Podcasts about Selfridges

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your hosts are Paul Marden and Andy Povey.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. Show references:  Anna Preedy, Director M+H Showhttps://show.museumsandheritage.com/https://www.linkedin.com/in/annapreedy/Jon Horsfield, CRO at Centegra, a Cinchio Solutions Partnerhttps://cinchio.com/uk/https://www.linkedin.com/in/jon-horsfield-957b3a4/Dom Jones, CEO, Mary Rose Trust https://maryrose.org/https://www.linkedin.com/in/dominicejones/https://www.skipthequeue.fm/episodes/dominic-jonesPaul Woolf, Trustee at Mary Rose Trusthttps://maryrose.org/https://www.linkedin.com/in/paul-woolf/Stephen Spencer, Ambience Director, Stephen Spencer + Associateshttps://www.stephenspencerassociates.com/https://www.linkedin.com/in/customerexperiencespecialist/https://www.skipthequeue.fm/episodes/stephen-spencerSarah Bagg, Founder, ReWork Consultinghttps://reworkconsulting.co.uk/https://www.linkedin.com/in/sarahbagg/https://www.skipthequeue.fm/episodes/sarah-baggJeremy Mitchell, Chair of Petersfield Museum and Art Galleryhttps://www.petersfieldmuseum.co.uk/https://www.linkedin.com/in/jeremy-mitchell-frsa-4529b95/Rachel Kuhn, Associate Director, BOP Consultinghttps://www.bop.co.uk/https://www.linkedin.com/in/kuhnrachel/  Transcriptions:Paul Marden: Welcome to Skip the Queue, the podcast for people working in and working with visitor attractions. You join me today, out and about yet again. This time I am in London at Olympia for the Museums and Heritage Show. Hotly anticipated event in everybody's diary. We all look forward to it. Two days of talks and exhibitions and workshops. Just a whole lot of networking and fun. And of course, we've got the M and H awards as well. So in this episode, I am going to be joined by a number of different people from across the sector, museum and cultural institution professionals, we've got some consultants, we've got some suppliers to the industry, all pretty much giving us their take on what they've seen, what they're doing and what their thoughts are for the year ahead. So, without further ado, let's meet our first guest. Andy Povey: Hi, Anna. Welcome to Skip the Queue. Thank you for giving us some of your time on what must be a massively busy day for you. I wonder if you could just tell the audience who you are, what you do, a little bit about what museums and heritage is, because not everyone listening to the podcast comes from the museum sector. Anna Preedy: Andy, thanks. This is a great opportunity and always really lovely to see your happy smiley face at the Museums and Heritage Show. So M and H, as we're often referred to as, stands for Museums and Heritage and we're a small business that organises the principal trade exhibition for the Museums and Heritage sector that could be broadened, I suppose, into the cultural sector. We also have the awards ceremony for the sector and an online magazine. So we are Museums and Heritage, but we're often referred to as M and H and we've been around for a very long time, 30 plus years. Andy Povey: Oh, my word. Anna Preedy: I know. Andy Povey: And what's your role within the organisation? Your badge says Event Director today. That's one of many hats. Anna Preedy: I'm sure it is one of many hats because we're a very small team. So I own and manage the events, if you like. M and H is my baby. I've been doing it for a very long time. I feel like I'm truly immersed in the world of museums and heritage and would like to think that as a result of that, I kind of understand and appreciate some of the issues and then bring everyone together to actually get in the same room and to talk them through at the show. So, yeah, that's what we're about, really. Andy Povey: In a shorthand and obviously the show. We're in the middle of West London. It's a beautifully sunny day here at Olympia. The show is the culmination, I suppose of 12 months of work. So what actually goes in? What does a normal day look like for you on any month other than May? Anna Preedy: Yeah, it was funny actually. Sometimes people, I think, well, what do you do for the rest of the year? You just turn up to London for a couple of days, just turn up delivering an event like this. And also our award scheme is literally three, six, five days of the year job. So the moment we leave Olympia in London, we're already planning the next event. So it really is all encompassing. So I get involved in a lot. As I say, we're a small team, so I'm the person that tends to do most of the programming for the show. So we have 70 free talks. Everything at the show is free to attend, is free to visit. So we have an extensive programme of talks. We have about 170 exhibitors. Anna Preedy: So I'm, although I have a sales team for that, I'm managing them and looking after that and working with some of those exhibitors and then I'm very much involved in our awards. So the Museums and Heritage Awards look to celebrate and reward the very best in our sector and shine the spotlight on that not just in the UK but around the world. So we have a judging panel and I coordinate that. So pretty much every decision, I mean you look at the colour of the carpet, that which incidentally is bright pink, you look at the colour of the carpet here, who made the decision what colour it would be in the aisles this year it was me. So I, you know, I do get heavily involved in all the nitty gritty as well as the biggest strategic decisions. Andy Povey: Fantastic. Here on the show floor today it is really busy, there are an awful lot of people there. So this is all testament to everything that you've done to make this the success that it is. I'm sure that every exhibitor is going to walk away with maybe not a full order book, but definitely a fistful of business cards. Anna Preedy: I think that's it, what we really want. And we sort of build this event as the big catch up and we do that for a reason. And that is really to kind of give two days of the year people put those in their diary. It's a space where people can come together. So you know, there'll be people here standing on stands who obviously and understandably want to promote their product or service and are looking to generate new business. And then our visitors are looking for those services and enjoying the talks and everyone comes together and it's an opportunity to learn and network and connect and to do business in the broadest possible sense. Really. Andy Povey: No, I think that the line, the big catch up really sums the show up for me. I've been. I think I worked out on the way in this morning. It's the 15th time I've been to the show. It's one of my favourite in the year because it is a fantastic mix of the curatorial, the commercial, everything that goes into running a successful museum or heritage venue. Anna Preedy: I mean, it's funny when people ask me to summarise. I mean, for a start, it's quite difficult. You know, really, it should be museums, galleries, heritage, visitor, attractions, culture. You know, it is a very diverse sector and if you think about everything that goes into making a museum or a gallery or a historic house function, operate, engage, it's as diverse as the organisational types are themselves and we try and bring all of that together. So, you know, whether you are the person that's responsible for generating income in your organisation, and perhaps that might be retail or it might be catering, it could be any. Any stream of income generation, there's going to be content for you here just as much as there's going to be content for you here. Anna Preedy: If you are head of exhibitions or if you are perhaps wearing the marketing hat and actually your job is, you know, communications or audience development, we try and represent the sector in its broadest scope. So there is something for everyone, quite. Andy Povey: Literally, and that's apparent just from looking on the show floor. So with all of your experience in the museum sector, and I suppose you get to see. See quite an awful lot of new stuff, new products. So what are you anticipating happening in the next sort of 6 to 12 months in our sector? Anna Preedy: I mean, that's a big question because, you know, going back to what were just saying, and the kind of different verticals, if you like, that sit within the sector, but I think the obvious one probably has to be AI, and the influence of that. I'm not saying that's going to change everything overnight. It won't, but it's. You can see the ripples already and you can see that reflected out here on the exhibition floor with exhibitors, and you can also see it in our programme. So this sort of AI is only, you know, one aspect of, you know, the bigger, wider digital story. But I just think it's probably more about the sector evolving than it is about, you know, grand sweeping changes in any one direction. Anna Preedy: But the other thing to say, of course, is that as funding gets more the sort of the economic landscape, you know, is tough. Undeniably so. So generating revenue and finding new ways to do that and prioritising it within your organisation, but not at the expense of everything else that's done. And it should never be at the expense of everything else that's done. And it's perfectly possible to do both. Nobody's suggesting that it's easy, nothing's easy but, you know, it's possible. Anna Preedy: And I think the show here, and also what we do online in terms of, you know, news and features, all of that, and what other organisations are doing in this sector, of course, and the partners we work with, but I think just helping kind of bridge that gap really, and to provide solutions and to provide inspiration and actually, you know, there's no need to reinvent the wheel constantly. Actually, I think it was somebody that worked in the sector. I'm reluctant to names, but there was somebody I remember once saying, well, know, stealing with glee is kind of, you know, and I think actually, you know, if you see somebody else is doing something great and actually we see that in our wards, you know, that's the whole point. Let's shine a spotlight on good work. Well, that might inspire someone else. Anna Preedy: It's not about ripping something off and it's not absolute replication. But actually, you know, scalable changes in your organisation that may have been inspired by somebody else's is only a good thing as well. Andy Povey: It's all that evolutionary process, isn't it? So, great experience. Thank you on behalf of everybody that's come to the show today. Anna Preedy: Well, thank you very much. I love doing it, I really genuinely do and there is nothing like the buzz of a busy event. Jon Horsfield: Yeah, My name is Jon Horsfield, I'm the Chief Revenue Officer of Cincio Solutions. Andy Povey: And what does Cincio do? Jon Horsfield: We provide F and B technology, so kiosks, point of sale payments, kitchen systems, inventory, self checkout to the museums, heritage zoos, aquariums and hospitality industries. Andy Povey: Oh, fantastic. So I understand this is your first time here at the Museums and Heritage Show. Jon Horsfield: It is our first time. It's been an interesting learning curve. Andy Povey: Tell me more. Jon Horsfield: Well, our background is very much within the hospitality. We've been operating for about 20 to 23 years within the sort of high street hospitality side of things. Some of our London based listeners may have heard of Leon Restaurants or Coco Di Mama, we've been working with them for over 20 years. But we're looking at ways of bringing that high street technology into other industries and other Verticals and the museums and heritage is a vertical that we've identified as somewhere that could probably do with coming into the 21st century with some of the technology solutions available. Andy Povey: I hear what you're saying. So what do you think of the show? What are your first impressions? Give me your top three tips. Learning points. Jon Horsfield: Firstly, this industry takes a long time to get to know people. It seems to be long lead times. That's the first learning that we've had. Our traditional industry in hospitality, people will buy in this industry. It's going to take some time and we're happy about that. We understand that. So for us, this is about learning about know about how the industry works. Everybody's really friendly. Andy Povey: We try. Yeah. Jon Horsfield: That's one of the first things that we found out with this. This industry is everybody is really friendly and that's quite nice. Even some of our competitors, we're having nice conversations with people. Everybody is really lovely. The third point is the fact that I didn't know that there were so many niche markets and I found out where my mother buys her scarves and Christmas presents from. So it's been really interesting seeing the different types of things that people are looking for. We've sort of noticed that it's really about preservation. That's one of the main areas. There's a lot of things about preservation. Another one is about the display, how things are being displayed, and lots of innovative ways of doing that. But also the bit that we're really interested in is the commercialization. Jon Horsfield: There's a real push within the industry to start to commercialise things and bring in more revenue from the same people. Andy Povey: Yeah, yeah. I mean, that's all about securing the destiny so that you're not reliant on funding from external parties or government and you taking that control. So what do you do at Centrio that helps? Jon Horsfield: Well, first of all. First of all, I would say the efficiencies that we can bring with back office systems integrations. We're very well aware of what we do, we're also aware of what we don't do. So, for example, we're not a ticketing provider, we're a specialist retail and F and B supplier. So it's about building those relationships and actually integrating. We've got a lot of integrations available and we're very open to that. So that's the first thing. But one of the key things that we're trying to bring to this industry is the way that you can use technology to increase revenue. So the kiosks that we've got here, it's proven that you'll get a minimum average transaction value increase of 10 to 15%. Andy Povey: And what do you put that down to? Jon Horsfield: The ability to upsell. Okay, with kiosks, as long as, if you put, for example, with a burger, if you just have a nice little button, say would you like the bacon fries with that? It's an extra few pounds. Well, actually if you've got an extra few pounds on every single transaction, that makes an incredible difference to the bottom line. From the same number of customers. Some of our clients over in the USA have seen an ATV increase above to 60% with the use of kiosks. Andy Povey: And that's just through selling additional fries. Jon Horsfield: Exactly. People will. I went to a talk many years ago when people started to adopt kiosks and the traditional thing is the fact that people will order two Big Macs and a fries to a kiosk, but when you go face to face, they will not order two Big Macs and a fries. Andy Povey: So you're saying I'm a shy fatty who's basically. Jon Horsfield: Absolutely not. Absolutely not, Andy. Absolutely not. So that's really what it's about. It's about using the sort of the high street technology and applying that to a different industry and trying to bring everybody along with us. Dominic Jones: And you need to listen to the Skip the Queue. It's the best podcast series ever. It'll give you this industry. Paul Marden: Perfect. That was a lovely little sound bite. Dom, welcome. Dominic Jones: It's the truth. It's the truth. I love Skip the Queue. Paul Marden: Welcome back to Skip the Queue. Paul, welcome. For your first time, let's just start with a quick introduction. Dom, tell everybody about yourself. Dominic Jones: So I'm Dominic Jones, I'm the chief executive of the Mary Rose Trust and I'm probably one of Skip the Queue's biggest fans. Paul Marden: I love it. And biggest stars. Dominic Jones: Well, I don't know. At one point I was number one. Paul Marden: And Paul, what about yourself? What's your world? Paul Woolf: Well, I'm Paul Woolf, I've just joined the Mary Rose as a trustee. Dom's been kind of hunting me down politely for a little bit of time. When he found out that I left the King's Theatre, he was very kind and said, right, you know, now you've got time on your hands, you know, would you come over and help? So yeah, so my role is to support Dom and to just help zhuzh things up a bit, which is kind of what I do and just bring some new insights into the business and to develop It a bit. And look at the brand, which is where my skills. Dominic Jones: Paul is underselling himself. He is incredible. And the Mary Rose Trust is amazing. You haven't visited. You should visit. We're in Portsmouth Historic Dock blog. But what's great about it is it's about attracting great people. I'm a trustee, so I'm a trustee for good whites. I'm a trustee for pomp in the community. I know you're a trustee for kids in museums. I love your posts and the fact that you come visit us, but it's about getting the right team and the right people and Paul has single handedly made such a difference to performance art in the country, but also in Portsmouth and before that had a massive career in the entertainment. So we're getting a talent. It's like getting a Premiership player. And we got Paul Woolf so I am delighted. Dominic Jones: And we brought him here to the Museum Heritage show to say this is our industry because we want him to get sucked into it because he is going to be incredible. You honestly, you'll have a whole episode on him one day. Paul Marden: And this is the place to come, isn't it? Such a buzz about the place. Paul Woolf: I've gone red. I've gone red. Embarrassed. Paul Marden: So have you seen some talks already? What's been impressive for you so far, Paul? Paul Woolf: Well, we did actually with the first talk we were listening to was all about touring and reducing your environmental impact on touring, which is quite interesting. And what I said there was that, you know, as time gone by and we had this a little bit at theatre actually. But if you want to go for grant funding today, the first question on the grant funding form, almost the first question after the company name and how much money you want is environmental impact. Paul Marden: Yeah, yeah. Paul Woolf: And so if you're going tour and we're looking now, you know, one of the things that Dom and I have been talking about is, you know, Mary Rose is brilliant. It's fantastic. You know, it's great. It's in the dockyard in Portsmouth and you know, so. And, and the Andes, New York, you know, everywhere. Dominic Jones: Take her on tour. Paul Woolf: Why isn't it on tour? Yeah. Now I know there are issues around on tour. You know, we've got the collections team going. Yeah, don't touch. But nonetheless it was interesting listening to that because obviously you've got to. Now you can't do that. You can't just put in a lorry, send it off and. And so I thought that was quite interesting. Dominic Jones: Two, it's all the industry coming together. It's not about status. You can come here as a student or as a CEO and you're all welcome. In fact, I introduced Kelly from Rubber Cheese, your company, into Andy Povey and now you guys have a business together. And I introduced them here in this spot outside the men's toilets at Museum and Heritage. Paul Woolf: Which is where we're standing, by the way. Everybody, we're outside the toilet. Dominic Jones: It's the networking, it's the talks. And we're about to see Bernard from ALVA in a minute, who'll be brilliant. Paul Marden: Yes. Dominic Jones: But all of these talks inspire you and then the conversations and just seeing you Andy today, I'm so delighted. And Skip the Queue. He's going from strength to strength. I love the new format. I love how you're taking it on tour. You need to bring it to the May Rose next. Right. Paul Marden: I think we might be coming sometimes soon for a conference near you. Dominic Jones: What? The Association of Independent Museums? Paul Marden: You might be doing an AIM conference with you. Dominic Jones: Excellent. Paul Marden: Look, guys, it's been lovely to talk to you. Enjoy the rest of your day here at M and H. Paul Marden: Stephen, welcome back to Skip the Queue. Stephen Spencer: Thank you very much. Paul Marden: For listeners, remind them what you