @kimik @saraheackland @runbadders @tim_soar_london Cover image @mattmoranphoto --- Send in a voice message: https://podcasters.spotify.com/pod/show/thebigrunpodcast/message

In our final episode of mini-episodes reporting from the London Design Festival, an annual event that takes over the UK capital every September, we visit Material Matters on London's Southbank. Now in its second year, the fair has sprung from a podcast of the same name and occupies the atmospheric Bargehouse at the Oxo Tower. On until September 23, across five floors, it houses over 40 brands, designers, makers, manufacturers and organisations who all celebrate the importance of materials in bringing us closer to a circular economy. We speak to the journalist and podcaster behind the fair, Grant Gibson, and also hear about new material innovations and techniques from the likes of leading UK design duo Pearson Lloyd, East London-based contemporary crafter Gareth Neal and Danish textile artist Tanja Kirst. In our next episode, we jump from the London Design Festival to Singapore Design Week.

In episode two of our series of mini-episodes reporting from the London Design Festival, an annual event that takes over the UK capital every September, we visit some of the exhibitions on show in the west side of town at Brompton Design District. Curator of the area, design writer and consultant Jane Withers, explains the theme, Conviviality – The Art of Living Together, and shares some of her highlights. We catch up with East London-based designer and woodworker Rio Kobayashi (6:41mins) and hear about his colourful debut solo show, Manus Manum Lavat, which includes furniture pieces reinvented and reborn through colour, artisanship and marquetry.  Also in this episode, hear from design duo Peter Pilotto and Christopher de Vos Caballero (16:30mins) , who return to Cromwell Place for the first time since 2017 and have shifted their focus from fashion to home. Phase 2 consists of rugs created in Nepal, lacquered tables made in the UK, upholstery exhibited on vintage sofas, embroidered velvets, and also a range of gender-inclusive clothing. We hear about their inspirations for the collection, from malachite to design longevity.   In our next episode, we head to Material Matters on London's Southbank ⁠⁠– keep your eyes peeled for the next drop.

As the London Design Festival kicks off, we take Create Tomorrow on the road for a series of mini-episodes reporting on the various events, installations and exhibitions that pop up across the capital every September. Tune in to hear our host Bethan Ryder, Editorial Director at WGSN, catch up with some of the curators, designers and studios contributing to this colourful and inspiring event. The series kicks off with a visit to Spirit of Place at Strand Aldwych as we speak with contemporary designer Simone Brewster⁠ about her vivid cork sculptures decorating this newly pedestrianised space. Next, we hop over to Shoreditch to look around Mycelium Unearthed, a compact exhibition of organic designs staged by Osmose Studio⁠, a UK-based regenerative and planet-centric design firm specialising in biodesign and mycelium materials. Aurélie Fontan, CEO & Creative Director of Osmose Studio, takes us on a tour of the various exhibits.  In our next episode, we head west to the Brompton Design District⁠ – keep your eyes peeled for the next drop.

On this episode of The Power of Love Show we welcome special guest, Charlene Lam. Charlene Lam is a certified grief coach, curator, speaker, and the founder of The Grief Gallery. She helps grieving people to navigate the practical and emotional aftermath of losing a loved one. And when they're ready, to transform their pain, loss and grief into something beautiful so they can move forward with living their own fullest lives. With degrees in mass communication and design, and over a decade of experience as a content strategist for creative brands, she turned her story-finding instincts and narrative crafting skills to grief work after the sudden death of her mother in 2013. She speaks about the power of art, creativity, storytelling and narrative development for healthy grieving and post-traumatic growth, and shares her accessible and inspiring Curating Grief framework for processing grief with grit and grace. She helps busy professionals, entrepreneurs and overburdened grieving people to navigate the practical and emotional aftermath of losing a loved one so they can emerge with their health, livelihoods and relationships intact. As curator of The Grief Gallery, she presents exhibitions and events exploring death and grief with particular focus on the belongings of loved ones lost during international design events and festivals, including NYCxDESIGN, DesignTO (Toronto) and the London Design Festival. She's the author of the forthcoming book Curating Grief: A Creative Guide to Choosing What to Keep After a Loved One Dies. A proud New Yorker (like her mother!), she currently splits her time between NYC and Lisbon, and travels frequently for work and pleasure. Learn More About Charlene: Website: CharleneLam.com Email: Hello@CharleneLam.com Learn More About The Grief Gallery: Website: TheGriefGallery.com Instagram: @Curating_Grief Facebook: The Grief Gallery Twitter: @Curating_Grief YouTube: @TheGriefGallery Learn More About DDJF: Website: DDJF.org Instagram: @DeeDeeJacksonFoundation Facebook: Dee Dee Jackson Foundation LinkedIn: Dee Dee Jackson Foundation Twitter: @DDJFoundation Leave a podcast review: Apple Podcasts: https://podcasts.apple.com/us/podcast/the-power-of-love-show/id1282931846 Spotify Podcasts: https://open.spotify.com/show/6X6zGAPmdReRrlLO0NW4n6?si=koXehESfSrSwA-zWi2vf-w Can't make the live-stream? You can always watch our syndicated interviews later on YouTube or Facebook! Subscribe to our YouTube channel: https://www.youtube.com/watch?v=2-Nd1HTnbaI Like Our Facebook Page: https://www.facebook.com/884355188308946/ Join our Official Facebook Group full of supportive community members: https://www.facebook.com/groups/1500933326745571/?ref=share_group_link Visit the DDJF official website: http://www.ddjf.org/ Follow us on Instagram: @DeeDeeJacksonFoundation --- Support this podcast: https://podcasters.spotify.com/pod/show/thepowerofloveshow/support

Karen Haller FRSA is a leading international authority in the field of behavioral color and design psychology. Karen's area of speciality is in Human-Centred Design and how our relationship with colour, design and nature affects and influences us, as well as how businesses and designers can use it to influence positive behaviour and well-being. She consults, collaborates and creates with companies who want to investigate social problems and seek new ways to improve human experience in balance with nature. Karen also authored bestseller The Little Book of Colour: How to Use the Psychology of Colour to Transform your Life (out in 14 languages). Karen trains design professions in colour and design psychology and will be creating online courses for people who are looking to discover how to use colour in their everyday life, how to feel more comfortable - and confident - using, choosing, wearing and surrounding themselves with colour. Karen's work been featured in the Independent, The Times, Glamour, The London Design Festival, and more. We talked about what things affect how we perceive color, why we might disagree with someone about what color something is, the actual psychological effects of different colors on our minds and bodies and how we can use color in our outfits, environments and even in business to hack our emotions and wellness. And for those of you who feel like you're just a neutrals person, we also touched on where neutrals can be used too.  If you're interested in using color in your life or life a good psychology hack, I think you'll enjoy today's episode. Karen can be contacted via her websites: Free design industry e-book https://karenhaller.com/free-10-myths-ebook/ Colour & Design courses https://karenhaller.com/courses/ Consulting https://karenhaller.com/   Little Book of Colour https://thelittlebookofcolour.com/ Free first chapter https://thelittlebookofcolour.com/free-chapter/   Or on Social Media Instagram: https://www.instagram.com/karen_haller_colour/ Facebook: https://www.facebook.com/KarenHallerColourAndDesign LinkedIn: https://www.linkedin.com/in/karenhaller/ Follow Julie on Instagram & TikTok: @reallyprettygood  Follow Julie on Pinterest: @reallyprettygood  Don't forget to Rate, Review, and Share this episode with a friend!

Paul Cocksedge is a London-based designer who has built a reputation over the past twenty years for creating projects that push the limits of technology and materials. During that time, for example, he has melted polystyrene cups in an oven to make a lamp shade, treated steel as if it was a folded piece of paper, worked with concrete from the floor of his own studio, and fused metal under the snow. His CV contains major exhibitions at galleries such as Friedman Benda in New York and Carpenters Workshop Gallery in London, installations in Milan, public art projects such as Please Be Seated and Drop for the London Design Festival and products that range from picnic blankets inspired by the pandemic to a bluetooth device that gives old speakers a second life. His most recent exhibition, called Coalescence, which was held earlier in March at Liverpool Cathedral, investigated coal. In this episode we talk about: why he decided to work with coal; going down a mine in South Wales; emotionally ‘feeling' his ideas; the role anger plays in his creative process; his early fascination with light; the influence on his career of Marc Benda, Ingo Maurer, Ron Arad and Joana Pinho; making a steel table ‘dance' and turning the concrete floor of his studio into furniture; wanting to be a pilot as a child; ‘bribing' his way into the Royal College of Art with fake fivers; bonding metal under snow; and why he doesn't want to be an architect. Support the show

Charlene Lam is a certified grief coach, speaker and the founder of The Grief Gallery. After her mother died suddenly in 2013, she leaned into her creativity and instincts as a curator to guide herself through grief. That work led her to help other people to process their grief and losses. Charlene believes we are ALL curators after a loved one dies. Her Curating Grief coaching framework is designed to be a creative and accessible way to process grief. She provides grief coaching to help bereaved people to feel less alone and better equipped to deal with the practical and emotional aftermath of losing a loved one. And when they're ready, to transform their pain, loss and grief into something beautiful so they can move forward with living their own fullest lives. As curator of The Grief Gallery, she presents exhibitions exploring death and grief during international design events and festivals, including NYCxDESIGN, DesignTO (Toronto) and the London Design Festival. She speaks about the power of art, creativity, story and meaning making for healthy grieving and post-traumatic growth. She's the author of the forthcoming book Curating Grief: A Creative Guide to Choosing What to Keep After a Loved One Dies. Her podcast guest appearances include Late Bloomer Living, and the What Works podcast with Tara McMullin. A proud Chinese-American New Yorker (like her mother!), she's currently based in Lisbon, Portugal and works with clients worldwide.

「【12/19開催】英国とオランダに学ぶ、サーキュラー＆ソーシャルデザインのいま：London Design Festival・Dutch Design Week参加報告会」　【12/19開催】これからの世の中をより良くしていくデザインとは、はたしてどんなものなのか？ヨーロッパの二大デザイン・フェスティバルに参加してきた編集部メンバーが、現地の最新情報をイベントで報告します！The post 【12/19開催】英国とオランダに学ぶ、サーキュラー＆ソーシャルデザインのいま：London Design Festival・Dutch Design Week参加報告会 first appeared on IDEAS FOR GOOD.

Almost every designer is now focusing on sustainability as part of their brief. Design influences how we live, work and play, so all designers must ask themselves: How can you make your design more sustainable whilst still bringing joy and excitement? And, sustainable designs can have many faces – ranging from green buildings to upcycling consumer goods to electric vehicles. In this podcast our head of Brands & Designs, John Coldham, chats to figures in the design world about how they are approaching sustainability, including: Minnie Moll, Chief Executive at the Design Council. She leads the Design for Planet mission, which helps address the climate crisis; Trystan Farnworth, Customer & Marketing Director, Aqua Libra Co, part of Britvic. He is an "executive change maker" driving sustainability in the F&B industry; Natalie Davies, Managing Director of Ezee Group International Ltd. She designs and manufactures innovative products made from waste material; and Gemma Perry, owner of the design studio House of Solus. She is a bespoke jeweller with specialism in redesign of quality pieces and upcycling jewellery. ... Gowling WLG is an international full-service law firm working across a range of industry sectors including real estate, government, financial services, life sciences and technology. We operate across the world with offices in the UK, Europe, Canada and the Middle East. We regularly talk about a broad range of topics that may be of interest to you. Subscribe to receive our latest articles, podcasts and webinars straight to your inbox: https://gowlg.co/35efH2r Alternatively, you can view our full selection of insights and resources here: https://gowlg.co/3IwEr41 Want to get to know us? Follow us on: LinkedIn: https://gowlg.co/3hqmatB Twitter: https://gowlg.co/35Do0nY Facebook: https://gowlg.co/3th2w8N Instagram: https://gowlg.co/3tEf2iq This podcast may contain information of general interest about current legal issues, but does not give legal advice.

This week WGSN Editorial Director Bethan Ryder is joined by Reiko Morrison WGSN's Head of CMF and Benjamin Hubert, founder of the London-based industrial design agency Layer Design. Layer recently launched a monograph, published by Phaidon, during the London Design Festival which coincided with an exhibition which ran as part of the inaugural Material Matters fair. The book covers the various stages of Benjamin Hubert's career and the many products he's designed for the likes of Bang & Olufsen, Vitra, Moroso, Cappellini, Muuto and more. Hubert had a design career in his sights while still at school and initially wanted to design cars, but went into product design instead and has designed a huge range of products from lighting to tech, and it's tech in particular where Layer Design excels at creating incredibly tactile products though a combination of materials. The three discuss how they see the future of Consumer tech evolving with less screens and a rich sense of materiality and haptic happiness.

In this episode Gary Mansfield speaks to Fandangoe Kid (@fandangoekid)The fandangoe kid is a London based print artist who makes large-scale narrative driven pieces for the public realm. Her work seeks to smash taboos around complex subject matters such as loss, trauma release, mental health and gender constructs.The artist has created work for a wide range of purposes, for example with her ‘Staircase of Dreams' for London Design Festival 2020, working with young people to develop a collective narrative on daily activism.During the first lockdown, The Fandangoe Kid redesigned nurse's scrubs for Marie Curie x NHS London, working with a palliative care nurse via Zoom to develop the uniform, celebrating International Year of the Nurse.The Fandangoe Kid also works in film and screened her first short Into Your Light, directed with Tara Darby, at Tate Modern and on the Manhattan Bridge, looking at dancing as a tool for survival following great personal loss.For summer 2021, Annie launched The Fandangoe Whip, an ice cream van for mental health. The project has been commissioned by Tate, South London Gallery, Design Museum and many other institutions to deliver ice cream and workshops on creativity as catharsis.This summer, Annie will take her project The Fandangoe SKIP-- a touring and sustainable therapy kiosk for mental health-- across London and to New York City, following a commission by BBC World Service to document her work.Much of the artist's work is driven by navigating her own story, following the loss of many individuals in her family back in 2011, her practice being largely underpinned by the will to create a platform for open dialogue around the still taboo subject of grief.For more information on the work of Fandangoe Kid go tohttps://www.fandangoekid.com/To Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

In this conversation, artist and designer Es Devlin speaks with Suhair Khan about how to thoughtfully engage technology to push the boundaries of imagination across art, culture, and design. This conversation is part of open-ended design's Technology & Design Lab in partnership with London Design Festival 2022. The mission is to connect visionary creatives and technologists, to catalyse, seed and build around new ideas. In this series, we are asking the question: “In an age of disruption and innovation: where do we go next?” For future events, follow open-ended design on Instagram, subscribe to our newsletter, or visit openended.design. The Technology & Design Lab has been generously supported by Google, The House of KOKO, WeTransfer, Gaia Art Foundation, and Lito.io.

In this conversation, Arthur Mamou-Mani (Mamou-Mani Architects), Shajay Bhooshan (Zaha Hadid Architects), Jen Haugan (Nexus Studios), and Suhair Khan (open-ended design) speak about placemaking and designing for the metaverse. Who defines the metaverse? Are we excited or terrified by what comes next? Who owns these spaces? They discuss building virtual worlds across hybrid realities and raise new questions on the future of creativity and the ethics of technology. This conversation is part of open-ended design's Technology & Design Lab in partnership with London Design Festival 2022. The mission is to connect visionary creatives and technologists, to catalyse, seed and build around new ideas. In this series, we are asking the question: “In an age of disruption and innovation: where do we go next?” For future events, follow open-ended design on Instagram, subscribe to our newsletter, or visit openended.design. The Technology & Design Lab has been generously supported by Google, The House of KOKO, WeTransfer, Gaia Art Foundation, and Lito.io.

In this conversation, Diana Alcausin (WeTransfer), Mariasole Pastori (Diorama), Emily Benn (Editor, Councillor City of London), Dayo Olopade (Amazon Studios, YouTube), and Maxim Zhestkov (zhestkov.studio) speak about ethics, bias, and innovation in art and design across all digital platforms. Hear their collective first-hand experiences working with NFTs, generative AI, and the role of curation in our multi-platform world. This conversation is part of open-ended design's Technology & Design Lab in partnership with London Design Festival 2022. The mission is to connect visionary creatives and technologists, to catalyse, seed and build around new ideas. In this series, we are asking the question: “In an age of disruption and innovation: where do we go next?” For future events, follow open-ended design on Instagram, subscribe to our newsletter, or visit openended.design. The Technology & Design Lab was been generously supported by Google, The House of KOKO, WeTransfer, Gaia Art Foundation, and Lito.io.

In this conversation, Tom Dixon OBE (Tom Dixon), Karen Kang (TikTok), and Amon Kale (Central Saint Martins, LVMH) consider the role of creatives across digital platforms. They discuss the ways in which creativity is being decentralised, the role of social media in increasing access, and what is meant by an “authentic” brand voice. This conversation is part of open-ended design's Technology & Design Lab in partnership with London Design Festival 2022. The mission is to connect visionary creatives and technologists, to catalyse, seed and build around new ideas. In this series, we are asking the question: “In an age of disruption and innovation: where do we go next?” For future events, follow open-ended design on Instagram, subscribe to our newsletter, or visit openended.design. The Technology & Design Lab has been generously supported by Google, The House of KOKO, WeTransfer, Gaia Art Foundation, and Lito.io.

In this conversation, Whitney Richardson (Apple, The New York Times), Greg Robson (Kintanna Ventures), Dara Huang (DH Liberty), and Suhair Khan (open-ended design) speak about how the role of creatives, architects and designers is changing with new markets, new users, and new platforms. Are we all hypocrites when it comes to designing and building sustainably? Where do nature and technology intersect? How do we make choices for ourselves, our business, and also for our consumers? This conversation is part of open-ended design's Technology & Design Lab in partnership with London Design Festival 2022. The mission is to connect visionary creatives and technologists, to catalyse, seed and build around new ideas. In this series, we are asking the question: “In an age of disruption and innovation: where do we go next?” For future events, follow open-ended design on Instagram, subscribe to our newsletter, or visit openended.design. The Technology & Design Lab has been generously supported by Google, The House of KOKO, WeTransfer, Gaia Art Foundation, and Lito.io.

In this conversation, Sougwen Chung (Scilicet Studio), Freya Murray (Google Arts & Culture), and Suhair Khan (open-ended design) talk about the confluence of machine learning and robotics with artistic practice. Could we imagine an engineer as an artist, or an artist as an engineer? Can you make real innovations in designing with machine learning without access to research teams at major tech companies? Should algorithms be given names to remind ourselves that they are not “neutral”? This conversation is part of open-ended design's Technology & Design Lab in partnership with London Design Festival 2022. The mission is to connect visionary creatives and technologists, to catalyse, seed and build around new ideas. In this series, we are asking the question: “In an age of disruption and innovation: where do we go next?” For future events, follow open-ended design on Instagram, subscribe to our newsletter, or visit openended.design. The Technology & Design Lab has been generously supported by Google, The House of KOKO, WeTransfer, Gaia Art Foundation, and Lito.io.

We continue our coverage of the London Design Festival and then cross over to international trade fair Feria Hábitat Valencia.See omnystudio.com/listener for privacy information.

We continue our coverage of the London Design Festival and then cross over to international trade fair Feria Hábitat Valencia.

The design industry's relationship to the field of business has long been established and continues to become further entangled each year. But designers aren't just satisfied with only disrupting the business sector—they're keen to disrupt the social sector too. Unfortunately, the weaknesses baked into the discipline of design (that have been present from the start) are readily exposed when designers enter complex social issues and treat them like any other human-centred innovation challenge. The lack of a moral framework, let alone a set of ethical guidelines, put designers at great risk of doing more harm than good. What needs to change to protect communities and participants?Join designer George Aye for this special digital event in partnership with the London Design Festival to explore what happens when design and ethics collide, and how design practitioners can become better prepared to recognise and navigate situations of complexity, compromise and ethical risk.www.thersa.org/fellowship/festival/design-for-lifewww.londondesignfestival.com#RSAdesignBecome an RSA Events sponsor: https://utm.guru/ueembDonate to The RSA: https://utm.guru/udNNBFollow RSA Events on Instagram: https://instagram.com/rsa_events/Follow the RSA on Twitter: https://twitter.com/RSAEventsLike RSA Events on Facebook: https://www.facebook.com/rsaeventsoff...

This episode of Designed for Life was recorded live at the V&A London as part of the London Design Festival 2022. Yewande Akinola is one of the foremost design engineers in the UK today. Born and raised in Western Nigeria, she describes her interest in the built environment and bridges from an early age, intrigued by the beauty and structure of buildings around her. Her father was a Government Minister in Nigeria. He sadly passed when Yewande was very young, and her mother took over the task of ensuring that her children received the best education possible; this required grit, tenacity and hard work as money was tight and private education was the only way to chase the dream realistically. At 17, Yewande moved to the UK and Warwick University to start her journey into design and engineering. On graduation, she took up a post as a mechanical engineer for Thames Water before later moving to the Arup Group and continuing her development with a Master's Degree at Cranfield University. She currently holds the role of Principal Engineer and Innovation Lead at Laing O'Rourke. Yewande successfully balances the prominent roles of engineer, innovator, and visiting Professor at the University of Westminster. She is an Innovate UK Ambassador for clean growth and infrastructure. She is developing a growing reputation within media and public engagement, promoting engineering and challenging narrow stereotypes of who engineers are and the positive difference that they make in the world. This was a fantastic conversation with an engineer with an untold passion for the role of innovation, creativity and engineering. So pull up a comfy chair, pour a coffee, put the earbuds in and walk the dog or go to the gym...wherever you listen to your podcasts, make sure you find the time to listen to Designed for Life Live - In conversation with Yewande Akinola MBE. Please note this podcast has also been recorded on video and will be released imminently (we will post a link here when it goes live). Huge thanks to The London Design Festival and the V&A for presenting us with this opportunity and to Yewande for taking time out of a busy schedule. Should you wish to find out more about Yewande, do visit her website http://yewandeakinola.co.uk/This podcast has been recorded with the help of our sponsors, The Edge Foundation https://www.edge.co.uk/ inspiring the education system to give all young people across the UK the knowledge, skills and behaviours they need to flourish in their future life and work, and PTC Onshape Providing industry-standard cloud-based CAD to education  https://www.ptc.com/en/news/2020/ptc-onshape-education-enterprise-plan-available-free-of-charge.We are indebted to The Edge and PTC Onshape for their continued support. 