do. Stephen Spencer: So I'm Stephen Spencer. My company, Stephen Spencer Associates, we call ourselves the Ambience Architects because we try to help every organisation gain deeper insight into the visitor experience as it's actually experienced by the visitor. I know it sounds a crazy idea, really, to achieve better impact and engagement from visitors and then ultimately better sustainability in all senses for the organisation. Paul Marden: For listeners, the Ambience Lounge here at M and H is absolutely rammed at the moment. Stephen Spencer: I'm trying to get in myself. Paul Marden: I know, it's amazing. So what are you hoping for this networking lounge? Stephen Spencer: Well, what we're aiming to do is create a space for quality conversations, for people to meet friends and contacts old and new, to discover new technologies, new ideas or just really to come and have a sounding board. So we're offering free one to one advice clinic. Paul Marden: Oh, really? Stephen Spencer: Across a whole range of aspects of the visitor journey, from core mission to revenue generation and storytelling. Because I think, you know, one of the things we see most powerfully being exploited by the successful organisations is that kind of narrative thread that runs through the whole thing. What am I about? Why is that important? Why should you support me? How do I deliver that and more of it in every interaction? Paul Marden: So you're Having those sorts of conversations here with people on a one to one basis. Stephen Spencer: Then we also are hosting the structured networking event. So all of the sector support organisations that are here, they have scheduled networking events when really people can just come and meet their peers and swap experiences and again find new people to lean on and be part of an enriched network. Paul Marden: Absolutely. So we are only half a day in, not even quite half a day into a two day programme. So it's very early to say, but exciting conversations, things are going in the direction that you hoped for. Stephen Spencer: Yes, I think, I mean, we know that the sector is really challenged at the moment, really, the fact that we're in now such a crazy world of total constant disruption and uncertainty. But equally we offer something that is reassuring, that is enriching, it's life enhancing. We just need to find better ways to, to do that and reach audiences and reach new audiences and just keep them coming back. And the conversations that I've heard so far have been very much around that. So it's very exciting. Paul Marden: Excellent. One of themes of this episode that we'll be talking to lots of people about is a little bit of crystal ball gazing. You're right, the world is a hugely, massively disrupted place at the moment. But what do you see the next six or 12 months looking like and then what does it look like for the sector in maybe a five year time horizon? Stephen Spencer: Okay, well, you don't ask easy questions. So I think there will be a bit of a kind of shaking down in what we understand to be the right uses of digital technology, AI. I think we see all the mistakes that were made with social media and what it's literally done to the world. And whilst there are always examples of, let's say, museums using social media very cleverly and intelligently, we know that's against the backdrop of a lot of negativity and harm. So why would we want to repeat that, for example, with generative AI? Paul Marden: Indeed. Stephen Spencer: So I heard a talk about two years ago at the VAT conference about using AI to help the visitor to do the stuff that is difficult for them to do. In other words, to help them build an itinerary that is right for them. And I think until everyone is doing that, then they should be very wary of stepping off the carpet to try and do other things with it. Meanwhile, whilst it's an immersive experience, it is not just sitting in, you know, with all respect to those that do this, A, you know, surround sound visual box, it is actually what it's always been, which is meeting real people in authentic spaces and places, you know, using all the senses to tell stories. So I think we will need to see. Stephen Spencer: I've just been given a great coffee because that's the other thing we're offering in the coffee. It's good coffee. Not saying you can't get anywhere else in the show, just saying it's good here. Yeah. I think just some realism and common sense creeping into what we really should be using these technologies for and not leaving our visitors behind. I mean, for example, you know, a huge amount of the natural audience for the cultural sector. You know, people might not want to hear it, but we all know it's true. It's older people. And they aren't necessarily wanting to have to become digital natives to consume culture. So we shouldn't just say, you know, basically, unless you'll download our app, unless you'll do everything online, you're just going to be left behind. That's crazy. It doesn't make good business sense and it's not right. Stephen Spencer: So I just think some common sense and some. Maybe some regulation that will happen around uses of AI that might help and also, you know, around digital harms and just getting back to some basics. I was talking to a very old colleague earlier today who had just come back from a family holiday to Disney World, and he said, you know, you can't beat it, you cannot beat it. For that is immersive. Paul Marden: Yeah, absolutely. But it's not sealed in a box. Stephen Spencer: No, no. And it really. It's a bit like Selfridges. I always took out. My favourite store is Selfridges. It still does what Harry Gordon Selfridge set out to do. He said, "Excite the mind and the hand will reach for the pocket." I always say. He didn't say excite the eye, he said, excite the mind. Paul Marden: Yeah. Stephen Spencer: The way you do that is through all the senses. Paul Marden: Amazing. Stephen Spencer: And so, you know, digital. I'm sure he'd be embracing that. He would be saying, what about the rest of it? Paul Marden: How do you add the human touch to that? Yeah. I was at Big Pit last week. Stephen Spencer: As they reopened, to see this. Yeah. Paul Marden: And it was such an amazing experience walking through that gift shop. They have so subtly brought the museum into the gift shop and blended the two really well. Stephen Spencer: Yes. And I think that raises the bar. And again, if you want to make more money as a museum, you need to be embracing that kind of approach, because if you just carry on doing what you've always done, your revenue will go down. Paul Marden: Yes. Stephen Spencer: And we all know your revenue needs to go up because other. Other sources of income will be going down. Paul Marden: Sarah, welcome back to Skip the Queue last time you were here, there was a much better looking presenter than, you were in the Kelly era. Sarah Bagg: Yes, we were. Paul Marden: It's almost as if there was a demarcation line before Kelly and after Kelly. Why don't you just introduce yourself for me? Tell the listeners what it is that you do. Sarah Bagg: So I'm Sarah Bagg. I'm the founder of Rework Consulting. The last time I spoke, it wasn't that long after our launch. I think like two and a half years ago. We've just had our third birthday. Paul Marden: Wow. Sarah Bagg: Which is completely incredible. When we first launched rework, were specifically for the visitor attractions industry and focused on ticketing. Paul Marden: Yep. Sarah Bagg: So obviously we are a tech ticketing consultancy business. In the last three and a half years we've grown and now have five verticals. So attractions are one of them. Paul Marden: And who else do you work with then? Sarah Bagg: So the art, the leisure industry. So whether it be activity centres, cinemas, bowling centres and then live entertainment. So it could be anything from sports, festivals etc and the arts, like theatres or. Paul Marden: So closely aligned to your attractions. Then things that people go and do but different kinds of things loosely. Sarah Bagg: Say they're like live entertainment. Paul Marden: I like that. That's a nice description. So this must be Mecca for you to have all of these people brought together telling amazing stories. Sarah Bagg: I think how I would sum up museum and heritage today is that I think we're kind of going through a period of like being transformed, almost like back. People are reconstructing, connecting with real experiences and with people. Paul Marden: Yeah. Sarah Bagg: And I would like to think that tech is invisible and they're just to support the experience. I think there's a lot of things that are going on at the moment around, you know, bit nostalgia and people dragging themselves back to the 90s. And there's a lot of conversations about people and customer service and experience. And although technology plays a huge part in that, I would still like to think that people come first and foremost, always slightly weird from a technology consultant. Paul Marden: Well, nobody goes to a visitor attraction to be there on their own and interact with technology. That's not the point of being there. Yeah. Interesting talks that you've been today. Sarah Bagg: I think one of my favourite was actually one of the first of the day, which was about. Of how do you enhance the visitor experience through either like music and your emotions and really tapping into how you feel through, like all your different senses. Which was one of Stephen's talks which I really enjoyed. Paul Marden: That's really interesting. Sarah Bagg: I think if people like look at the visitor industry and across the board, that's why I'm so keen to stay, like across four different sectors, we can learn so much pulling ideas from like hospitality and restaurants and bars.Paul Marden: Completely. Sarah Bagg: Even if you think about like your best, there's a new bar there, so you can not very far from my home in Brighton and the service is an amazing. And the design of the space really caters for whether you're in there with 10 people or whether you're sat at the bar on your own. It doesn't exclude people, depending on what age you are or why you gone into the bar. And I think we can learn a lot in the visitor attractions industry because there's been a lot of talk about families today. I don't have children and I think that there, you need. Sarah Bagg: We need to think more about actually that lots of other people go to visitor attractions Paul Marden: Completely. Sarah Bagg: And they don't necessarily take children and they might want to go on their own. Yes, but what are we doing to cater for all of those people? There's nothing. Paul Marden: How do you make them feel welcome? How do you make them feel like they're a first class guest? The same as everybody else. Yeah. So where do you see the sector going over the next few years based on what you've seen today? Sarah Bagg: I think there'll be a lot more diversification between sectors. There's definitely a trend where people have got their assets. You know, like if you're looking at things like safari parks and zoos, places that have already got accommodation, but maybe like stately houses where there used to be workers that were living in those cottages or whatever, that they're sweating their assets. I think it would be interesting to see where tech takes us with that because there has been a tradition in the past that if you've got like, if your number one priority to sell is being like your hotel, then you would have like a PMS solution. But if it's the other way around, your number one priority is the attraction or the venue and you happen to have some accommodation, then how is that connecting to your online journey? Sarah Bagg: Because the last thing you want is like somebody having to do two separate transactions. Paul Marden: Oh, completely drives me crazy. Sarah Bagg: One thing I would also love to see is attractions thinking beyond their 10 till 6 opening hours completely. Because some days, like restaurants, I've seen it, you know, maybe they now close on Mondays and Tuesdays so they can give their staff a day off and they have different opening hours. Why are attractions still fixated in like keeping these standard opening hours? Because actually you might attract a completely different audience. There used to be a bit of a trend for like doing museum late. So I was speaking to a museum not very long ago about, you know, do they do like morning tours, like behind the scenes, kind of before it even opens. And I think the museum particularly said to me, like, "Oh, we're fine as we are.". Paul Marden: I've never met a museum that feels fine where it is at the moment. Sarah Bagg: But I guess the one thing I would love to see if I could sprinkle my fairy dus. Paul Marden: Come the revolution and you're in charge. Sarah Bagg: And it's not like, it's not even like rocket science, it's more investment into training and staff because the people that work in our industry are like the gold, you know, it's not tech, it's not pretty set works, it's not like fancy display cases. Yes, the artefacts and stuff are amazing. Paul Marden: But the stories, the people stuff. Yeah. Sarah Bagg: Give them empowerment and training and make the customer feel special. Paul Marden: Yes. Sarah Bagg: When you leave, like you've had that experience, you're only ever going to get that from through the people that you interact with completely. Paul Marden: Jeremy, hello. Welcome to Skip the Queue. We are, we are being slightly distracted by a dinosaur walking behind us. Such is life at M and H show. Jeremy Mitchell: Yeah. Paul Marden: So. Jeremy Mitchell: Well, anything to do with museums and dinosaurs, always great crowd pleasers. Paul Marden: Exactly, exactly. So is this your first time at M and H or have you been before? Jeremy Mitchell: Been before, but probably not for 10 years or more. It was, yes. I remember last time I came the theatres were enclosed so they were partitioned all the way around. Paul Marden: Right. Jeremy Mitchell: But because it's so popular now that would not just not would not work. It's a long time ago. It shows how long I've been volunteering. Paul Marden: In museums, doesn't it? So for our listeners, Jeremy, just introduce yourself and tell everyone about the role that you've got at the Petersfield Museum. Jeremy Mitchell: Okay, so I'm Jeremy Mitchell. I'm a trustee at Petersfield Museum now Petersfield Museum and Art Gallery. I'm actually now chair of trustees. Paul Marden: Paint a little picture for us of Petersfield Museum then. What could someone expect if they came to you? Apart from, as I understand, a very good cup of coffee. Jeremy Mitchell: A very good cup of coffee. Best in Petersfield. And that's not bad when there are 32 competitors. You'll get a little bit of everything you'll get a bit of. You'll get the story of Petersfield, but you'll get so much more. We've got collections of costume going back to the mid 18th century. We've got work of a local artist, Flora Torte, one of those forgotten female artists from between the wars. She's a story that we will be exploring. We've got, in partnership with the Edward Thomas Fellowship, a big archive of books and other artefacts by and about Edward Thomas, who was a poet, writer, literary critic. He's one of the poets killed in the First World War. But he's not well known as a war poet because he was writing about the impact of war on life at home. Jeremy Mitchell: So he's now more well known as a nature poet. Paul Marden: So you're telling the story not just of the place, you're telling the story of the people that have produced great art or had an impact on Petersfield. Jeremy Mitchell: Yes. And their networks and how they might relate to Petersfield in turn. And we've got the costume collection I mentioned going back to the mid 18th century, which came from Bedale School. They've all got stories to them. Paul Marden: Interesting. Jeremy Mitchell: This came from Bedale School, which is a private school on the edge of Petersfield. It was actually collected by their drama teacher between the 1950s and the 1970s. Paul Marden: Wow. Jeremy Mitchell: Because she believed in authenticity. So if she was putting on a 19th century production, she would want genuine 19th century clothes. Paul Marden: Let me tell you, my drama productions in a 1980s comprehensive did not include authentic 19th century costumes. Jeremy Mitchell: If were doing something like that at school, their parents would have been, all right, go down to the jumble sale, buy some material, make something that looks something like it. Paul Marden: Yeah. Jeremy Mitchell: But no, she was, well, if you haven't got anything in your attic that's suitable, please send me some money because there's a sale at Sotheby's in three months. Time off costume from the period. Paul Marden: Excellent. Jeremy Mitchell: And we've got some lovely pieces in there. When we put on the Peggy Guggenheim exhibition, which is what were talking about earlier today here, were able to bring in costume from the 1930s, Chanel dress, other high quality, not. Not necessarily worn by Peggy Guggenheim, but her. Paul Marden: Authentic of the period. Jeremy Mitchell: Authentic of the period. But her son was at Bedale, so she could have been asked to donate. Paul Marden: So. Okay. Jeremy Mitchell: Highly unlikely, but it was similar to items that she had been photographed in or would have been. Would have been wearing. Paul Marden: So tell me about the. The presentation. How was that? Jeremy Mitchell: It went so quickly. Paul Marden: Oh, yes. You get in the zone don't you? Jeremy Mitchell: You get in the zone. But it flowed and Louise was great. Louise had done the bulk of the. The work. She prepared the presentation that visually told the story of the exhibition and its outcomes and impacts. And I filled in the boring book, I call it the BBC, the boring but crucial. How we funded it, how we organised the project, management around it, the planning and getting buy in from the rest of the trustees at the beginning, because it was potentially a big financial commitment if we hadn't been able to fund it. Paul Marden: Isn't it interesting? So coming to an event like this is always. There's always so much to learn, it's always an enriching experience to come. But it's a great opportunity, isn't it, for a small museum and art gallery such as Petersfield? It feels a little bit like you're punching above your weight, doesn't it, to be invited onto this stage to talk about it. But really you're telling this amazing story and it's of interest to everybody that's here. Jeremy Mitchell: We want to share it. If we've been able to do it, then why can't they? Why can't you? Why can't we all do it? And yes, you need the story, but if you dig deep enough, those stories are there. Paul Marden: Absolutely, Absolutely. One of the things that is a real common conversation here, M and H, is looking forward, crystal ball gazing, talking. There's challenges in the sector, isn't there? There's lots of challenges around funding and I guess as a small museum, you must feel those choppy waters quite acutely. Jeremy Mitchell: Definitely. I mean, we're an independent museum, so we're not affected by spending cuts because we don't get any funding from that area. But the biggest challenge is from the funding perspective. Yes, we have a big income gap every year that we need to bridge. And now that so much more of the sector is losing what was its original core funding, they're all fishing in the same pond as us and they've got. Invariably they've got a fundraising team probably bigger than our entire museum team, let alone the volunteer fundraiser that we've got. So, yes, it is a challenge and you are having to run faster just to stand still. The ability to put on an exhibition like Peggy Guggenheim shows that we are worth it. Paul Marden: Yes, absolutely. Jeremy Mitchell: And the Guggenheim was funded by Art Fund Western loan programme and an Arts Council project grant. And it was a large Arts Council project grant. Paul Marden: So although everyone's fishing in the same pond as you're managing to yeah. To stretch my analogy just a little bit too far, you are managing to. To get some grant funding and. Jeremy Mitchell: Yes. Paul Marden: And lift some tiddlers out the pond. Jeremy Mitchell: Yes. But it was quite clear that with Peggy it was a story that had to be told. Paul Marden: So we talked a little bit about challenging times. But one