Monocle 24's Andrew Mueller, journalist and film-maker Ramita Navai and former US diplomat Lew Lukens on Joe Biden's UN speech and anti-mobilisation protests in Russia. Plus: demonstrations in Iran, a scandal in the chess world and Carolina Abbott Galvão on the Henge Pavilion installation at the London Design Festival.

As a special preview to Material Matters 2022, launching from 22-25 September at Bargehouse, Oxo Tower Wharf, we meet one of the stars of the fair. Benjamin Hubert is an industrial designer and founder of LAYER, the experience design agency that has worked with the likes of Airbus, Bang & Olufsen, Braun and Moroso, to name just a handful. The practice is celebrating the launch of its new monograph with an exhibition at the show. The book, written by Max Fraser and published by Phaidon, traces Benjamin's journey from graduate designer to establishing and, subsequently, expanding his own studio. In the process, it sheds light on the business of design and what it takes to create a successful practice. Don't worry though there is plenty on the importance of materials here too.In this episode we talk about: how his practice fared during the pandemic; why he's publishing a monograph now; how his process includes the use of watercolours; creating LAYER and a controversial speech in South Africa; expanding his portfolio from designing furniture to creating apps; the importance of making and painting as a child; being driven to succeed; having a thick skin and learning to accept rejection; working in 3D knitting; taking online abuse. It's a fascinating listen. To visit Material Matters 2022, it's really important register at this link before you arrive: https://www.eventbrite.co.uk/e/material-matters-2022-tickets-373171364597Support the show

We wrap up London Fashion Week and look ahead to London Design Festival, experiencing the alchemy of glass and copper, courtesy of Omer Arbel.

We wrap up London Fashion Week and look ahead to London Design Festival, experiencing the alchemy of glass and copper, courtesy of Omer Arbel. See omnystudio.com/listener for privacy information.

We caught up with Liz McGreevy, one of the founders of Re_Threads to talk about circular design and sustainable workwear.Liz provides an insight into the journey of Re_threads and how, along with Co-founder, Matt Roche, set out to address the challenges of, traditionally, one-use uniform apparel.Becoming more than just a solution to uniform waste, Re_threads has grown into a workwear fashion brand, putting people and the planet first with circular design practices.Learn more about Re_threads at https://re-threads.co.uk/ and why not visit the popup stand and workshops on the 21st to 23rd of September at the London Design Festival. Find out more about that at https://www.londondesignfestival.com/activities/design-for-better-2-0-product-launch and we'll see you thereWe'll be bringing more conversations from the world of sustainable fashion regularly, so remember to follow and invite your friends for a listen.Connect with me on LinkedIn linkedin.com/in/sebastianvolney Follow us on Instagram www.instagram.com/jaymesbyrontalentWe'll be bringing more conversations from the world of sustainable fashion regularly, so remember to follow and invite your friends for a listen. Connect with me on LinkedIn linkedin.com/in/sebastianvolneyFollow us on Instagram www.instagram.com/jaymesbyrontalentFollow us for jobs and news in sustainable fashion at https://www.linkedin.com/company/jaymesbyrontalent/

On this weeks episode we are hosting our first ever live podcast. The conversation between Kirsty and Leo was based at The Whiteley in association with Six Senses. Leo Cosendai Is a Swiss sound artist known for sensory experiences that question human perspective. He has worked with Fondation Beyeler, Royal Academy of Arts, London Design Festival, and Pace Gallery. He currently resides in London. In this episode we learn about the power of sound meditation and why altering perspectives and shifting reality is what we all really need. This episode ends with the most wonderful sound bath from Leo.  We can't wait to see what you think of this episode, if you liked it please do share - it means so much to us. [This is a Monday Network production] Follow Kirsty on Instagram: http://www.instagram.com/kirstyraynor Follow Leo in Instagram: http://www.instagram.com/leocosendai Follow The Mindset and Me Podcast on Instagram: http://www.instagram.com/mindsetandmepodcast Follow Monday Network on Instagram: http://www.instagram.com/monday_network Sign up for Kirstys daily emails here: https://view.flodesk.com/pages/62095e92e0eda1a0d870a994

In this episode Gary Mansfield speaks to Camille Walala (@camillewalala)   Known for her ambitious, large-scale and explosively colourful interventions in public spaces, Camille Walala uses the man-made landscape as a platform for disseminating positivity.   Her work encompasses full-facade murals, immersive 3D installations, street art, interiors and set design – characterised by a fusion of bold colours and playful geometric patterns. Since her ‘Dream Come True Building' burst onto the Shoreditch streetscape in 2015 and thrust her into the spotlight, Camille and her creative producer, Julia Jomaa, have been engaged in an increasingly bold roster of international projects. These have included collaborations with leading global brands – such as LEGO, for whom she created the HOUSE OF DOTS; the creative direction of the ground-breaking Mauritian hotel SALT of Palmar; and a slew of major installations for events like NYC's WantedDesign and London Design Festival – including Walala Lounge, as complete suite of semi-permanent street furniture that transformed South Molton Street, Mayfair, into a corridor of colour.   Camille finds inspiration in community and collaboration, and the power or colour and pattern to transform atmospheres, elevate moods and spark positivity.     For more information on the work of Camille Walala go to https://www.camillewalala.com/     To Support this podcast from as little as £3 per month: www.patreon/ministryofarts   For full line up of confirmed artists go to https://www.ministryofarts.org Email: ministryofartsorg@gmail.com Social Media: @ministryofartsorg

Russell & Robert meet the ONE AND ONLY writer, actor, comedian, global icon AISLING BEA!!!Recorded at Aisling's home in London on Fireworks night 5th November, we speak about growing up in Kildare, Ireland and an inspiring art teacher Gill Berry who transformed the way Aisling and her sister, and highly respected costume designer, Sinéad Kidao saw the world! We discuss how art education can help to come to terms with her childhood grief and many of life's challenges and the lasting impact of Gill's art lessons on Aisling's writing including her award winning TV series ‘This Way Up'.We learn about Aisling's passion for collecting and living with art including artworks by the late painter Bartholomew Beal who passed away in 2019, fellow comedian Joe Lycett, cartoonist Will McPhail, Charlie Mackesy, Annie McGrath, Eleanor Thom, Lynn Kennedy, Oliver Kilby and Clare Henderson. We explore the importance of playfulness, combatting writers block, happy memories of her mother, a former jockey, and their creative home environment to help Aisling to be herself and fulfil her potential.We discuss her brother in law's Nebbia Works' recent installation at V&A, a self-supporting pavilion from simple aluminium sheets as part of the London Design Festival to highlight the material's sustainable potential. We learn about Sound Advice is a platform exploring spatial inequality. Sound Advice is co-hosted by Pooja Agrawal and Joseph Henry, urbanists who met working at the Greater London Authority. They share their interests for fighting inequality both in the built environment and in the sector.Follow @WeeMissBea on Instagram. Aisling's Bafta award-winning TV show 'This Way Up' Series 1 and 2 is available to stream now on All 4 https://www.channel4.com/programmes/this-way-up. Her new movie 'Home Sweet Home Alone' is also OUT NOW just in time for the holidays!For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

A bitesize episode exploring American tulipwood, its properties and commentary from architect Alison Brooks on its use in The Smile, created for London Design Festival in 2016. See acast.com/privacy for privacy and opt-out information.

What can designers do to ensure their designs and innovations are a commercial success? For our ninth consecutive year as a London Design Festival partner, UK Head of Brands & Designs, John Coldham, was joined by a panel of leading designers for a webinar discussion on how they've successfully established their businesses and protected their designs: • Martin Darbyshire, CEO and co-founder of tangerine and trustee of the Design Council, joined our panel once again, this time with Eleanor Humphrey, CEO and co-founder of TOPL, to talk about the story behind bringing TOPL's innovative non-spill cup to market and the measures taken to protect the designs. • Simone Brewster, an artist and furniture and jewellery designer with an architecture background, has been exhibited at the British Embassy during the London 2012 Olympic Games, but has also had issues with people taking her designs without permission; • Phoebe Gormley, founder of Gormley & Gamble, the first ever woman's' tailor on Savile Row talked about her experience of establishing her modern, design-led business in a traditional and often old-fashioned sector; These leaders of design-led businesses joined Gowling WLG's UK Head of Brands and Designs for a discussion on how they've successfully established their businesses and protected their designs. This podcast may contain information of general interest about current legal issues, but does not give legal advice. Gowling WLG is an international law firm working in major sectors including energy, life sciences, infrastructure, financial services, real estate and technology. We cover the latest developments relevant to you across different sectors and services. Subscribe... YouTube: https://bit.ly/2VhOhU6 Spotify: https://spoti.fi/3kgiDzZ We regularly talk about a broad range of topics that may be of interest to you. Register for an account on our website to receive our latest articles, podcasts and webinars: https://bit.ly/2VrbZKR Follow us on... LinkedIn: https://bit.ly/2WRdHsN Twitter: https://bit.ly/3n3Zljn Facebook: https://bit.ly/3zOyQlf

We bring you a bundle of reports from the past few days, including the London Design Festival, Expo Prado in Montevideo, New York hosting world leaders and the Al Fay Park in Abu Dhabi. See omnystudio.com/listener for privacy information.

Kätlin Lõbu, co-curator of Tactile Baltics, shares what's in store at the exhibition that champions contemporary makers from the region. Eighteen designers from Estonia, Lithuania and Latvia have produced tableware, textiles, lighting and furniture, which will all be on display at the London Design Festival this year.