of the big opportunities at M and H is to be inspired to think about where the opportunities are going forwards. You've had a day here today. What are you thinking as inspiration as next big things for Petersfield Museum. Jeremy Mitchell: I'm finding that really difficult because we're small, we're a small site, Arkansas, I think has got to be a way forward. I miss the talk. But they're all being recorded. Paul Marden: Yes. Jeremy Mitchell: So I shall be picking that one up with interest. But AR is something. We've got police cells. Well, we've got a police cell. Paul Marden: Okay. Jeremy Mitchell: Now, wouldn't it be great to tell an augmented reality story of Victorian justice to kids? Paul Marden: Yes. Jeremy Mitchell: While they're sat in a victory in a Victorian police cell on a hard wooden bench. That is the original bench that this prisoners would have slept on. Paul Marden: I've done enough school visits to know there's enough kids that I could put in a jail just to keep them happy or to at least keep them quiet whilst the rest of us enjoy our visit. Yes. I feel like I need to come to Petersfield and talk more about Peggy because I think there might be an entire episode of Skip the Queue to talk just about putting on a big exhibition like that. Jeremy Mitchell: Yeah, no, definitely. If you drop me an email you can skip the queue and I'll take you around. Paul Marden: Oh lovely, Rachel, welcome to Skip the Queue. You join me here at M and H show. And we've taken over someone's stand, haven't we? I know, it feels a bit weird, doesn't it? Rachel Kuhn: I feel like we're squatting but I. Paul Marden: Feel a little bit like the Two Ronnies, cuz we're sat behind the desk. It's very strange. Which one are you? Anyway, just for listeners. Introduce yourself for me. Tell listeners what it is that you do at BOP Consulting. Rachel Kuhn: Yeah, so I'm Rachel Kuhn, I'm an associate director at BOP and we specialise in culture and the creative economy and kind of working across everything that is to do with culture and creative economy globally. But I lead most of our strategy and planning projects, particularly in the UK and Ireland, generally working with arts, heritage, cultural organisations, from the very earliest big picture strategy through to real nitty gritty sort of operational plans and outside of bop. I'm a trustee for Kids in Museums, where we love to hang, and also a new trustee with the Postal Museum. Paul Marden: Given what you do at bop, this must be like the highlight of the year for you to just soak up what everybody is doing. Rachel Kuhn: I love it. I mean, it's so lovely just going around, chatting to everybody, listening in on the talks and I think that spirit of generosity, you know, like, it just comes across, doesn't it? And it just reminds me why I love this sector, why I'm here. You know, everyone wants to, you know, contribute and it's that whole sort of spirit of what do they say? We know when the tide rises, so do all the boats or all the ships. And I feel like that's the spirit here and it's lovely. Paul Marden: It is such a happy place and it's such a busy, vibrant space, isn't it? What have been the standout things for you that you've seen today? Rachel Kuhn: I think probably on that spirit of generosity. Rosie Baker at the founding museum talking about the incredible work they've done with their events, hires, programmes. Obviously got to give a shout out to the Association of Cultural Enterprise. I've been doing a lot of hanging out there at their stage day. So Gurdon gave us the rundown of the benchmarking this morning. Some really good takeaways from that and Rachel Mackay, I mean, like, obviously. Paul Marden: Want to go into. Rachel Kuhn: You always want to see her. Really good fun, but lovely to hear. She's talking about her strategy, the Visitor Experience strategy. And you know what, I spend so much time going into places looking at these sub strategies, like visual experience strategies that just haven't been written in alignment with the overall strategy. So it's lovely to see that linking through, you know, and obviously I'm from a Visitor Experience background, so hugely passionate about the way that Visitor Experience teams can make visitors feel the organization's values. And that alignment was really impressive. So, yeah, really lovely and loads of great takeaways from all those talks. Paul Marden: I will just say for listeners, all of these talks have been recorded, so everyone's going to be able to download the materials. It take a couple of weeks before they were actually published. But one of the questions that I've asked everybody in these vox pops has been, let's do some crystal ball gazing. It's. It stinks at the moment, doesn't it? The, the, the economy is fluctuating, there is so much going on. What do you see 6 to 12 month view look like? And then let's really push the boat out. Can we crystal ball gaze maybe in five years? Rachel Kuhn: Yeah.  I mean, look, I think the whole problem at the moment and what's causing that sort of nervousness is there's just a complete lack of surety about loads of things. You know, in some ways, you know, many organisations have welcomed the extension for the MPO round, the current round, but for many, you know, that's just pushed back the opportunity to get in on that round that little bit further away. It's caused that sort of nervousness with organisations are having to ride on with the same funding that they asked for some years ago that just doesn't, you know, match, you know, and it's actually a real time cut for them. Paul Marden: Absolutely. Rachel Kuhn: So I think, very hard to say, I don't know that there's much I can say. I feel like as at sea as everyone else, I think about what the landscape looks like in the next six months, but I think that never has there been, you know, a better time than something like this like the M and H show. You know, this is about coming together and being generous and sharing that information and I think reaching out to each other and making sure that we're sort of cross pollinating there. There's so much good stuff going on and we've always been really good at that and I think sometimes when we're feeling a bit down, it feels like, oh, I just don't want to go to something like this and meet others and, you know, get into a bit of a misery cycle. Rachel Kuhn: But actually it's so uplifting to be at something like this. And I think, you know, what we've seen here is at the show today, I think, is organisations being really generous with their experience and their expertise. Suppliers and consultants and supporters of the sector being really generous with their time and their expertise and actually just shows just spending a bit of time with each other, asking things of each other. We've just got loads of stuff to share and we're all really up for it. And I think that generosity is so critical and I mean, obviously I'm going to plug, I've got to plug it. Rachel Kuhn: So, you know, if you are a supplier, if you are a commercial business working in this sector, it might be tough times for you, but it's certainly nowhere near as hard as it is for the arts and cultural heritage organisations in the sector. You know, reach out to them and see how you can support them and help them. I mean, you and I have both been on a bit of a drive recently to try and drum up some sponsorship and corporate support for kids in museums who, you know, an Arts council MPO who we're incredible, incredibly proud to represent and, you know, do reach out to us. If you've been thinking, oh, I just want to sponsor something and I'd love to sponsor us. Paul Marden: Exactly. I mean, there's loads of opportunities when you take kids in museums as an example, loads of opportunities for. And this is what Arts Council wants us to do. They want us to be more independent, to generate more of our own funding and we've got a great brand, we do some amazing work and there's lots of opportunities for those commercial organisations who align with our values to help to support us. Rachel Kuhn: So I think you asked me there about what's in the next year. So next year, six months, I don't know is the answer. I think it's just a difficult time. So my advice is simply get out there, connect, learn from each other, energise each other, bring each other up. Let's not get into that sort of doom cycle. That's very easy next five years. You know what, I've had some really interesting meetings and conversations over the last. Well, one particularly interesting one today, some other ones about some funds that might be opening up, which I think is really exciting. You know, we've seen this really big challenge with funding, you know, slowing funding going in much larger amounts to a smaller number of large organisations and that causes real problems. But I think there might be a small turnaround on that. Rachel Kuhn: I'm not crumbs in the earth. I think it's still tough times. But that was really exciting to hear about. I'm also seeing here at the show today. I've been speaking to a lot of suppliers whose their models seem to be shifting a lot. So a lot more opportunities here where it requires no investment from the attraction and a lot more sort of interesting and different types of profit share models, which I think is really interesting. So I think the other thing I'd say is if you're an attraction, don't discount partnering some of these organisations because actually, you know, go and talk to them. Rachel Kuhn: Don't just, don't just count them out because you think you haven't got anything to invest because many of them are visiting new models and the couple that I've spoken to who aren't, learn from your competitors and start doing some different models. And I think that's been really interesting to hear some very different models here for some of the products, which is really exciting. Paul Marden: It is really hard sitting on the other side of the fence, as a supplier, we need cash flow as well. We've got to pay bills and all of those sorts of things. But you're right, there are interesting ways in which we all want to have a conversation. As you say, don't sit back afraid to engage in the conversation because you've got nothing to invest, you've got an important brand, you've got an audience. Those are valuable assets that a supplier like us would want to partner with you to help you to bring a project to life. And that might be on a rev share model, it might be on a service model. There's lots of different ways you can slice it and dice it. Rachel Kuhn: And going back, on a closing note, I suppose, going back to that generosity thing, don't think because you haven't got any money to commission, you know, a supplier to the sector or a commercial company, that you can't reach out to them. Like, you know, we are in this because we really want to support these organisations. This is our passion. You know, many of us are from the sector. You know, I will always connect somebody or introduce somebody or find a way to get a little bit of pro bono happening, or, you know, many of my colleagues are on advisory committees, we're board members. And I think that's the same for so many of the companies that are, like, working with the sector. You know, reach out and ask for freebie, you know, don't ask, don't get. Paul Marden: Yeah, exactly. Rachel, it is delightful to talk to you as always. Thank you for joining us on Skip the Queue and I am sure, I'm sure we'll make this into a full episode one day soon. I do say that to everybody. Rachel Kuhn: Thanks so much. Lovely to speak to you. Paul Marden: Andy. Andy Povey: Paul.Paul Marden: We've just walked out of the M and H show for another year. What are your thoughts? Andy Povey: First, I'm exhausted, absolutely exhausted. I'm not sure that I can talk anymore because I've spent 48 hours having some of the most interesting conversations I've had all year. Paul Marden: No offence, Tonkin. Andy Povey: You were part of some of those conversations, obviously, Paul. Paul Marden: I was bowled over again by just the sheer number of people that were there and all those lovely conversations and everybody was just buzzing for the whole two days. Andy Povey: The energy was phenomenal. I worked out that something like the 15th show, M & H show that I've been to, and I don't know whether it's just recency because it's sitting in the far front of my mind at the moment, but it seems like this was the busiest one there's ever been. Paul Marden: Yeah, I can believe it. The one thing that didn't change, they're still working on Olympia. Andy Povey: I think that just goes on forever. It's like the fourth Bridge. Paul Marden: Talks that stood out to you. Andy Povey: I really enjoyed interpretation One led by the guy from the sign language education company whose name I can't remember right now. Paul Marden: Yeah, Nate. That was an amazing talk, listeners. We will be getting him on for a full interview. I'm going to solve the problem of how do I make a inherently audio podcast into something that's accessible for deaf people? By translating the podcast medium into some sort of BSL approach. So that was the conversation that we had yesterday after the talk. Andy Povey: I know. I really look forward to that. Then, of course, there was the George and Elise from Complete Works. Paul Marden: I know. They were amazing, weren't they? You couldn't tell at all that they were actors. Do you know, it was really strange when George. So there was a point in that talk that George gave where we all had a collective breathing exercise and it was just. It was. It was so brilliantly done and were all just captivated. There must have been. I rechon there was 100 people at theatre at that point. Absolutely. Because it was standing room only at the back. And were all just captivated by George. Just doing his click. Very, very clever. Andy Povey: But massively useful. I've seen the same thing from George before and I still use it to this day before going on to make a presentation myself. Paul Marden: Yeah, yeah. Andy Povey: Just grounding yourself, centering yourself. Well, it's fantastic. Paul Marden: Yeah. But the whole thing that they were talking about of how do we create opportunities to have meaningful conversations with guests when they arrive or throughout their entire experience at an attraction so that we don't just talk about the weather like we're typical English people. Andy Povey: That's great, isn't it? Go and tell a Brit not to talk. Talk about the weather. Paul Marden: But training your staff makes absolute sense. Training your staff to have the skills and the confidence to not talk about the weather. I thought that was really interesting. Andy Povey: It's an eye opener, isn't it? Something really simple, but could be groundbreaking. Paul Marden: Yeah. Andy Povey: Then what was your view on all of the exhibitors? What did you take away from all the stands and everybody? Paul Marden: Well, I loved having my conversation yesterday with Alan Turing. There was an AI model of Alan Turing that you could interact with and ask questions. And it was really interesting. There was a slight latency, so it didn't feel quite yet like a natural conversation because I would say something. And then there was a pause as Alan was thinking about it. But the things that he answered were absolutely spot on, the questions that I asked. So I thought that was quite interesting. Other exhibitors. Oh, there was a lovely point yesterday where I was admiring, there was a stand doing custom designed socks and I was admiring a design of a Jane Austen sock and there was just somebody stood next to me and I just said, "Oh, Jane Austen socks." Paul Marden: Very on Trend for the 250th anniversary of Jane Austen, that all of the museums in Hampshire will be buying those up. And should funnily you should say that I'm the chief executive of Chawton Park House, which is one of the museums in the last place that Jane Austen lived. So very interesting, very small world moment at that point. Andy Povey: I do, it's almost an oxymoron to talk about Jane Austen socks. I don't imagine her having worn anything with nylon or Lycra in it. Paul Marden: Very true. I hadn't tweaked that. Andy Povey: There was a lot of AI there wasn't there AI this, AI that. Paul Marden: And there were some really good examples of where that is being used in real life. Yeah, yeah. So there were some examples where there's AI being used to help with visitor counts around your attraction, to help you to optimise where you need to put people. I thought that Neil at Symantec just talking about what he called answer engine optimisation. That was interesting. There were some brilliant questions. There was one question from an audience member asking, are there any tools available for you to figure out whether how well your organisation is doing at being the source of truth for AI tools? Andy Povey: Yeah, yeah. So almost like your Google search engine ranking. Paul Marden: But exactly for ChatGPT. Andy Povey: And have you found one yet? Paul Marden: No, not yet. There's also quite a lot of people talking about ideas that have yet to find a home. Andy Povey: Yes. What a very beautiful way of putting it. Paul Marden: The people that have. That are presenting a topic that has yet to get a real life case study associated with it. So the rubber hasn't yet hit the road. I don't think on that. Andy Povey: No. I think that's true for an awful lot of AI, isn't it? Not just in our sector. Paul Marden: No. Andy Povey: It's very interesting to see where that's all going to go. And what are we going to think when we look back on this in two or three years time? Was it just another chocolate teapot or a problem looking for a solution? Or was it the revolution that we all anticipate. Paul Marden: And I think it will make fundamentals change. I think it's changing rapidly. But we need more real case studies of how you can do something interesting that is beyond just using ChatGPT to write your marketing copy for you. Andy Povey: Yeah, I mean it's all about putting the guest at the front of it, isn't it? Let's not obsess about the technology, let's look at what the technology is going to enable us to do. And back to the first part of this conversation, looking at accessibility, then are there tools within AI that are going to help with that? Paul Marden: Yeah, absolutely. So there was definitely. There was an interesting talk by Vox. The people that provide, they provide all of the radio boxes for everybody to wear at M and H that provides you with the voiceover of all of the speakers. But they use this technology across all manner of different attractions and they were talking about using AI to do real time translation of tours. So you could. Andy Povey: Very interesting. Paul Marden: Yeah. So you could have an English speaker wandering around doing your tour and it could real time translate up to. I think it was up to four languages. Andy Povey: BSL not being one of those languages. Paul Marden: Well, no, they were talking about real time in app being able to see subtitles. Now, I don't know whether they went on to say you could do BSL. And we know from the other presentation that not everybody that is deaf is able to read subtitles as fast as they can consume sign language. So it's important to have BSL. But there were some parts of that Vox product that did it address deaf people. It wasn't just multilingual content. Andy Povey: So AI people, if you're listening, you can take the idea of translating into BSL in real time and call it your own. Paul Marden: Yeah, we very much enjoyed hosting our theatre, didn't we? That was a lot. And Anna, if you are listening, and I hope you are, because lots of people have said very nice things in this episode about M and H. Andy and I would love to come back next year. Andy Povey: Absolutely. Paul Marden: And host a theatre for you. Any other thoughts? Andy Povey: Just really looking forward to the rest of the week off. Yeah, it's a sign of a good show when you walk away with all that positive feeling and that positive exhaustion and you probably need a week to reflect on all of the conversations that we've had. Paul Marden: Yeah, absolutely. Next up we is AIM Conference at Mary Rose in June. I can't wait very much. Looking forward to that. Thank you ever so much for listening. We will join you again in a few weeks. See you soon. Bye Bye. Andy Povey: Draw.Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

Épisode 1315 : Si vous avez dévoré “Le Jeu de la dame” et que vous avez toujours eu envie de comprendre le mystère des échecs, cet épisode est fait pour vous !Les échecs sur les réseaux en quelques chiffresLe Sun estime que 605 millions de personnes dans le monde jouent aux échecMark zuck à mis des billes dans l'application take take take qui permet aux joueurs de tous niveaux de jouer des partiesEn Avril le Times racontait que Les ventes de plateaux d'échecs dans la chaîne de magasins Selfridges au Royaume Uni ont augmenté de 260 % en un anLes sites d'échec sont les nouveaux sites de poker en ligneLes plateformes comme Chess.com et Lichess ont rendu les échecs accessibles à tous, partout dans le monde, à toute heure. De 2010 à 2022, Chess.com, la plateforme dominante dans le monde, a annoncé être passée de un à cent millions d'utilisateurs. Et, de 200 millions de parties jouées par mois en 2020, elle est passée à plus de 600 millions par mois en 2024—Cette accessibilité immédiate a permis à de nouveaux publics de découvrir et pratiquer le jeu.Le renouveau des échecs est aussi lié à l'influence de la pop cultureLe Jeu de la Dame (The Queen's Gambit, Netflix, 2020)Cette mini-série phénomène a été un déclencheur mondial : elle raconte l'ascension d'une jeune prodige des échecs dans l'Amérique des années 1950-60. Son immense succès a entraîné une hausse spectaculaire des ventes d'échiquiers et du nombre d'inscriptions sur les plateformes de jeu en ligneRematch (Arte, 2024)Cette série dramatique retrace le célèbre affrontement entre Garry Kasparov et l'ordinateur Deep Blue, abordant à la fois la stratégie du jeu d'échec et les enjeux humains et technologiques du duel. —Et la vague échec frappe aussi les créateurs de contenuInoxtag vient de sortir une vidéo dans laquelle 10 steamers s'affrontent aux échecs. On y retrouve des stars comme Kameto, Etoile, Maxime Biaggi… La vidéo vient d'être posté et dépasse déjà le million de vues.Le monde des échecs a aussi ses propres stars. Parmi elles, les soeur Botez.Alexandra et Andrea, vingt-six et vingt ans. 2 américaines qui casse Twitch et Youtube avec leur vidéo de parties d'échec. Plus d'1 million d'abonnés sur Twitch et quasi 2 million sur YouTube.Retrouvez toutes les notes de l'épisode sur www.lesuperdaily.com ! . . . Le Super Daily est le podcast quotidien sur les réseaux sociaux. Il est fabriqué avec une pluie d'amour par les équipes de Supernatifs. Nous sommes une agence social media basée à Lyon : https://supernatifs.com. Ensemble, nous aidons les entreprises à créer des relations durables et rentables avec leurs audiences. Ensemble, nous inventons, produisons et diffusons des contenus qui engagent vos collaborateurs, vos prospects et vos consommateurs. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Welcome to Five Things Friday—your new weekly dose of insights, hosted by Laura & Alex from The Retail Podcast!In this debut episode, we explore:-