Summary:In this episode, our host Adrian Ellis speaks with Victoria Broackes, the current Director of the London Design Biennale. Drawing on her curatorial experiences, they speak candidly about the challenges facing cultural programming, particularly in relation to the opportunities presented by digital technology, and the untapped possibilities of experiential exhibition-making. Thereafter, Adrian is joined by fellow host Criena Gehrke to discuss key takeaways. They reflect upon the tensions facing artistic risk-taking as well as the need for cultural programming to tell meaningful and resonant stories. DOWNLOAD TRANSCRIPTReferences:  V&A Exhibition: “David Bowie is..” (2013) V&A Exhibition: “ “Pink Floyd: Their Mortal Remains” theVOV London Design Biennale 2021 The sudden flourishing of culture about trees  Further Reading: “Taking Risk in Times of Adversity”Bio:Victoria Broackes is a curator and exhibition maker, currently Director of the London Design Biennale. Prior to joining the Biennale in 2019, Victoria was Senior Curator for the V&A Department of Theatre & Performance. From 2009 to 2018 she was Head of the London Design Festival at the V&A.  In 2016 she was the V&A curator for the British entry for the inaugural London Design Biennale, Forecast by Barber & Osgerby. Victoria has curated multiple successful exhibitions at the V&A, of which many are popular music displays. This includes Pink Floyd, Their Mortal Remains (2017), You Say You Want a Revolution? Records and Rebels, 1966-70 (2016) and David Bowie (2013), Kylie: The Exhibition (2007), The Story of the Supremes (2008) and The House of Annie Lennox (2011). David Bowie Is (2013), is the fastest-selling exhibition in the V&A museum's history. She co-presented the film David Bowie is Happening Now and featured in the documentary about You Say You Want a Revolution? which was presented at the Mill Valley Film Festival in California. 