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

VTEX: https://vtex.com---Step inside the yellow-bag world of Selfridges as host Paula Macaggi sits down with CTO Ross Beaumont to reveal how a 1906 department store stays at the cutting edge of luxury retail: from “Selfridges Unlocked” keys that trade spend for once-in-a-lifetime experiences, to ReSelfridges buy-back tech fuelling a circular economy, to AI that augments—never replaces—the human touch that turns shoppers into “Very Selfridges People.” Ross lifts the curtain on juggling million-square-foot store ops with next-day delivery, building product-led teams that fail fast but protect customer data, and he explains why he believes Selfridges is less a shop than a cultural destination. Tune in for candid leadership lessons, backstage innovation stories, and proof that confetti cannons, skateboard parks, and Rihanna collabs coexist with rock-solid engineering.

Send us a textWhat happens when you mix an ex-Burberry tech mastermind, a shopaholic podcast host, and a bucketload of insights into the future of digital experiences? You get this week's unmissable episode of Marketing in the Madness!Katie Street sat down with retail innovation guru, Giles Smith. The person behind the scenes behind the digital and product strategies for Burberry, Selfridges, Unilever, John Lewis and 50+ other retail brands. So when we say he lives and breathes retail tech... we really mean it.Here's a sneak peek into what we got stuck into and why you should absolutely tune in:The Burberry Effect - From launching the first luxury eCommerce site back in 2009 to experimenting with social commerce and digital gamification, Giles reveals how the brand has consistently taken brave leaps into the unknown.From 10,000 Page RFPs to Rapid Innovation: At Burberry, Giles led a revolution of ripping up legacy procurement processes and embracing agile, fast decision-making, even choosing underdog platforms before MACH architecture was even a thing.Tech That Actually Feels Fun: Imagine this - you pop into your favourite luxury store while on a trip to NYC and bam! - you're handed NBA tickets just for being a loyal customer. No forms. No points. Just wow.But why aren't brands doing this yet? The technology already exists. The opportunity is right there. It just takes brands being brave enough to actually use it creatively.Oh and yes, Katie and Giles even pitched a few ideas on how British Airways could spice up customer loyalty (golden ticket under the seat, anyone?

In this episode, Dylan sits down with Therese, an expert in wholesale and founder of Small Business Collaborative. They discuss the journey of transitioning product businesses into wholesale, with Therese sharing her background in fashion and sales, and the challenges small brands face. Key insights are provided on readiness for wholesale, curating products for retailers, and effective ways to establish business relationships. Therese also gives real-life examples of how she helped clients succeed in wholesale and offers advice on expanding beyond local markets. In this episode, we discuss:[01:25] Therese's Journey: From Fashion to Wholesale[03:41] Identifying Readiness for Wholesale[05:17] Strategies for Approaching Retailers[09:03] Expanding Beyond Local Markets[17:05] Success Stories and Client ExperiencesConnect with Therese: Instagram: https://www.instagram.com/small_business_collaborative/ Website: https://www.smallbusinesscollaborative.co.uk/ About Therese Oertenblad: Therese Oertenblad, founder of Small Business Collaborative, helps product-based business owners get their amazing creations into retail stores—without the overwhelm. She teaches them how to price for profit, sell with confidence (without the icky sales tactics), and build a strategy that fits into their busy schedules so they can grow their wholesale sales with ease.Before becoming a business mentor and consultant, she spent years selling mass-produced gifts. Now, she works with creative and purpose-driven brands like Studio Wald, Made by Shannon, Claude & Co, Etta Loves, and Hello Day Planner—many of which now grace the shelves of Liberty, Selfridges, Fortnum & Mason, Harrods, Fenwick, and hundreds of independent shops across the UK and beyond.As an introvert, Therese had to figure out how to sell in a way that felt right—without forcing herself to be someone she wasn't. She spent over a decade in sales leadership in th

From Sports Journalist to Game-Changing Inventor - With a Splash of Dancing QueenWhat do you do when your dream job no longer excites you?In the latest episode of the One Precious Life podcast, we meet Dom Cotton, former BBC sports journalist, who spent years covering major sporting events. But when the learning stopped, he didn't settle, he shifted careers. Then, a chance conversation about cycling safety with his now business partner led them to something extraordinary: the invention of a foldable cycling helmet, solving a problem for cyclists.What followed was a seven-year rollercoaster from design challenges and financial struggles to navigating an entirely new world - to now working with Brompton Bikes and their helmets being stocked in Selfridges and Halfords.Dom also opens up about:* Overcoming personal challenges* How exercise fuels both mental and physical wellbeing* The power of networking and staying open to unexpected opportunities* And yes - how he ended up performing in an ABBA tribute bandThis episode is for you if:You're drawn to stories of resilience, reinvention, and risk-takingYou're fascinated by what it really takes to turn an idea into a businessYou want to make the most of your one precious (working) lifeThe One Precious Life podcast talks to people who have found their calling., exploring purpose and meaning through the lens of work. Listen, read, or watch more here: https://bit.ly/m/onepreciouslifeFind out more about Dom's work: https://wearenewlane.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit onepreciouslife.substack.com

Claudia Amaro Euquime é formada em Design de Moda pela Anhembi Morumbi, mas, ainda durante a faculdade, se apaixonou pelo fashion styling e trabalhou em grandes e-commerces no Brasil, como Shop2gether, GEP (antiga dona da Luigi Bertolli, Emme e Cori) e Dafiti. Em 2018, veio a grande virada: uma mudança para a Suécia, onde ela teve que se redescobrir profissionalmente enquanto aprendia dois novos idiomas (inglês e sueco) e buscava espaço na indústria escandinava. Esse período deve ter sido muuuito desafiador, mas Claudia conseguiu furar a bolha da moda na Suécia. Já estabilizada e com amigos em Estocolmo, ela decidiu embarcar em uma nova mudança — agora para Londres, onde finalmente encontrou seu lugar como produtora de moda. Hoje, Claudia atua como freelancer no e-commerce da Selfridges, uma das maiores lojas de departamento do Reino Unido.convidada: https://www.instagram.com/claudia___amaro/ Aprenda inglês com o Moda na Mochila: https://www.modanamochila.com/aprender newsletter: https://modanamochila.substack.com/about Ig: https://www.instagram.com/modanamochila/ Podcasts citadosFashion Stylist e Mercado de Luxo em Londres, com Manuela Solizhttps://open.spotify.com/episode/11IWDytFRteZcXnyQiRfZY?si=169344b4d2a740ac

Exploring the transformative power of perseverance in business. Whether you're a creative entrepreneur just starting out or running an established business, every business owner faces moments of discomfort, uncertainty, and self-doubt. But what if that discomfort isn't a sign of failure? What if it's actually the key to your business's success? Through my own personal experiences I'll guide you through practical strategies to embrace discomfort and turn it into your greatest business asset. We explore how challenges and setbacks are an inevitable part of all our entrepreneurial journies and how they can serve as stepping stones to greater growth, confidence, and sustainable success.   Key Moments: [02:15] The hidden reality behind social media content - why you rarely see the 'messy middle' of business growth [03:27] My personal experience of recording 50 podcast episodes before the fear subsided [06:03] Finding an approach that works for you versus following standard advice [07:34] The relationship between discomfort and meaningful business growth [10:23] My two-year journey to secure a Selfridges concession despite consistent rejection [15:40] Why many stop just before breakthrough happens - four common patterns [19:25] How asking for specific feedback turned rejection into a clear path forward to growth [22:10] The story of landing my first prestigious venue client through persistence [25:43] How to distinguish between productive discomfort and misalignment [30:23] Five practical ways to build persistence into your business framework [34:59] The natural progression from £1,000 to £500,000 projects through incremental growth [38:38] A message for both established and new business owners feeling deflated   Notable Quotes: "The difference between those who eventually succeed and those who don't isn't talent or resources or luck – it's simply the willingness to continue slightly longer than seems reasonable. To push just a bit further when everything in you wants to stop." "What looks like failure is actually just part of the process. Meaningful business success rarely happens overnight - it's built through consistent effort despite discomfort."   Resources Mentioned: Read This Week's Journal Post Website: www.philippacraddock.com Email: news@philippacraddock.com Persistence framework checklist available on our website   Share Your Insights: Have you pushed through something that initially terrified you in your business? Or perhaps you're in an uncomfortable chapter right now? I'd love to hear your experience. Pop over to Instagram for a chat - I will always help where i can and your questions and insights often shape future episodes.   Never Miss an Episode: Subscribe to my weekly newsletter for exclusive business growth insights, behind-the-scenes content, and first access to new offerings,   

TGIT kiddybubs and kiddyboys! We have a jam packed episode this week where we discuss everything and more! 0:00 - We start the episode with our obligatory weekly updates 11:04 - In The Beauty Beat there is a Weleda review and beauty breakups with the split of Huda Beauty and Kayali and the potential sale of Sephora by LVMH 17:57 - Skims and Nike team up to create a new line which prompts a deep dive into other activewear brands including Lapp Brand, Tala, Adanola and Oner Active 35:02 - Steve Madden acquires Kurt Geiger which raises questions on who their target audience is today and a trip down memory lane of our time working in fashion retail 45:06 - New launches include Selfridges and their new loyalty programme and Edward Enninful launches global media and entertainment company EE72 1:00:15 - We conclude with our thoughts on Tyla's British Vogue cover  And if that episode wasn't enough for you, you can sign up to our Patreon for for extra exclusive episodes www.patreon.com/styleandcitydiares You can find us here... Instagram: @Styleandcitydiaries / @prinnyraee / @amberleaux / @prinnyxamber Twitter: @Stylecitydiary / @prinnyrae / @amberleaux Tiktok: @Styleandcitydiaries / @prinnyrae_ / @amberleaux Youtube: Prinny and Amber Email: info@styleandcitydiaries.com www.styleandcitydiaries.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep 178 Masters of the Market, Elevating Small Businesses with Salad Days Market founders Daisy & Liv Tinker In this week's episode of Start Scale Succeed I chat with Liv & Daisy, the innovative founders behind Salad Days Market, a vibrant pop-up market showcasing the best of small businesses in London. With their unique backgrounds in fashion and retail, they share their journey from working in the fashion industry to creating their own dream events. They discuss the importance of craftsmanship, creativity, and passion in the brands they work with, and how they have successfully connected with a diverse customer base. From hosting successful events at iconic locations like Selfridges and the Shard to adapting to the ever-changing trends with agility, the duo highlights the power of resilience and community building in scaling a successful business. They also offer actionable insights and advice for small brands looking to exhibit at markets or run their own events, emphasizing the significance of preparation, customer engagement, and maintaining a clear vision. Join us as we delve into the world of markets and entrepreneurship, powered by the spirit of innovation and dedication to supporting small enterprises. Tune in to hear their tips on selling and exhibiting at markets and much more Guests Daisy & Liv Tinker founders of the curated markets salad days Salad days Markets have become a beacon for shopping small, fostering positivity, community, and connection. They have hosted over 80 markets at London's most iconic landmarks, including Selfridges, Battersea Power Station, The Hoxton Hotel, Dulwich Picture Gallery, and The Shard. Collaborations with thousands of remarkable small businesses have been a hallmark of their success. Their achievements have been featured on the news, on the front page of a newspaper, and they have even received an award. It has been a remarkable few years. And they are not stopping now! Salad days is on a mission to infuse this energy into the struggling world of retail, eagerly anticipating what the future holds https://saladdaysmarket.co.uk/ https://www.instagram.com/saladdaysmarketlondon/ https://saladdaysmarket.co.uk/newsletter-signup https://saladdayslondon.substack.com/ Host Nicole Higgins The Buyer and retail coach Nicole Higgins Links https://www.instagram.com/thebuyerandretailcoach/ https://www.linkedin.com/in/nicolehigginsuk/ https://thebuyerandretailcoach.com/ https://thebuyerandretailcoach.com/newsletter-sign-up/ https://thebuyerandretailcoach.com/free-discovery-call/ https://thebuyerandretailcoach.com/blog/ Sponsor Neon Digital Clicks Are you ready to scale your ecommerce store?This episode is brought to you by Neon Digital Clicks, the agency dedicated to helping kids’ and family brands achieve explosive growth with high-performing digital marketing campaigns. Neon’s new Runway to Results programme is a revolutionary paid-advertising service that will help you understand your brand’s true potential and reach the heights of success you dream of. For 60 days, Neon’s expert team will test and optimise your Meta and Google ad accounts to establish your business KPIs and optimum Cost Per Acquisition. At the end of the Runway period, they’ll analyse your data to establish what profitable scaling looks like and arm you with knowledge, confidence and a clear plan for the next phase of your growth. If you’re ready to elevate your e-commerce game, Neon is the navigator you need on your flight deck. https://runwaytoresults.com/ https://neondigitalclicks.co.uk/

Seetal Solanki describes herself as a materials translator and has been in the vanguard of material thinking since she launched her practice, Ma-tt-er, in 2015. Three years later she produced the hugely influential book, Why Materials Matter, and she has gone on to work with a variety of brands, including Nike, Selfridges and Potato Head in Bali, as well as teaching at institutions such as Central Saint Martins (where, incidentally, she graduated from the Textile Futures MA)  and the Royal College of Art. Her latest project saw her joining forces with designer Jorge Penades in Madrid for Uprooted, an exhibition that explored Spain's olive oil industry. In this episode, we talk about: helping people build a relationship with materials; why she's working with olive tree roots; interviewing materials; her fascination with cookery (and her love of a cheese soufflé); growing up in Leicester and feeling rejected from her home city; the spiritual side of materials; being ‘broken' by Central Saint Martins as a student; material discrimination; how her practice was built on frustration; and why she's in a hopeful place. Support the show

Join us to celebrate 5x15's fifteenth birthday! To mark the occasion, we'll be back at The Tabernacle in February for a very special evening, featuring a truly stellar line-up of speakers: Harriet Walter, John Crace, Jonathan Freedland, Theresa Lola and Chloe Dalton. Expect captivating stories about Shakespeare's women, as reinterpreted by a beloved classical actress; the inspiring work of a German Jewish author writing during the Second World War; poetry and diasporic experience; a transformative encounter with an injured hare in the countryside and a satirical look at British politics - from the point of view of Herbie the dog. Theresa Lola is a poet, writer, and creative practitioner. She was the appointed Young People's Laureate for London in the year 2019-20. In 2018 she was the co-winner of the Brunel International African Poetry Prize. Her work is included in the OCR's GCSE English Literature syllabus. As a practitioner she infuses poetry to deliver creative outcomes. She has worked on projects by the National Gallery, Dulwich Picture Gallery, and presented an audio documentary on BBC Radio 4. She has been commissioned by Selfridges, Rimowa, and Hush. Her second poetry collection, Ceremony for the Nameless (2024), is published by Penguin. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

Giuseppe Baidoo is a visionary entrepreneur and the CEO and co-founder of Gusto Snacks, an award-winning brand dedicated to reducing food waste while enhancing consumer well-being. Despite securing partnerships with major retailers like Selfridges and WH Smith, his journey has come with challenges - most notably seeing his concept replicated by a major retailer. With a background in product design and a decade of experience in marketing and brand building, he has navigated the highs and lows of entrepreneurship with resilience and innovation. We dive into his story, the lessons he's learned, and the realities of protecting your ideas in the industry.Links:www.snackgusto.com   debbiewilliamspodcast.comSupport the show

“I think my piece of advice would be to take a real honest, hard look at…either yourself or your business. If you are communicating that you want to be a customer-centric company or organisation, then take a real honest hard look at, are we actually that?”   In episode #804 of the Inspiring Women in CX podcast, Clare is joined by CX Consultant Joanna Carr for a candid and insightful discussion on customer experience strategy, the pitfalls of “CX-washing”, and the reality of delivering on brand promises.    Joanna shares her career journey, from beginning behind the tills in Tesco to shaping CX at retail giants including Estee Lauder, Selfridges and Rituals. She also reflects on the community's pivotal role in her transition to CX consulting, proving the power of connection and support.   Clare and Joanna unpack real-world CX failures, from frustrating self-service checkouts to rigid corporate policies that hinder customer satisfaction. They discuss the critical importance of aligning operating models with CX strategy and ensuring that technology is a tool to enhance, not replace human connection.   This conversation serves as a powerful reminder that creating a seamless customer experience isn't by accident—it takes intention, investment, and a genuine commitment to turning brand promises into reality.   The episode wraps up with a compelling call to action: businesses must take an honest, reflective look at their customer-centricity and ensure they don't make promises they can't keep.  

Today I sit down with a great mate and creative powerhouse, Nik Robinson, whose career has spanned radio broadcasting, creative direction, donut making, and lecturing. But it's his latest venture that truly stands out. In 2018, Nik, alongside his wife Jocelyne and their young sons Harry and Archie, co-founded Good Citizens—a purpose-driven company on a mission to “untrash the planet” by turning single-use plastic bottles into stylish, 100% recycled eyewear frames, all made in Sydney.After 752 days and 2,503 failed attempts, Good Citizens launched in 2020 and quickly became Australia's most awarded eyewear brand, even earning a window display next to Prada at Selfridges in London. What's unique? The kids have a 50% say in all major decisions, proving that big ideas—and leadership—can come from anywhere.In this episode, Nik shares the rollercoaster journey of building a sustainable business from the kitchen table to the global stage, including lessons in resilience, creativity, and the power of family-led change. I can't wait for you to meet him and hear more of his fascinating story. Key Takeaways:Reinvention is a continuous journey that involves multiple career transitionsCreativity and problem-solving are at the heart of successful reinventionEmbracing fear and stepping out of comfort zones can lead to personal growthFamily support is crucial when navigating the challenges of entrepreneurshipPurpose-driven work can provide deeper fulfillment beyond financial successLearning from failures is essential for growth and innovationAuthenticity in business helps build trust and connection with customersCommunity engagement can amplify the impact of a businessThe process of creating something new can be as rewarding as the end productFinding joy in small victories can sustain motivation during tough timesFor more information about Nik & Good Citizens, check out these places;-Website: Good CitizensInstagram:   Good CitizensLinkedin: Nik RobinsonHead to michellejcox.com for more information about the ONE QUESTION podcast, your host or today's guestsConnect with Michelle on Linkedin here:- @MichelleJCoxConnect with Michelle on Instagram here:- @michellejcoxConnect with Michelle on Facebook here - @michellejcoxAND, if you have a burning topic you'd love people to talk more about, or know someone who'd be great to come on the One Question podcast, please get in touch;-

Karin Leiberg ist Director Brand Activation & Strategy bei der Stuttgarter Content Marketing-Agentur Liganova und weiß, wie Marken und Händler in ihren Stores Kunden begeistern können. Im Gespräch mit TW-Host Judith Kessler gibt Karin Leiberg Best Practice-Beispiele von Ikea, Hoka bis Netflix und Selfridges, die zeigen, wie kreative Lifestyle-Welten auf Marke und Community einzahlen.

Selling any product is a skill but selling a product with a luxury price tag is a nuanced skill. As this season is focused on sales I wanted to interview people with experience in differentiating their product in a crowded market & find out how they managed to sell it.Molly Goddard & Joel Jeffery co-founded the luxury pyjama brand Desmond & Dempsey in 2014. Over a decade the couple has redefined the concept of luxury sleepwear & secured listings in Harrods, Harvey Nichols & Selfridges very early on in their business. Keep listening to hear Molly & Joel's advice on how they tackled sales.Molly and Joel's Advice:Impart your message (in their case the benefits of relaxation) with positivity; buying this product is a treat for yourself, it's all about funIt's one thing to love your product but you must take sales seriouslyEnjoy the art of selling!  Share news of your product as widely as you can, and always in an optimistic wayPay attention to the market and always note customer preferencesAsk your clients questions, constantly monitor their tastes and their attitudesBe aware of daily sales; if you can achieve wholesale orders this will give you the freedom to take out loansWhen selling to retail clients, find your niche in the marketUse instagram / a website / word of mouth / email your customersPR will pay off and is a valuable toolBranding is important; while obviously the product must be good, you also need to make your customers feel special.  This is often achieved with some extra-special packagingYour customers are buying an expensive product and they should feel excited by both the purchase and the product, the anticipation and the realityFF&M enables you to own your own PR & produces podcasts.Recorded, edited & published by Juliet Fallowfield, 2023 MD & Founder of PR & Communications consultancy for startups Fallow, Field & Mason.  Email us at hello@fallowfieldmason.com or DM us on instagram @fallowfieldmason. FF&M recommends: LastPass the password-keeping site that syncs between devices.Google Workspace is brilliant for small businessesBuzzsprout podcast 'how to' & hosting directoryCanva has proved invaluable for creating all the social media assets and audio bites.MUSIC CREDIT Funk Game Loop by Kevin MacLeod.  Link &  LicenceText us your questions for future founders. Plus we'd love to get your feedback, text in via Fan MailSupport the show

November is synonymous with Black Friday, great deals but what cost? Over consumption is endangering our already fragile planet. Is it time to change our ways? This week Do You Really Know is highlighting concepts and initiatives about reducing our consumption. You might have heard of ‘reduce, reuse, recycle' a motto with the aim of encouraging us to think about how we consume and consider the impact that buying lots of stuff has on the planet. But now the high end department store Selfridges has launched a new campaign, ‘Project Earth' to try and change the way we shop: resale, repair, rental and refill is their response to customers' growing demands for sustainable shopping and move away from fast fashion and disposable goods. What is the aim? How will it work? What other changes has Selfridges planned? In under 3 minutes, we answer your questions ! To listen to the latest episodes, click here: How can I stay trendy buying only second hand clothes? What are the best ways to reuse my household waste? What is premium mediocre - the illusion of luxury? A Bababam Originals podcast written and realised by Amber Minogue. First Broadcast: 4/10/2022 Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the many traditions in London at Christmas is to visit the capital's festive lights. People travel from across the world to enjoy the colourful and eye-catching Christmas window displays along Oxford Street, one of London's main shopping roads. Andrea Kidd goes behind the glitter and tinsel with the teams at the flagship department store Selfridges, as they prepare to reveal their Christmas windows to the public for the first time. The concept is More the Merrier this year and senior lead of the windows team, Bobbie Tree, along with the production, styling and design teams, work with renowned artists Andrew Logan and Charles Jeffreys, to create vibrant and flamboyant window displays for the millions of people who walk past.