BGBS 067: Margaret Hartwell | Archetypes In Branding | What's the Deeper Meaning? Margaret Hartwell is an innovation and strategy leader on a mission to empower purpose-driven change at the intersection of design, brand & culture, and technology. Her diverse accomplishments range from co-founding and establishing the innovation practice for Cognition Studio, a subsidiary of Certus Solutions, to authoring Archetypes in Branding: A Toolkit for Creatives and Strategists. She uses a transformative approach to everyday innovation and employs skills and best practices from a range of disciplines: archetypal branding, transpersonal psychology, sustainable management, and design thinking.  Her experience spans 20+ years developing design-led businesses in the US, UK, Europe, and APAC. Industries include technology, social and environmental advocacy, health and wellness, media, entertainment and the arts, leadership development, automotive, telecommunications, packaged goods, and travel. She holds her MBA in Sustainable Management from Presidio Graduate School, her BA from UC Berkeley, and an advanced coaching certification from the Institute of Transpersonal Psychology. She thinks in systems, strategies, and surprises. She creates in metaphor, music, and story and relates with empathy and curiosity. Recognized for a breadth and depth of applied skills and experience across multiple creative disciplines and business sectors, Margaret began her career as a designer as one of the founding members of Suissa Miller Advertising where she served in various roles from studio director to art director to vice president. In London, she was Director of Development for the London Design Festival and Head of Marketing for the Design Council. Returning to the U.S., consulting and coaching includes work with Saatchi & Saatchi S, PayPal, Jive, BVG, Inc., Flextronics, BFG Communications, Omegawave, Stanford Lively Arts, Verve Coffee Roasters, TwoFish Bakery, and the San Francisco Symphony. She taught "Live Exchange" in the pioneering MBA in Design Strategy (DMBA) program at the California College of the Arts, and is an engaging speaker/presenter/facilitator. Margaret has been called an information junkie with a childlike curiosity and is known for having an insatiable appetite for travel, trends, and technologies. She has been an actor, singer, improv player, photographer, scriptwriter, environmental advocate, and founder of a line of infant sportswear called zerosomething. She currently lives in Salem, Massachusetts. In this episode, you'll learn... An archetypal approach opens a door to a deeper level of connection to yourself, society, and any relationship. This helps particularly in the branding space because it is no longer about pushing your ideals, it's about relatedness. Once you recognize that failure is to be embraced, that is where your brilliance will shine through. These lessons become the tools you use throughout life. Archetypal strategy brings about a unique curiosity about life and people. It can apply to benefits beyond branding by helping people understand themselves and how they want to move in the world. Resources Websites www.margarethartwell.com www.archetypesinbranding.com www.liveworkcoaching.org www.thedowagercountess.com Clubhouse: @mphpov Twitter: @MPHpov Facebook: @ArchetypesinBrandingToolkit LinkedIn: Margaret Hartwell Instagram: @margarethartwell Quotes [33:20] The process of this kind of introspection and alignment of everything changes the way that people hold on to right and wrong. They're not as much about finding a solution, as opposed to finding a process that continues to reveal value…This is actually something that is going to grow along and with and inside and outside of us. [40:58] Branding is really about increasing the value of a relationship, much in the way that you would increase the value of a relationship with your family or a friend or your community. [56:33] It's hard to have the courage because we've been taught that we can't fail. And that's not real. Good relationships don't have conflict. No way. As human beings, you know, the more we can just say, 'Yes, awesome. That just came up; let's go there'…I think that's really where everybody's unique brilliance is, is recognizing that all those things are baseline, all those things are to be embraced. And if you just left them out of the right 'wrong box', then they're all actually just gifts and tools to be applied to however you want to live and be and do. Have a Brand Problem? We can help. Book your no-obligation, Wildstory Brand Clarity Call now.  Learn about our Brand Audit and Strategy process Identify if you need a new logo or just a refresh Determine if your business has a branding problem See examples of our work and get relevant case studies See if branding is holding your business back and can help you get to the next level Book Your Brand Clarity Call TODAY Podcast Transcript Margaret Hartwell 0:02 I used the vulnerability and shame work in my startup in New Zealand a lot to build the innovation process that change people to that change their reactions, because using innovation tools requires you to let go of that kind of judgment. And then we're never going to get to the kind of creativity or the kind of satisfaction from the daily work if they were constantly protecting something, you know, shaming someone else judging someone else. So I've seen an architectural approach have all kinds of secondary and tertiary benefits to people's relationships to people's understanding of themselves and how they want to move in the world. So it definitely can apply and way more levels than just in your brand. And for me, it's moved a lot into the culture space. Marc Gutman 1:05 podcasting from Boulder, Colorado, this is the Baby Got Back story Podcast, where we dive into the story behind the story of today's most inspiring storytellers, creators and entrepreneurs. I like big backstories and I cannot lie. I am your host, Marc Gutman is your brand the provoca tour. Maybe it's the activist. Perhaps it's the muse, Marc Gutman, and on today's episode of Baby got backstory, we are talking about meaning deeper meaning and connection. And one of my favorite topics, archetypes in branding. And before we get into this amazing episode, and I do promise that once you hear who the guest is, you'll agree that it is amazing. I'm asking you to take on the archetype of the advocate, or the companion or the cheerleader, and rate and review this podcast on Apple podcasts or Spotify. Apple and Spotify use these ratings as part of the algorithm that determines ratings on their charts. And we want them to identify this show with the archetype of the podcaster. Don't we? Thank you for your reviews. I do appreciate it. Today's guest is Margaret Hartwell. Margaret Hartwell is such a great name. Sounds very harrowing, yet playful as well. And I didn't even realize that until I just said it. But that's how I kind of see today's guest. Margaret is one of my true real life heroes, because she's the author of a book and toolkit that has transformed who I see the world and how I interact with clients, her book, archetypes and branding. The toolkit for creatives and strategists is a must read, whether you're in branding, or not. archetypes, and archetypal analysis, are all about stripping away the noise in getting down to the essence, the core, and that's also the aim of today's interview. In addition to being an author, Margaret Hartwell is an innovation and strategy leader on a mission to empower purpose driven change at the intersection of design, brand, and culture and technology. By developing people centered solutions, she serves as a guide, mentor, an alchemist. Those are all archetypes by the way. To help senior executives in teams solve complex issues. She uses a transformative approach to everyday innovation employs skills and best practices from a range of disciplines, archetypal branding, transpersonal, psychology, sustainable management, and design thinking. All topics we touch on in today's episode. Her experience spans 20 plus years developing design led businesses in the US, UK, Europe and APAC industries include technology social and environmental advocacy, health and wellness, media, entertainment and the arts, leadership development, automotive, telecommunications, packaged goods and travel, and she draws upon and expands on toolkits from the design council UK, the grove society for organizational learning, IDEO Stanford D school in Jean Lukas work at the Darden School of Business, to name just a few sources of inspiration. Recognize recognized for a breadth and depth of applied skills and experience across multiple creative disciplines and business sectors. Margaret began her career as a designer is one of the founding members of swiza Miller advertising, where she served in various roles from Studio director, the art director to Vice President. In London. She was the Director of Development for the London design festival and head of marketing for the design Council. When she returned to the US she consulted and coached with Saatchi and Saatchi Pay Pal jive Flextronics BFG communications, Stanford Lively Arts, to fish bakery in the San Francisco Symphony. She has teaching experience as she taught live exchange in the pioneering MBA and design strategy program at the California College of the Arts, and is an engaging speaker, presenter and facilitator. Margaret has been called an information junkie with a childlike curiosity is known for having an insatiable appetite for travel trends and technologies. She has been an actor, singer, improv player, photographer, script writer, environmental advocate and founder of a line of infant sport were called zero something and she currently lives in Salem, Massachusetts. And this is her story. I am here with Margaret Hartwell, innovation consultant, innovation coach, and yeah, that's all great. We're gonna talk about that. But I know Margaret, from a book that she wrote called archetypes in branding, and I have it right here. And it is literally like it's well law that got like, the corners are like kind of, you know, dinged up a little bit. And things are like noted and ripped in here. And I like more than any other book. You can see here, Margaret, like, you know, and people that are on the listen to the podcast, I'm here at the halfway house studio, I am surrounded by books. And I believe that books have energy and power. And I just love books. And so I get a lot of books. And this book is probably the one that I reach for more often than any other book because it's, we're going to talk about this book, but it's because it has knowledge that you receive when you read it. But it's like a working book, it's a book that like, has like a purpose that I work with in my job, like, on a daily basis. Now I want to talk to you about that. So I'm extremely, extremely excited to have you on the podcast. So welcome. And as we get into this, like to me, archetypes are definitely about the universal, the the essence, but they're also like sort of mystical and magical. They're like a portal or a window to me, you know, in a lens. And so with that kind of definition at least and I'm sure you have your own. When you were like a young girl, were you into these types of like portals in Windows and translation like what was what was young Margaret like? Margaret Hartwell 7:58 Gosh, well, thanks, Mark, I really pleased and chuffed that I get to chat with you on your great podcast. And that's a great opening question. Because one of the things as I was reviewing the kinds of influences and and trajectories and defining moments and stuff is I had imaginary friends that I was asked by the kin urban, my mother was asked by the kindergarten teacher to have me leave them at home because it was taking too long for me to answer questions and to do things because I was doing everything in collaboration. So yeah, I think that was huge, because my sisters are eight years older than I am. And they're identical twins. And so I had to go to the magical mystery portal world to find my twin was like, hey, they thought each other. So I made up my own and I made three, so I outnumbered them. So, but um, you know, I think combining that with super bad eyesight. Also, this is where I went into books. So for me, I love what you just said about books too. I do think they're alive. And they they are portals as well. So you combine those things together. And yeah, it was it was pretty evident early on that I had a very favorite place in my imagination. Marc Gutman 9:22 And were you a creative as a child, or did you think that you'd have a creative career did you want to do something else? Margaret Hartwell 9:28 All I wanted to do was sing? Well, I should say all I wanted to do was anything creative. You know, let's paint let's work with clay. Let's sing Let's dance, let's act let's make diagramas just anything kind of maker ish was really, I loved it. And but music was my wheel. You know, that was really where it all came together in terms of what it felt like as your body as an instrument and playing the piano. No, and story. So you know, every song that we sing has huge story too. And I think that that became like a third way of going into the mystical in a way because music so amazing in terms of its portal. Marc Gutman 10:16 Yeah, absolutely. And so you're into music and you're creative. I mean, Was this something that was supported in your household as a child did? Or did your parents want you to do something else? Yes, it Margaret Hartwell 10:30 was supported in so much is that it was the child like thing to do, and that when you grew up, you should be a doctor. So that was, that was kind of what I was told is that, ultimately, that the arts weren't a career, they were just a hobby. And I tried to debunk that. But I did go to Berkeley and Gosh, studied medicine or pre med at the time. And it was, I don't know, it's kind of funny, I look back on it now. And I kind of see the paradigm. And the paradigm was is that it was kind of like cheating to go and do something that you were already really good at. They should do things that you're not so good at. And then you are a whole and complete person. So hard work meant everything in my family. I'm a third culture kid, Canadian mother and a Chinese father. That doesn't, you don't really see it so much. But I'm actually more Chinese than my sisters from what the ancestry 23andme says. But yeah, so you know, it's a great, my parents were awesome, don't get me wrong. I mean, they really supported everything that I loved and wanted to do. And they, they were just like any parent, they wanted to make sure that I was going to be self sufficient, and be able to make a living, and they didn't see how it all works gonna come together if I was just doing the arts. So they were very happy when I got my MBA. Instead of, you know, I'm not going to med school. I'm leaving for London, and I'm doing a Shakespeare program. And my father's like, Why? I said, Well, because every doctor, you know, needs to know how to speak. And I am big pentameter, right? And it just looked to me like you've lost your mind. And my mother says, Let her go. She'll get it out of her system. Yeah, no, never got it out of my system. Marc Gutman 12:28 But I just love imagining you and your sisters having arguments about who's more Chinese, I can see it now. It's the holidays. And so take me back there to Berkeley, you're in pre med, I imagine that you've at least convinced yourself you want to be pre med, you know, like we all do, we tell ourselves that, okay, this is my path. And then something's kind of welling up in you something is saying maybe this isn't my path. What was that decision like to, to go to London, Margaret Hartwell 12:56 but like barely passing all my science classes. Fear has a way of doing that to you. But yeah, I think I got three days the whole time I was there. And it was in kinesiology, exercise, physiology and psychology and photography. So, um, what was welling up, I was singing all during college, I sang in the perfect fifth and then in the golden overtones. And that was really what I loved to do. And so I was seeing that I was kind of dying inside. And I was getting unhappy. And I was kind of isolating myself at that point. And I thought What's going on? It was, you know, I always look back and go, whatever, the first kind of crises or existential moments of awakening, and I think, before going choosing to go to London, that was mine, where I just feel like why am I doing any of this? What what's the point? I mean, it was, wasn't that I was super bad at and I was really good at, you know, intuiting people's needs and really listening to people and all that, but, but to spend the time. So yeah, that was the moment of thinking, well, I, let's see what this is going to be like. And quite frankly, that's really what kind of changed everything for me. Because I just came alive in London, and not just from the tack on the you know, the tactics and the skills building that that the Shakespeare program gave me, but really from the interest in people, and in kind of the myth and metaphor just popped. And I think if I look back, I think that was probably where the notion for an archetypical approach, kind of which I would never have been able to put the words to, but that's where it kind of took hold is I was constantly looking around corners sideways and looking for meaning what's the what's the deal. Meaning here, how does it translate into other arenas or cultures or to different people? So and, you know, Shakespeare is an amazing primmer for that kind of symbology and metaphor. So, yeah, that's where it kind of took hold. Marc Gutman 15:20 So the question I always disliked when I was going through school, because I never really knew what I wanted to do was people always ask me, they always say, what are you going to do with that? Yeah, what are you going to do with that? And so I as much as I disliked that question, I mean, were people asking you that about the Shakespeare program? What are you going to do with that? So you're going to wonder why don't you have Shakespeare but what after Margaret? What are you going to do? Margaret Hartwell 15:43 Oh, totally. Well, yes. So I was told to come home to finish my degree at Berkeley. And because three years at Berkeley didn't mean anything. So my parents said, Wait, if you want to go back, you can go back because I what I really wanted to do was go to the London Academy of Music and Dramatic Art, because musical theater then had become my thing. So what did I really want? You know, what were you going to do with that? Well, I was just going to keep studying. I love learning. I love being in school, I love, you know, playing essential. And that's what this program was, but came back and finished my degree. And my parents said, Well, what are you going to do with that? I was like, Well, I'm going to move to LA. And I'm going to try my hand at acting, and her shaking their heads completely. But at that point, being an actor, without a lot of credits, you either become an aerobics instructor or a waiter. And so I started teaching aerobics. And then I found my way into a theatre company. And at that point, I met somebody who was working on a commercial shoot. And she introduced me to my then former future boss in advertising. Unknown Speaker 16:55 So Margaret Hartwell 16:56 it was a complete like pinball of, I had no idea what I was gonna do with that. And I said, I have no idea. But you know what? I'm, again, I think I've always had a certain level of faith that whatever happened, you know, I came from a great background, and my family always had my back. And I could pretty much do whatever I wanted, anything was possible. So I went with it. And my parents were thrilled that I got into advertising. You know, finally, something that sounded like a job. So, Marc Gutman 17:31 absolutely. What was that first advertising job? Like when you were in LA? And who were you working for? And what was your responsibilities? Margaret Hartwell 17:39 So I joined suissa suissa group when we had 13 people. And I left after we had gotten the accurate account, as we said, Miller, and we've been sold to IPG, so the trajectory of this tiny little agency, I mean, when we got accurate, the headline said, you know, there's a snowball's chance in hell, that this agency is going to get this, but I was the designer on that pitch. So that's kind of where I, I was able, then at that point, to kind of parse out all my responsibilities, because in a smaller agency, I was running the studio, I was doing my own, you know, art direction for clients. I was also doing all the it, which is the joke of that of everything. But nobody else had the confidence to do it. So I was like, Okay, I'll learn this. And do that. So, yeah. So I was able, what was it like it was, it was like a total roller coaster, and really fun. I mean, la advertising in your, in your 20s and early 30s is super fun. People are unencumbered. And yeah, then it was a good support. It was it was a nice family. And I was able to have my daughter during that time. So as a single mom, that was a huge support network. So I learned a ton. And I think that's really where I learned about brand strategy. And marketing is from the creative side of advertising. Marc Gutman 19:13 Yeah, at what moment in that advertising journey? Did you think to yourself, oh, wait, like, I might be an advertising. I might make a career out of this. This might be like what the future holds for me? Yeah, Margaret Hartwell 19:25 I what moment was that? I