The next few guests on the podcast are the founders of brands that I have invited to be a part of the Caro Pop-Up running for 2 weeks, starting on the 7th December in The Space in Bruton.Katie Leamon, was the first stationery brand I bought for Caro. Introduced to me by a mutual friend, I remember the eponymous marble collection selling out extremely fast. You can now find her greetings cards, wrap and notebooks in a number of luxury stores across the world including Harrods, Fortnum & Mason & Selfridges as well as many independent shops.We meet online and talk about the beginnings of her business - catapulted in 2010, after Liberty picked her up at one of their Open call days. We chat about how she's grown her brand and seen various iterations of what that looks like as well as where Katie Leamon is heading. We chat about the memorabilia that inspires her and how her designs organically evolve with her aesthetic but also her customers. I am excited to introduce her ReLove Christmas Collection to the pop-up, with traditionally illustrated fathers Christmas', reindeer and snow-topped cottages - it truly brings that nostalgic feeling we all love at this time of year. Hosted on Acast. See acast.com/privacy for more information.

Antonello Benati e Vera Drossopulo, co-founder di Manebì, hanno un background nell'investment banking con una laurea alla Bocconi. Ma nel 2013 hanno deciso di lasciare la carriera avviata per puntare tutto su un'idea ambiziosa: trasformare un prodotto tradizionale come l'espadrilla in un brand globale di lifestyle. Oggi Manebì ha un fatturato tra i 15 e i 20 milioni annui, ed è presente in 300 punti vendita in tutto il mondo tra store di proprietà in punti strategici come Portofino, St.Tropez, mykonos, e retailer come Harrods, Selfridges, Neiman Marcus e Rinascente.  Manebì è nato in modalità bootstrap, finanziato con i risparmi dei fondatori e da banche. Solo in una seconda fase è entrato in scena Milano Investment Partners, investendo nella società per supportare l'espansione a livello internazionale. A Febbraio 2024 MIP ha venduto le sue quote a Evoco, un fondo di private equity, entrato ora nel board insieme ad Angelo Moratti, supporter di Manebì dal giorno uno. Durante l'intervista, Antonello e Vera ci hanno raccontato come: Sfruttare strategicamente i social media, collaborazioni con influencer e partnership chiave, come quella con Alex Rivière, per costruire una brand awareness forte Espandere un brand monoprodotto per superare i limiti di stagionalità e diversificarsi con abbigliamento e accessori Affrontare le sfide e le opportunità del mondo retail SPONSOR

What does it take to create a shopping experience that captivates customers around the globe? To answer that question we're diving deep into the minds of two extraordinary leaders in the retail industry. CEO of Le Bon Marché in Paris, Patrice Wagner, and Chairman and CEO of the Selfridges Group in London, André Maeder. Both of these guys began their careers in retail working on the shop floor; selling face-to-face with customers. They express true appreciation for front-line employees, and inherent joy in the process of improving the customer experience. They each rose through the ranks at some of the most prestigious department stores in the world, accumulating a wealth of knowledge and expertise suitable now to uphold the legacies of the aforementioned Le Bon Marché in Paris and Selfridges in London. Each of these stores, in its own way, continuously garners worldwide attention and respect through unique customer engagement that goes far beyond just shopping for clothes. From incredible food offerings to fine art exhibitions and theater performances, to indoor skateparks and celebrity appearances, Patrice and André take big swings and try new things to surprise and delight customers with distinct one-of-a-kind environments. Together they'll share insights into the key focal points of running their businesses, the challenges they face, and an inspiring vision for the future of department stores. Thanks for tuning in to episode 73. We hope you enjoy it! Did you know that YOU can be on The Nordy Pod? This show isn't just a one-way conversation. We want to hear about what Nordstrom looks like through your eyes. Share your Nordstrom experience, good or bad, by giving us a call and leaving a voicemail at: 206.594.0526, or send an email to nordypodcast@nordstrom.com to be a part of the conversation! And, be sure to follow us on Instagram @thenordypod to stay up to date on new episodes, announcements and more.

-Abu Dhabi Surpasses Oslo as the Global SWF Capital-Saudi PIF Acquires 40% Stake in Selfridges-Ejari Raises $14.65M to Scale Up Saudi Arabia's Rent Now, Pay Later Market

In this episode, we are exploring the alchemy, the mystery and the magic of partnerships. For me it is such an intriguing element of creativity and of entrepreneurship. How do they work? Is it about divide and conquer? is it about contrast, connection and friendship? How are decisions made and conflicts resolved? How can you nurture and enliven them in the long term? How do they impact creativity? Can they be more profitable? Faster moving? More impactful? We are very lucky that in this episode we are joined by Arabella Preston and Charlotte Semler co-founders of two brands - Votary and Verden. Both of these brands are elegant, intelligent, considered and clean. Both have strong identities, stories and frankly cult followings. This is the story of a professional relationship that became a friendship. A chance conversation about skincare became a walk around the Selfridges beauty hall and then that moment of 'shall we?'. Skincare brand Votary was launched in 2015 and thrived. Some years later in 2021, Verden was launched offering fragrance for bath, body and home.We are going to explore these two exemplary brands, their story, their interrelationship and the partnership that binds all of this together. So if you have ever had that moment of wondering about someone that you would like to go into business with or if you are ten years down the line and simply interested to know how others share decisions, celebrate their differences and relate to risk and to failure and chance, then this is for you. Votary: www.votary.co.ukVerden: www.verden.world

‘The department store is dying,' Rosemary Hill wrote recently in the LRB, reviewing an exhibition at the Musée des Arts Décoratifs in Paris on the origins of the grands magasins. She joins Tom to talk about their 19th and 20th-century heyday as cathedrals of consumerism as well as places where women could spend time away from home, and away from men, safely and respectably. She also recalls the Christmas she worked in the toy department at Selfridges, demonstrating wind-up bath toys.Sponsored links:Use the code 'LRB' to get £100 off Serious Readers lights here: https://www.seriousreaders.com/lrbFind out more about ACE Cultural Tours: https://aceculturaltours.co.ukSee Maddaddam at the Royal Opera House: https://www.rbo.org.uk/tickets-and-events/maddaddam-details Hosted on Acast. See acast.com/privacy for more information.

In this special on-location episode of the Good Food Podcast, join host Samuel Goldsmith as he sits down with the highly respected chef Jackson Boxer at his renowned restaurant, Brunswick House. Jackson shares insights into his culinary career, his daily routines, and the challenges and joys of being a chef and a father. Listen in to hear Jackson's thoughts on cooking for oneself versus cooking for others, his philosophy on food, and his love for simple yet exquisite dishes. Plus, what do his children think of his cooking, his culinary disasters and his favourite dish. Jackson Boxer began his career as a kitchen porter at the age of 16. He continued to pursue cooking jobs while finishing school and completing a degree in English at Cambridge University. After graduating, he joined the opening team at 32 Great Queen Street. After three years, he left to found Brunswick House at the age of 24, together with his brother Frank Boxer. What was initially intended as a six-month pop-up with a 10-seat counter snack bar and a café atmosphere, has grown into a dining room, bar, terrace, three private dining rooms and the cellars – a nascent speakeasy and dance dungeon. In March 2019, Jackson opened Orasay in Notting Hill, inspired by the western isles of Scotland, and now splits his time between the kitchens of Brunswick House and Orasay as Chef Proprietor. In summer 2023, Jackson joined Cowley Manor Experimental, the Experimental Group's first UK project outside of London, as Chef Consultant for the Cotswolds-based hotel. In September 2023, Jackson opened Jackson Boxer at the Corner restaurant on the second floor of Selfridges, Oxford Street. In 2024, he opened his newest restaurant in Covent Garden, Henri. Subscribers to the Good Food app via App Store get access to the show ad-free, and with regular bonus content such as interviews recorded at the good food show. To get started, download the Good Food app today. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's time for my Mini Mini Pod and this week I'm chatting about some of the products that my Mum and I loved during a visit to Selfridges last week. I'm also talking about the ultimate glow for party season and reiterating how important checking our boobs is!!

If you have a product based business, this week's episode might just be something you have dreamt about—getting your products into major retailers like Selfridges & Co., John Lewis, or Ocado. I've been there myself, and I know how it can feel like a big, distant goal. But today, I'm chatting with Nic Waller, a leading brand buyer who has worked with some of the biggest names in British retail and has helped countless brands, including mine. Nic has worked with brands across the board at Selfridges, John Lewis, M&S, Waitrose and Ocado. She's got a down-to-earth approach, and her advice is practical and easy to apply, no matter what stage your business is at. So, if you've ever wondered how to get your brand noticed by a big retailer, this episode is for you! What We Cover in This Episode: What Retailers Really Look For in Small Brands: It's not about how big your brand is or how many followers you have. Nic shares the key things that actually grab a buyer's attention—things like your story, your product's uniqueness, and how well you align with the retailer's values. How to Approach Retailers Without Feeling Intimidated: I know reaching out to a big retailer can feel scary, but Nic walks us through how to approach them with confidence. From getting your pitch and emails right to knowing when to reach out, she shares the steps to make it easier and less overwhelming. The Importance of Persistence: Landing a deal doesn't happen overnight, and Nic talks about why following up is so important. She also gives tips on how to stay in touch with buyers in a way that feels natural and not pushy. Why Your Size Doesn't Matter as Much as You Think: This is one of my favourite takeaways. Nic reassures us that you don't have to be a big name to get noticed by top retailers. If your product is great and you're clear about what makes you different, you've got a solid chance! Key Takeaways: Buyers are looking for authenticity, innovation, and a good fit with their customer base. Confidence in your pitch and preparation will go a long way when approaching retailers. Persistence is key—keep those relationships alive with consistent follow-ups. You don't need to be a massive brand to land a deal; it's about what you bring to the table. Stay Connected: Instagram: @philippacraddock Email: hello@philippacraddock.com  

In this episode, we delve into how individuals and businesses navigate the complex landscape of digital transformation. According to our IDC report, 88% of organisations revealed that up to 50% of their digital transformation projects in the past year achieved their goals, leaving nearly half falling short. Together with Vanessa Albarran, Delivery Lead for Checkout and Payments at Selfridges, we explore the underlying reasons for this gap. Tune in for a thought-provoking discussion that could reshape your approach to digital innovation!  Looking for more industry-specific insights? Explore more Endava podcasts here. 