think it was truly winning the accurate account. Because up until that point, I had just been kind of like a Swiss Army knife in terms of being our art director, designer, creative director all around whatever you need. And at that point, I thought, Hmm, maybe I really do have a knack for this for understanding people's needs and wants and finding a way to connect with them. So that there was some exchange that was mutually beneficial and so that there were a couple of great strategists at the agency to, and then ultimately, they were a huge influence. And so that when I left my agency, actually, I gotta be honest, I got laid off because it was at a really difficult time for the agency. And, and so I got laid off. And I thought, huh, what do we do when we're at our lowest moments, all change moments, we go back to London. So that's what I did. Marc Gutman 20:31 When was your first interaction with archetypes like, when did you those even become on your radar and something that you're like, Ah, this is interesting. I Margaret Hartwell 20:41 was actually in my coaching program that I took at the Institute of transpersonal psychology in Palo Alto. And we, it was goddesses and every woman, the Jean Shinoda bowling book, she also wrote gods in every man, and reading that brought all of you know, Edith Hamilton's mythology back because I studied that in high school, but never really never took hold. And Joseph Campbell, and I've been on the path with James Hellman, and, you know, and other kinds of, you know, I guess the suit, you know, the source code was a huge impact for me. But that's when I first found it. And then I found Carolyn meses work. Have you been across her? Marc Gutman 21:25 I don't know her. So the Margaret Hartwell 21:26 book, so she isn't a medical intuitive. And she wrote a book called sacred contracts, that has outlined very descriptions of a lot of archetypes. And she uses archetypes as a way of doing just like we would in branding as a shorthand for understanding people's drives and journeys and motivations. And that's a nice, so I found that book. And I thought, this is pretty cool. I don't know what. And I looked more into it. And she actually had a deck of cards. So I could backup that at the time, I was doing brand strategy work as a consultant, just kind of for hire. And so when I found these cards that Carolyn mace had done, I went to the guy that I was working with, who's actually my co author, Josh chin. And I said, you know, can I trial working with the right kind of client with these cards and lists? Let's see if the brand strategy process goes differently, or let's just experiment with it. And the feedback that we got was the cards were way too, whoo. And it just, it made them feel like, you know, somebody was trying to read their Tarot or something. And that it, that it wasn't validated. And it wasn't real at that point. So, so yeah, so Josh, and I, you can clap, well, maybe this is an opportunity. And he had had an agreement with his publisher for previous books that they had the agency had published. And they had been kind of after him saying, well, what's next? So Josh came to me and said, you want to write a book about archetypes and branding? I went, sure. Okay. Because it was working, you know, the, the process, the dialogue, the kind of different conversations that we were having, were actually unlocking areas that were resistances in a business, that by using this archetypical kind of world, somehow it gave them a 30,000 foot view, and they soften some of the ego identity attachments that people had about what their brand was supposed to be or how they were going to do things. So yeah, that's a long winded answer to your How did you first find archetypes? Marc Gutman 23:49 No, it's amazing. I want to know and it's funny that you say woo so you know as I mentioned, I love them and I'm a little like, you know, little dislike neurotic and like the little perforations on the cards bother him. So I bought some of your cards like the Korean version like back when you could get them real easily. And then I had someone at Etsy make me a special leather case because when I bring them out that's like I'm like this is this is some This is magic little bit you know, and we're gonna learn to go through the deck and I agree there's just something that you conversate because I don't think most client especially when you want to involve like the leadership team half the words like they don't have the words and so the conversation that comes up out of these is so amazing. But look, summon another team had already written kind of what was considered the book on archetypes, you know, and Carolyn Pearson and Margaret mark and, and they they wrote they wrote about 12 of them so like, why not? Like, why is that not just enough? Like, why did you create this amazing book with six because now it seems so easy and obvious to me, but like, also must seem really daunting. You know? Like, like, why didn't you think that there was a market for this? Well, first Margaret Hartwell 25:02 off, I mean, the here on the outlaw wow, you know, this is all the work is standing on their shoulders totally I give them massive props, they were at the forefront of bringing this, of course into the business and branding world. And so it just wasn't nuanced enough for me. I from I started out, you know, looking at things and they, they felt like they were bordering on stereotypes, or, like so many words that kind of find their way into their vernacular that they end up losing their meaning losing their unique essence and stuff. And I think that's true as culture evolves is that, you know, words go in and out of having meanings. So I didn't see any thing wrong with trying to, you know, nuance something a little bit, you know, nuanced the magician, to an alchemist. You know, why, why wouldn't you do that? And so I guess, I mean, then the next probably another theme, you know, people ask me, why do you do this? I think or why did I do anything? Like in my life, man? Pretty much my answers were Why not? Do it? So, yeah, it was a little daunting. And on the first to say that, you know, we're here with writing any book that gets published? Like, I go back, and I shake my head, like, No, no, I should put that there should have put that there. You know, there's always improved room for improvement. So, yeah, just, I've got a list on my computer of the next kind of set to flesh out with people. And I'm looking for a way to, to maybe do that in a collaborative sense. So, you know, somebody came to me and said, will you work with me, as a brand new practitioner, we work with me to find this as a unique expression of an architect for this client. And we did and we completely front fleshed out the connoisseur. And it was super fun and super cool to work together like that. But I love your cover. And that makes me You just can't know how much it means to know that something that I've poured my heart and soul into, has meaning for people. It's really, it's really lovely. And I love that they've got the little cover for it and everything. Marc Gutman 27:25 No, I mean, means a lot to me, it's meant a lot to people I've worked with and clients, and did you do the artwork on these cards? Is these your design creative, Margaret Hartwell 27:33 creative director, creative director, with Josh, he and I both, but we had an amazing team of designers. So the breadth of designers, you know, of course, you see different styles all throughout there, but we all know so so we're kinda It was kind of our, our backstop if you will, like, if this wasn't going to work, we thought, Well, at least we'll have something that we could say, well, I don't like green or, you know, like, I like that style of design that clients could say. So we're backing ourselves up with some some other layer of meaning or usefulness in the design world for that, hence, the different designs. Oh, Marc Gutman 28:14 yeah. And I find archetypes. So interesting. I've often just thought about, like, completely writing an entire agency process around our top the bottom, like just being like, like archetypes, I haven't gotten there yet. But when you work with clients, what's kind of your go to way of using archetypes? How do you like to start with the cards and the conversation? And what do you ultimately hoping they're going to, they're going to land on or discover, Margaret Hartwell 28:40 right? So I'm rarely hired to do the one thing to do just the archetype work. It's, it's odd how the first they'll come, because they want to do architectural work. And then we have the initial conversation. And it always kind of flushes out into something that's more what you would just call a big brand strategy, like the work that you do. So the archetypes are, I see them as part of the Gestalt of your brand strategy in a sense that you can't ask them to do all the heavy lifting. And also, I think that they're evolving. So as as stakeholders change and their relationships with the brand change, then they have to, they have to have a certain developmental path to them as well. So I usually include a developmental path for an architectural approach. But to your question about how do I, how do I usually start? It's kind of a classic design thinking process where I do a kind of discovery phase to understand where there may be gaps or potential alignments to be found. And then we go into really exploring what has been done before because I don't want people thinking that you Let's not throw the baby out with the bathwater. What What can we use moving forward? And and then they usually just it's a codification of truly what value they're providing what values they have, what is their mission, you know, and getting them to distill that. And at that point, I do it pretty much the same way that that I said, I do it in the book, which is that you you just sort with a facilitated question process. And I think that's probably, if I will, you know, say the secret sauce is because you can't just do this digitally and go, Oh, I've got my archetype. Now, there's a deep reflection that says, You don't even tell you because you're doing it all the time to it reflects back something that resonates like you're almost you can feel it in the room when it when it's happening. There's that term entrainment, which is that musical term, where a frequency will start to create another frequency at the same resonant vibration, that's what I feel when we're starting to get close in the sorting process and in the questioning process. And then before we actually decide is not really the right word, because we've been revealing things all along. But before we say commit, choosing commit to a process of including archetypes throughout the value chain, we actually dig into the value chain, and see whether or not this this archetypical expression can come to life. In all the different areas of the business in the operations in the you know, in the processes and the systems in marketing and sales? How can it become a organizing principle for both the brand and the culture? So those are the kinds of questions I asked. And it's really more about chunking them down into modules that I do in the different workshops. And I use a lot of other exercises to, to elicit this, the kind of resonance that you will. And a lot of them are design thinking exercises, I like to really see how an art we put it to the test before we choose and commit. So what would this how would this affect the customer journey? Right? Does does this affect your value proposition? How does this align with, you know, the strategic path for the business? Because that might shift things as well? Like, are they on an m&a track? Because at that point, we're actually dressing up something differently than we would if we were a startup. So those overlays, the developmental overlays of the business come into factor as well. Marc Gutman 32:57 Do you find it hard to sort of back up or back out if you've chosen a archetype? And you've gone through this prototyping, if you will? And you're like, that's not working design? Everyone just kind of says, Yeah, like, it's not working? Margaret Hartwell 33:11 Pretty much at that point. No, you know, what, I'm curious to see what your experience with the process is. But for me, the process of this kind of introspection, and alignment of everything changes the way that people hold on to right and wrong. They, there's not as much about finding a solution, as opposed to finding a process that continues to reveal value. And it's not so solution based. So it's not just one and done, you know, everybody understands that this we're going this is some actually something that is going to grow along. And with an inside and outside of us, we've actually changed the game. And it you know, it's not for everybody. Some people really want just a solution. And it's pretty amazing to watch them fight. Yeah. And you just go Okay, well, this isn't the right time. I'm not the right one for you. So that's okay. Marc Gutman 34:19 A lot of it. And, you know, I think about that, I mean, one of the challenges I have with clients is they are so like, solution oriented, even when it comes down to working with archetypes. And so they're like, like, okay, like, what are we doing here? Like, what are we trying to get to and right, and, you know, so I've, I have put some parameters around it. You know, I'll say things like, Oh, well, we want to find your archetype that makes you want your like the resonates with your why or the architecture that makes you unique in your space. But that's just kind of the way I've done it because I feel like you have to put these like these parameters, so the client can understand what we're Trying to get otherwise, it's harder for them, it's a little too little too woowoo, you know, and Margaret Hartwell 35:05 I totally agree. And I'm kinda like them down the edge to kind of calm down the cognitive dissonance if you will. And usually, I've done a poll pre education about the value of archetypes and how they, you know, increase your economic value, when you know what a brand lead valuation looks like, and how it actually translate into an intangible asset for your m&a if that's what you're doing. And then also just, you know, really looking at educating them in a way that gets them on the same page, so that they, they'd let go a little bit to kind of shake some loose, so and then you can do those things without that. The other piece that I think that's been really important lately, for me, is Bernie Browns work fitting out founded, seemingly, you know, a long time ago, but I used the vulnerability and shame work in my startup in New Zealand a lot to build the innovation process, and that change people to that change their reactions, because using innovation tools requires you to let go of that kind of judgment. And then we're never going to get to the kind of creativity, or the kind of satisfaction from the daily work, if they were constantly protecting something, you know, shaming someone else judging someone else. So I've seen an architectural approach, have all kinds of, you know, secondary and tertiary benefits to people's relationships to people's understanding of themselves and how they want to move in the world. So it definitely can apply on way more levels than just in your brand. And for me, it's moved a lot into the culture space. Marc Gutman 37:04 A common question I get all the time is Mark, can you help me with our brand? Yes, we help companies solve branding problems. And the first step would be to schedule a no obligation brand clarity call, we'll link to that in the show notes, or head over to wildstorm comm and send us an email, we'll get you booked right away. So whether you're just getting started with a new business, or whether you've done some work and need a refresh, or whether you're a brand that's high performing and wants to stay there, we can help. After you book, your brand clarity call, you'll learn about our brand audit and strategy process, we'll identify if you need a new logo or just a refresh, will determine if your business has a branding problem. And you'll see examples of our work and get relevant case studies. We'll also see if branding is holding your business back and can help you get to the next level. So what are you waiting for, build the brand you've always dreamed of. Again, we'll link to that in the show notes or head over to wildstorm comm and send us an email. Now back to the show. So my friend assha she's a brand strategist, she knew I was talking to you and she wanted me to ask you a question she she wants to know why some brand strategist like us use archetypes, then why some don't like what's your what's your thought on that? Like? We'd like sort of in what and perhaps, I think to broaden the scope of the question, What might those other brand strategist be be missing by not employing archetypes in their work? Margaret Hartwell 38:50 Oh, gosh, why do some users and some not? Well, I think there are a lot of people, regardless of what they do Alicia's in brand strategy, the think that there's a way, a way for the way. And that if you just do the way, then you'll just get what you want. There's like this linear, aided, you know, Zed kind of thing that you get. And they like they have a certain commitment to that kind of process. They give some confidence. They can replicate it, there's bits, it's something that they have identified with and studied with. But, gosh, I'm stopping myself, but I'm gonna go ahead and say it. You know, it's there was this guy who put archetypes in brain as he put it on his bullshit meter. And he said it was the sixth biggest marketing bullshit thing that ever was, and I just burst out laughing I and I thought it was great because it's like, we were right after Seth Godin work. And it was like, yeah, you made it right after so But I think that the gig is up for people in, in any form of consulting or business, or helping or creativity, maybe even anyone, that you can't bring your whole self to things anymore. And I think that archetypes, you have to do that. Now, what I mean to say, probably got my negatives caught up there. But the art and architectural approach, I think, just opens a door to a deeper level of connection with yourself, with your society with any any relationships. And I think understanding that branding now isn't is about is no longer push and telling it's relatedness. And we and I'm not saying anything that you are meant all of your listeners are already across. But it's an orienting principle to understand that a brand. Branding is really about increasing the value of a relationship, so much in the way that you would increase the value of relationship with your family or a friend or your community. So why do they not use them? I think they're scared of them, because they don't know how to flesh them out into a 360 degree, living and bodied way of being. And I will admit, I probably have a leg up here, because I studied acting, I mean, you I know how to step into a character and kind of feel what that is. Right? You know, I've done a ton of improv. So, you know, just the idea of sparking new thing of new ideas off of other people and being able to play in that space. I've studied a ton of psychology. So I understand motivation and behavior and how to move people in that sense. And I've also been in the art world and the sustainability world, where you understand that everything is connected on some level. And it's just, it's we're working in a system. So to answer your question, in the most long winded way, is that I think that people don't use them because they don't really grok the depth of them, and that they're part of a system. So they still see it as a separate, you know, branding is still something separate. I think it's like the thread that is, who we are, and who a company is. So that's why I think people who are naturally curious, and always continuously learning are the most successful brand. Practitioners out there for an archetypal strategy or for even if they don't use archetypes, because they're just, they're just curious about life and curious about people. And they look at the cross sections, which is what I think archetypes do. Marc Gutman 42:57 Absolutely. And that was a great answer. Not long winded. And you touched on this, but I just want to clarify, when when you're using archetypes in the archetypal analysis, are you starting off that way? and using it as a centering device? Are you doing it later? Like a lot of times? I'll do it later in the process, especially like when we're in a more typical brand strategy process like personality, voice and tone. That's where, you know, it comes up a lot for me, because I heard you speaking. Sounds like it could be very useful. Maybe in the beginning of the process, especially when you're talking about like purpose and why and why do we exist? Is that how do you approach that? Well, Margaret Hartwell 43:36 I've been criticized for always approaching everything uniquely, which is why I probably work harder than I have to. Because everything seems like it's some bespoke thing. Again, I have to say, I think I just feel my way, I wish I could say that there was a process but you can from the discovery, half an hour with with a company and a discovery session about what it is they're saying they want, what it is that they're doing, and asking them where they want to be revealed something that tells me then, where this needs to happen. And I've done it at the very beginning, just to kind of ground them into the notion of talking about what's going on in a story fashion with people that have specific drivers and motivations and then universal stories to them. I've done it in the middle, and I've done it with with each one of the little teams too. So that was an interesting one. Instead of doing it with the C suite. I went in and did the exercise with each one of the kinds of teams marketing and sales, Ops, HR, and even finance. So he did one with each one of those. And then I asked one person out of each one of those to come with me, and then we did it with the C suite Bigger. And those people were, were so that they were, of course, really engaged at that point. And loving the process, that they were the greatest kind of contagion excitement for the process that the C suite had to give up their Oh, boohoo on it all. And, and they were fed by the people that worked really were on the front lines, I don't like to use those metaphors. But you know that in the trenches with that with the company's purpose, and not just directing it, so I've used them at every different phase, it's this crazy, but it's really satisfying to walk back into a client's office and see the image of the car, somebody has it on their t shirt, or somebody is using it within a mug, or, or, or they're actually sitting there because we do some, some grounding work, I guess you could say, for creativity purposes, to get you in a place where you can hear your own creative news. And so they have a little technique that I teach them. So I'm watching them do it, it's pretty cool. It comes from Eric Moselle, who's a renowned kind of artistic and creativity coach. And so you know, it's a breathing process, but it it puts people quickly into a space of being able to channel the archetype, the story of that archetype. So, so yeah, it's it's everywhere. At the beginning, I think it was more that we use it right, we use it more in a kind of more traditional sense that it came, it came after, usually, after the collage, I used to do a lot of collaging, with people to try and get them to, to elicit what was going on visually for them, and also to hear how they would tell a story because we'd have them collage on a certain theme. And then they would have to tell the story back to the group, while listening to music telling me then which music actually worked for them, too. So it was it was a little bit more of a predictable process at that time. But then, I've seen it just it seems to work everywhere now. So lots of applications. Marc Gutman 47:14 So many. And that's and that's what's so great about archetypes, and archetypal analysis. What's it like? Being the archetypes and branding person being the expert? Like what's hard about it? Like what I mean, I imagine that a lot of people come to you for different things, you get a lot of probably comments and criticism, like the like, like the person that said, You were the six most bullshit marketing trend or whatever, like, exactly, yeah, I mean, what's what's hard about it, like, like being having put this work into the world, and so many people resonating with it and using it, which is great, but like, what, what don't we see about that? Margaret Hartwell 47:54 I guess, based on who I am, and I'm, you know, which is a overlay all unto itself to the work, I guess what's hard is that sometimes it does make me want to hide, like, I'm going to disappoint people, or that I won't be able to find it with them, or, you know, sometimes getting too egoic about and find it for them, you know, that somehow I will let them down. And I think that's been the gift and the challenge of having this work kind of fall into my lap, where the threads of my, all of my education and training and everything kind of came together is that the task now is again, to just recognize that, whatever is going to be is needs to be and to trust that we will get there together. And so to not get too attached, I think that's what's hard is that it's like having a baby in a way is like, Hey, don't criticize my baby. But do whatever, you know, good days and bad days, too. There's there's definitely people that like to criticize, and all I think back to is the way that Bernie Brown has brought the the quote about being, you know, kudos to the man in the arena, as like, Hey, I'm in the arena. Like maybe bloody but I'm, I'm in there, you know, one thing sincerely, to help and to, to guide in a way business to be the powerful force for change that I know it is, and I know it can be. So that's my whole driver of why I'm in it. So I just have to keep reminding myself that's what's hard. is even when you forget sometimes in the midst of it all that this is you have to return to your why, like you said earlier, you know, always Marc Gutman 49:55 so I imagine this is a lot like picking your favorite child But everyone, you know, and and, you know, I tell people, you know, I have three, I have three kids and I tell people, I don't have a favorite overall child. But I always do have a favorite at any given moment. And so yes, you know, do you have a favorite archetype? At this moment? Or what? What right now would you say? Is your your favorite archetype and why? Well, Margaret Hartwell 50:25 so I'll answer it from two different places. One from a play place, and one from a meaning place. Not that the two are, are not together. But what's happening in the world right now from a social justice perspective is soul destroying to me. And to me then, but I really, if we can awaken the strength of the activist in people that think that doesn't touch them, but it is shifting them. It's, I love the power of the activist. I love the confidence and the, the giving ness of it, you know, the, the infusion of doing what's really right for humanity. So that one's high on my, my favorite slash right now. I think from the play position. I cannot lie. You like big stories. I cannot like I like the provocateur, I cannot lie. I just, it's anything that wakes people up is totally my favorite thing. Marc Gutman 51:36 So what's your favorite? What's your favorite provocateur brand right now? Margaret Hartwell 51:41 Oh, Marc Gutman 51:43 that's such a tough question. But like what's like, just what's one that's on your mind? And that represents that archetype? Well, well. Margaret Hartwell 51:50 So this is where I think that what I'm going to name is, is actually a company where I think that the provocateur is either a secondary or tertiary. But the insurance company lemonade, has they're they're disrupting and provoking a different mindset around the insurance industry. Are you across their work? Marc Gutman 52:11 Yeah, I'm familiar with lemonade. Oh, yeah. Margaret Hartwell 52:13 It's I just think it's amazing what they've done with, you know, machine learning to get claims processed quickly, and, and that it's actually in the benefit for that the collaborative in a way. So I think that that's part of they've provoked people to say, I don't need to accept this. So I think I think there's probably a big provocateur in that company right now. But I wouldn't say that they're provocative or bland. I really think they're citizen brand. Citizen Jester, actually, cuz I just think they're fun. You know, funny. Marc Gutman 52:54 Talk a little bit about that really quick. I mean, you mentioned primary, secondary, tertiary, like, how do you organize that and use that as overlapping lenses? when you're when you're talking about archetypes? Margaret Hartwell 53:05 Yeah. Um, I do. Again, I know I said this in the book, but I do kind of think of it as you're wearing different clothes, you're still the same person. But when you go hiking, you're not going to wear black tie, you know. And so the primary and secondary and tertiary show up, like you just said, as lenses for I like to think of them as facets of, you know, like a, like looking at a kaleidoscope if you if you change the the orientation just a little bit, you get a completely different color picture and all that it's still the same Kaleidoscope and it still has all the same parts, you're just choosing to put one part of it forward with the intent of not being what kind of sycophant Would you like me to be, but with the intent of actually connecting? So what part of me is going to connect the most what authentic part of me, so if that's my tertiary, or you know, the fine, if that's the tertiary archetype, that's fine. Um, for I'm just thinking of a way that this was kind of quantified is that we had metrics, we established metrics for kind of how much of certain pieces of communication would be in the primary, secondary and tertiary. So we tried to keep a balance, we graded basically how the writing was netting out in terms of the stories so that we understood that we weren't over indexing on one or another. And that if we did find ourselves shifting around, or being uncomfortable with it, it was time to refresh Marc Gutman 54:47 of it. I love it. And so, you know, I started off the show, introducing you as an innovation consultant, innovation coach. What is that like? Like, what is like, what does that mean? And how does that show up for you? Because that's where you're focusing your time right now, Margaret Hartwell 55:01 I think I, basically, I'm a change person, I just am a change agent. And that's usually what I get hired to do is to do some kind of change with people, whether it's on a one to one basis, or on a company basis or a family basis, because I, I also do just coaching with people as well, executive coaching. So, you know, I have attorneys and CEOs that are looking for a different way of showing up and recognizing, much like you said earlier in the, in our chat, is that you kind of know, something is going on inside of you. And an architectural lens can help with that, and other kinds of connection as well. So, innovation is just a thing for me a fancy word for creative change. So I like to say that I instill creative courage in people. And that's what I do, and help to do. Marc Gutman 56:07 Why is it hard for people, your clients to have creative courage? You know, it's not easy? Margaret Hartwell 56:13 Yeah. Well, we've been fed a pretty steady stream of fear breaks, you know, steady diet of fear, recently, a lot. And I think that the, the macro world is also making us feel very, you know, insecure, and, and changing. And so it's hard to have the courage because we've been taught that we can't fail. And that's not real. You know, it's like, like, good relationships don't have conflict. No way. You know, like, yeah, and if you're a successful person, you don't fail. Sorry, the human beings, you know, the more we can just say, yes, awesome, that just came up, let's go there. I think that I'm just keep looking at your hat mark. And I think that's really where everybody's unique brilliance is, is recognizing that all those things are baseline, all those things are to be embraced. And if you if you just left them out of the right wrong box, then they're all actually just gifts and tools to be applied to however you want to live and be and do. Marc Gutman 57:25 And so we're in the midst of a pandemic, pandemic, hopefully winding down. But how have you been dealing with archetypes because I talked a lot about, you know, my box and my cards, and it's so magical to be in a room. So how have you translated this into a tool that people can use virtually? Well, Margaret Hartwell 57:45 I think I've mentioned to you that my favorite tool is Miro, how give them a shameless plug, I don't own any stock or anything. But to me, that has changed everything. The ability to collaborate in a virtual space on a whiteboard in that way with post its I mean, I can run innovation workshops in the same way that I did, you know, physically, it is what I had to get used to was using a couple of different monitors to make sure that I could still really catch into people's reactions and in their engagement. And so how is it changed the way I facilitate? Well, I, I'm much more cognizant of getting people to, to play specific roles for me, I don't because I'm needing to watch in a way where I can't sense it as much. I have, I always have a timekeeper with me, that's only doing that somebody who's looking at my time to Agenda sit, you know, saying, Hey, we only got five more minutes for this one, what do we want to move. And also great note takers, because I can't do all those things. Virtually, I can actually take notes, when I'm there physically, and going around, because somehow that works out because it's kind of part of the making of it all. But it can't seem to do that in a virtual space. So having good note takers and people who are actually listening, and putting in putting the stuff into the boards has been important. I found that Nero was an easy way for people to sort as well, because they just, I just put up all of the archetypes and then they would just pull into piles. And then we'd sword again. So that's what it is. I think I've worked only with Miro and zoom. And now they have an integration. Thank you safeer Marc Gutman 59:40 Yeah, I like mirror to mirror if you're listening, I don't like your pricing model, we have to talk about that. We're not gonna use time, it takes a lot of management on my time. Like, I don't need to be managing like seats and things. But what I also wanted you to mention, you kind of alluded to it, but I just want everyone to know that Margaret has also digitized all the cards and so you You can go to her website, we'll link to that in the show notes. You can grab a licensed version of those cards and bring them into Miro, so that you can play around with them, which I think is amazing. You know, and I think it really, look, is it as good? No. But is it the next best thing? Absolutely. And I think it's really made things amazing. So I just want people to be aware of that if people are looking to get into archetypal analysis, like how would you suggest they get started? I mean, you know, I'm assuming get your book and then what? Margaret Hartwell 1:00:30 Well, I would like to get them sooner than that, in so much is, gosh, be curious, be hungry, you know, be a hedonist at the shore gets bored of life and just study and look and observe and witness anything that you can. And then once you've identified that this is really a path for you in terms of, of brand, don't stop learning about yourself and learning about myth and story and narrative. You know, that to me, I think is deepening your, your resonance with the impact that different messages have is one of the best ways to hone your skill at on earthing and revealing a true archetypical brand rallying cry, if you will. So, yeah, that's what I would say. And then yes, of course, you know, read Margaret, Mark, read Carolyn mace, read Joseph Campbell, you know, just read, read, read, read and watch. I think films are one of the greatest ways of learning about, you know, what is alive in a culture? What are the influences, so I guess it's really more just about being really hungry, and for knowledge, and for input stimulus, and looking for the intersections and then making sure that they also somehow come together for positive meaning, and that you take responsibility for the impact that you create. So that the way I would say get in how to get into this business, you know, follow your nose, you'll be led. Marc Gutman 1:02:12 And if you're listening, I'll just say, Margaret's being humble. Her book synthesizes everything. I'll admit something right here on the show, I have tried to read Joseph Campbell's work like 100 times I get through maybe 30%. Each time at best. I want to tell everybody that I'm a Joseph Campbell person. It's pretty, it's pretty rough. So if you want to go through that, you know, some of that academia Be my guest. But if you want to have something that's quick and actionable, and synthesizes it with some beautiful artwork, as well, as great words, I highly, highly recommend the book, Margaret. Unknown Speaker 1:02:48 Thanks, Mark. Marc Gutman 1:02:49 What's Yeah, by the way, I keep seeing your name Margaret Hartwell on zoom. I'm like, What a cool name like Margaret. Well, like it sounds like like, like, maybe work like at the newspaper and a comic book or something like murder. I just love it. But what's next for Margaret Hartwell? What? What are you most looking forward to? Margaret Hartwell 1:03:07 Well, I'm looking forward to getting back with people. Gosh, I missed I mean, I'm kind of an introvert. I am an introvert. And I didn't realize how much I really wanted to be around people. So what's next is really enjoying being able to just connect with people in all areas of work and play and community and everything. I think your question was probably more in terms of what am I going to do next? Or where is my work taking me? Unknown Speaker 1:03:36 Am I right? That's one Marc Gutman 1:03:37 way to take it. Absolutely. Margaret Hartwell 1:03:39 Well, so strangely enough, I've gotten to travel the world with work, and I've just loved being able to do it. And I really am traveling hard, you know, three, four trips to China, New Zealand, Australia, it gets really hard. And I I've been getting a little tired of it. So my partner and I actually bought a huge Victorian in Salem, and we've been renovating it. So now the hope is that we bring kind of the world to us here. So that's one component of it. Because it's amazing how many people that have booked into our Airbnb have actually read the book, this wild lady, well, I guess Salem's kind of all archetypes, right? So that's kind of just in the background for fun, but it's really, I'm really keen to move into more of a coaching and teaching place at this point. I'd like to keep on, you know, maybe 234 clients, but teachings really amazing. I taught at the California College of the Arts, and it was one of in the design MBA program and I loved it and so I think the future is going to hold more Teaching and building out an online course right now again, when came out when the book was first published, but it was less than what I'd be proud of. So doing that building that out. And, and we'll see how the coaching goes really working with individuals, practitioners who want another sounding board or another input for bigger clients that they're doing this work with. Marc Gutman 1:05:26 And we'll make sure to link to all your contact info in the show notes, if anyone's interested in continuing that work with you. Margaret Hartwell 1:05:32 Yeah, I will say Mark if people want to, you know, if they want to follow me on Instagram, and then send me a message, just put the vgts or what does that maybe not backstory did GPS. There it is. What is it again? Mark, Marc Gutman 1:05:47 BG bs? No, no. Yeah, PGP Margaret Hartwell 1:05:51 got back. So yes, sir. Just put that in your message. And I'll send you an email to give you a discount on the the course when it comes out. So Marc Gutman 1:05:59 that's fantastic. Thank you for that. I'm sure there's gonna be a lot of people who are interested, Margaret, as we come to a close here, and we're running out of time, I'm going to think back, I want to think back to that. That little Margaret version of yourself that was singing and dancing and, you know, didn't have a care in the world. And what do you think she'd say, if she saw you today? Margaret Hartwell 1:06:24 She's probably say, See, I told you so. And that she, she had such faith, that being a hybrid divergent was okay. And that she just lived it and all that and expend a lot of time trying to get back to that place. So they are an archetypical perspective, the book, all of it came together. And that would be her closing shot. I think it's like, See, I told you, so he told you, it'd be okay. You'd get it all, all the creativity, all the fun people, all the arts, you know, all the meaning. It's all there. Marc Gutman 1:07:08 Then that is Margaret Hartwell, author of archetypes in branding, go buy the book, we'll link to it in the show notes. And look, I get nothing from your purchase, I have no vested interest or incentive in you buying this book. Other than I want you to open up your aperture, broaden your possibilities. And think, a little more human. One thing we touched on, but didn't really explain is that the book explains all this awesome archetype stuff. But there are also 60 cards in the back that punch out. So you can get a full deck of cards too. You can apply this in your branding work, professional life, writing personal life, there really are so many applications, go to Amazon and get the book right now. One nugget that stood out to me was when Margaret said, brand is about increasing the value of a relationship. And at the end of the day, that's it. Now how we get there isn't always simple or easy, just like real relationships. But I think what matters is that we show up. We keep working at it, because we want to because we care. And over time, the value of that relationship increases even when we make mistakes, put her foot in her mouth, or have a bad day. brands are no different. I hope you enjoyed this conversation as much as I did. It was such a treat to talk with Margaret here her perspective and learn about what she's doing next. I'm not joking when I say Margaret is a hero to me. And I hope you got as much from this episode as I did. A big thank you to Margaret Hartwell. I want to be your BFF let me know if I can send you one half of a branding BFF locket and we can make it official. We will link to all things Margaret Hartwell in the show notes, her book, her website, her course. Well, all things and if you know of a guest who should appear on our show, please drop me a line at podcast at wildstorm calm. Our b

During this episode of Why Change? Co-hosts Jeff and Madeleine discuss the changes to their work throughout the COVID-19 pandemic, and the interdisciplinary leadership of teaching artists and cultural practitioners over the last year. Madeleine chats with Fié Neo, an interdisciplinary artist based in Singapore, who has worked as a fashion designer, participatory artist, and has applied her knowledge learned through sustainable agriculture and business to advance the field of socially engaged art. In this episode you'll learn: 1. What is socially engaged artistic practice?; 2. How our systems which support arts, education, and social change must continue to adapt...and how; and 3. About new opportunities to virtually engage with others and stay connected in artistic communities of practice. Please download the transcript here. Check out some of the things mentioned during this podcast, including: The ITAC Impact: Climate initiative The U.S. Government's COVID Response for the Arts Special Issue Of Arts Education Policy Review Focuses On Community Arts Education In COVID The European Academy of Participation Fié's film work International Network for Socially Engaged Practitioners Onions Talk podcast ITAC's mailing list Young & Emerging Leaders Forum ABOUT FIÉ NEO(she/her)- An interdisciplinary artist based in Singapore who makes socially engaged works through participatory public interventions, wearable art and film. She has performed and exhibited her works at Royal Albert Hall, Edinburgh Fringe Festival, London Design Festival, Gillman Barracks and others. Fié also hosts a podcast called Onions Talk. Connect with her on 'The Reconnection Playground', a series of participatory online wellness events that uses creative expression to hold space for authentic connection. Where you can find Fié: Website: https://feeyehneo.wordpress.com Podcast: https://anchor.fm/fie-neo Instagram: @feeyeh_neo Youtube: https://www.youtube.com/playlist?list=PL5Sx3YtkLxpdmeeZllzoGh6MJVMrSqvDj Included in this episode are ads for: The 2021 ABLE Assembly: Arts Better the Lives of Everyone conference The Teaching Artists Guild's Youth Led Professional Development Workshops This episode of Why Change? A Podcast for the Creative Generation was powered by Creative Generation. Produced and Edited by Daniel Stanley. For more information on this episode and Creative Generation please visit the webpage and follow us on IG @Campaign4GenC --- Support this podcast: https://anchor.fm/whychange/support

The iconic label is celebrating its 40th anniversary with a major new show in London. Use Hearing Protection: FAC 1 – 50 / 40 takes place at the Chelsea Space in the capital and celebrates the history and on-going influence of Factory Records, supported by rare and unseen materials from personal Factory archives. Curated by Jon Savage and Mat Bancroft, the Factory exhibition is being featured in this year's London Design Festival and runs from the 13th September until Friday the 25th of October 2019 Image: Detail from Fac 1, Poster 1978, Design Peter Saville

You want eclectic. We deliver. Our Deeply Unintelligent™ AI units have digested the internet and spend an hour talking about a whole load of utter nonsense: Camping, depression, 3D resin printers, Blender, Bocage, Lemmie, Mindhunter, Creative constipation, Inktober, District 9, Alan Moore, Vanta black cars, Boots, John Harris, Dieter Rams, London Design Festival. And pies.