The Power of Collaboration in Creative Business Welcome to this week's episode, where we're diving into a topic that has been a true game-changer for me—collaboration. Working with others has not only opened doors to incredible opportunities but has also been key to growing my creative business in ways I couldn't have imagined. In this episode, I'm sharing personal stories from my own collaborations, along with practical tips on how you can make partnerships work for your business. What We Cover in This Episode: The Benefits of Collaboration: We explore why collaboration is so much more than just working together. It's about combining different strengths and perspectives to create something bigger than what you could achieve alone. I share stories from my own experience, including how teaming up with the V&A and Selfridges transformed my brand. Finding the Right Partners: Not every partnership is the right one. I'll explain how to identify collaborators who align with your values and vision, and how those are the partnerships that lead to the most impactful results. Managing Joint Projects: Collaborations can be tricky, so we're discussing how to keep communication clear, define roles, and handle any challenges along the way to ensure a smooth partnership. Leveraging Collaboration for Growth: Once a collaboration is complete, there's so much more you can do. I'll share tips on how to leverage successful partnerships for even more opportunities and long-term growth. Key Takeaways: Collaborating can open up new opportunities and bring fresh perspectives to your business. Finding partners who align with your values and vision is key to a successful collaboration. Clear communication and well-defined roles are crucial for managing joint projects. Successful collaborations can lead to future partnerships and continued growth. Collaboration has been a major driver in my business, and I hope this episode inspires you to explore how working with others can unlock new possibilities for your own journey. Contact Us: Instagram: @philippacraddock Email: hello@philippacraddock.com  Mentioned Resources: As  mentioned at the beginning of the episode, these episodes will help you answer the following questions: What are your core values and vision for your business? LISTEN TO EPISODE 044 What goals are you striving to achieve? LISTEN TO EPISODE 042 And who is your target audience? LISTEN TO EPISODE 033

When shopping, few people think about the complex processes behind smooth payments. Yet, this area is both dynamic and essential, especially for payment systems at some of the world's largest department stores. In this episode, Vanessa Albarran, Delivery Lead for Checkout and Payments at Selfridges reveals how payments affect customer satisfaction in retail and discusses how AI and digital transformation drive change and modernisation across the industry. Tune in now!  Looking for more industry-specific insights? Explore more Endava podcasts here. 

Whilst bricks and mortar retail stores have traditionally been the focus of customer service, with consumers increasingly shopping online, what happens when things go wrong? Join The Shop Flaw host Timothy and Nicole Al Rais of @nicoletalksfashion, who shares her shocking experience with Selfridges online. Having spent in excess of £1000 only to receive an empty box in the post, @namednicole took to Titkok to expess her disatisfaction and the #selfridgesscam viral moment was born... Listen to the story in full here, told exclusively to The Shop Flaw for the first time.

Victoria Omobuwajo, a visionary entrepreneur, is the driving force behind Sunmo, a brand that redefines health-conscious living with its innovative product range.  With a remarkable journey showcasing her tenacity, creativity, and business acumen, Victoria has made a significant impact on both the retail and direct-to-consumer industries.  Victoria's dedication to sustainability and ethical sourcing sets Sunmo apart in the industry. By carefully selecting ingredients from local suppliers and implementing eco-friendly packaging practices, Sunmo has become a champion of environmental responsibility. In an exciting development, renowned chef Gordon Ramsay recognised the immense potential of Sunmo and decided to join forces with Victoria as her business partner. His culinary expertise and strategic guidance have propelled Sunmo to new heights, solidifying its position as an industry frontrunner. As Sunmo continues to captivate palates and revolutionise the food industry, Victoria Omobuwajo remains an inspiration to aspiring entrepreneurs, proving that determination, creativity, and a genuine love for what you do can truly shape the world.   In this Episode Alicia and Victoria discuss:  Her health journey and the motivation behind starting Sunmo. The factors that led her investors to choose and support her. The natural ingredients that contributed to curing her eczema. The process involved in launching Sunmo at Selfridges. What made her brand stand out at their first exhibition. The value and significance of both online and offline branding. Her experience of winning £150K on the Gordon Ramsay show. Connect and Learn more about Victoria and Sunmo here: https://uk.sunmosnacks.com/  https://uk.linkedin.com/in/victoria-omobuwajo-092b1884

Disciplined, Dedicated and a Rationalist. Evren Ozka has long had a strategic eye for business, starting his professional career in textiles and manufacturing. At age 18, he ran his division at his family's textile companies for seven years before beginning Mallet London in partnership with Tommy Mallet. They realized a gap in the market - quality-designed shoes at an achievable price point, and the brand evolved from there. Evren is now Founder and Business Director of Mallet London and spends his time between London and Dubai. Mallet London has played a central role in blurring the lines between sportswear and luxury. Since its launch in 2015, there have been many significant milestones for Evren, all relative to the size and age of the journey. Standout moments for him include the brand's first wholesale order, which was from an independent luxury store, followed by getting stocked in Selfridges and Harrods, then Saks Fifth Avenue in New York and their most recent collaboration with Transport for London (TfL). Evren Ozka finds no better feeling than seeing people out and about wearing Mallet London. Since expanding to the Middle East, he has noticed an appetite for European brands in the region, especially those in the premium and luxury markets. With the ever-growing fashion scene where consumers take pride in their style, he believes that Mallet London's unique designs will resonate with the people of the Middle East.

Welcome to the last of our Copenhagen Fashion Week interviews (if you missed the previous Eps, do go back & take a listen).This one is refreshingly honest conversation with Danish knitwear designer Amalie Røge Hove about her much-loved label, A. Roege Hove, and the ups and downs of being an independent fashion business.Widely celebrated as the next big thing, for the past few years A. Roege Hove was a CPHFW highlight. But last season, Amalie was not on the schedule, although her brilliant work was part of the Ganni NEWTALENT platform to amplify rising talents.So why no runway? Everybody loves A. Roege Hove. After launching in 2019, they were stocked by the likes of Matches and Selfridges, dressing all the It-girls and winning all the prizes, including 2023's International Woolmark Prize.That winter, however, the label went into administration.Alas, it's a depressingly common situation. With many independents going bankrupt in the last few years, or finally deciding to close their doors because of rising costs and other stresses - including, of course, those who put sustainability at the heart of what they do.How much of a problem is the wholesale model here? Can you grow too fast? Can you make it without financial backers? What happens if you can't keep up? Or supply chains take a hit for reasons outside of your control? We thank Amalie for sharing her story so that others might benefit.*Since this interview was recorded in February, we are happy to report that A. Roge Hove has returned in a new form and showed again at the CPHFW Spring ‘25 collections.Can you help us spread the word ?Wardrobe Crisis is an independent production. We don't believe in barriers to entry and are determined to keep this content free.If you value it, please help by sharing your favourite Episodes, and rating / reviewing us in Apple orSpotify. Share on socials! Recommend to a friend. Find Clare on Instagram @mrspressTHANK YOU Hosted on Acast. See acast.com/privacy for more information.

Don't miss out on our exclusive workshop "Unlocking Retail Success: Three Strategies for Getting Your Fashion Brand into Retail Stores." Learn the secrets to navigating the competitive retail world and secure your spot on store shelves. Reserve your spot at www.makegoodfashion.com/wholesaleJoin us for an insightful conversation with Thea, an experienced fashion buyer with over a decade in the industry. Thea shares her journey from a small town in North Wales to becoming a buyer at iconic stores like Selfridges, Net-A-Porter, and LN-CC. We dive deep into the world of fashion buying, exploring how brands can get noticed by top retailers, the importance of having a distinct brand DNA, and the shift towards sustainability in fashion. Learn invaluable tips on pitching to buyers, effectively using social media for brand discovery, and the evolving trends in the fashion market. Whether you're an emerging designer or interested in the business of fashion, this episode is packed with wisdom and practical advice to help you succeed. Hosted on Acast. See acast.com/privacy for more information.

This week Bronagh and Cara catch up with fashion designer Olivia Rubin. Known for her colourful and eclectic designs, Olivia shares her journey from burnout to rediscovering her love for fashion. She talks about how her iconic rainbow sequin pieces became a staple in many wardrobes and the importance of creating timeless and joyful clothing.As a mother balancing a thriving fashion brand and family life, Olivia discusses the pressures of societal expectations and the necessity of giving oneself grace during periods of change. From launching her brand in Selfridges to navigating the challenges of retail, Olivia's story is a testament to resilience and creativity.Join us for a heartfelt conversation about motherhood, the power of dopamine dressing and the joy of finding your unique style. Whether you're a mum looking to rekindle your love for fashion or a fan of Olivia's vibrant designs, this episode is sure to inspire and uplift.Connect with Olivia Rubin:Website: oliviarubinlondon.comInstagram: @oliviarubinFacebook: Olivia Rubin FashionTikTok: @olivia_rubinConnect with The School Runway Podcast:Instagram: @schoolrunwaypodWe love hearing from you! If you have any questions, style dilemmas, or topics you want us to cover, drop us a message on Instagram @schoolrunwaypod, and don't forget to leave your lovely ratings and reviews on both Apple Podcast and Spotify x Hosted on Acast. See acast.com/privacy for more information.

Edelman recently reported that ‘81% of consumers need to trust a brand to consider purchasing it' so it is clear that brands which take time to build impact, education and purpose into their offering will also build trust with consumers and ultimately increase their sales. In this episode, I hear from Titi Bello, Founder of Ori Lifestyle, the luxury hair care brand now stocked in Selfridges and Harrods. Born out of Titi's experiences with her own hair loss and seeing her daughter develop hair insecurities, Ori Lifestyle offers high-performance hair care products alongside coaching courses to improve customers' confidence in their hair. Listen on to hear Titi's advice on why building an educational and purpose-led brand is crucial for success. Titi's advice:Find the product that meets the needs of a particular marketA good product is not enough on its own; marketing and visibility are crucialTo have the edge a product needs to look good as well as be effectiveIf a product can be multipurpose, so much the betterIt may well be useful to educate and challenge your customers and be honest with them about results; this will build trust and loyalty and ensure repeat salesTake your community with you; use feedback.  Establish contact via blogs / whatsapp / email and always listen to themYour relationship with your customers will be your motivating factor and keep you going“Go in with your heart” - businesses that stand the test of time are not just in it for financial gainAesthetics and branding are vital and must represent you and your valuesDon't over analyse; just start!Know what you don't know and find a partner with a different skill set to yoursFF&M enables you to own your own PR. Recorded, edited & published by Juliet Fallowfield, 2023 MD & Founder of PR & Communications consultancy for startups Fallow, Field & Mason.  Email us at hello@fallowfieldmason.com or DM us on instagram @fallowfieldmason. Let us know how your start up journey is going or if you have any questions you would like us to discuss in future episodes. FF&M recommends: LastPass the password-keeping site that syncs between devices.Google Workspace is brilliant for small businessesBuzzsprout podcast 'how to' & hosting directoryCanva has proved invaluable for creating all the social media assets and audio bites.MUSIC CREDIT Funk Game Loop by Kevin MacLeod.  Link &  LicenceText us your questions for future founders. Plus we'd love to get your feedback, text in via Fan MailSupport the Show.

We're back! Let's Talk about CBT has been on hiatus for a little while but now it is back with a brand-new host Helen Macdonald, the Senior Clinical Advisor for the BABCP. Each episode Helen will be talking to experts in the different fields of CBT and also to those who have experienced CBT, what it was like for them and how it helped. This episode Helen is talking to one of the BABCP's Experts by Experience, Paul Edwards. Paul experienced PTSD after working for many years in the police. He talks to Helen about the first time he went for CBT and what you can expect when you first see a CBT therapist. The conversation covers various topics, including anxiety, depression, phobias, living with a long-term health condition, and the role of measures and outcomes in therapy. In this conversation, Helen MacDonald and Paul discuss the importance of seeking help for mental health struggles and the role of CBT in managing anxiety and other conditions. They also talk about the importance of finding an accredited and registered therapy and how you can find one. If you liked this episode and want to hear more, please do subscribe wherever you get your podcasts. You can follow us at @BABCPpodcasts on X or email us at podcasts@babcp.com. Useful links: For more on CBT the BABCP website is www.babcp.com Accredited therapists can be found at www.cbtregisteruk.com Credits: Music is Autmn Coffee by Bosnow from Uppbeat Music from #Uppbeat (free for Creators!): https://uppbeat.io/t/bosnow/autumn-coffee License code: 3F32NRBYH67P5MIF   Transcript: Helen: Hello, and welcome to Let's Talk About CBT, the podcast where we talk about cognitive and behavioural psychotherapies, what they are, what they can do, and what they can't. I'm Helen Macdonald, your host. I'm the senior clinical advisor for the British Association for Behavioural and Cognitive Psychotherapies. I'm really delighted today to be joined by Paul Edwards, who is going to talk to us about his experience of CBT. And Paul, I would like to start by asking you to introduce yourself and tell us a bit about you. Paul: Helen, thank you. I guess the first thing it probably is important to tell the listeners is how we met and why I'm talking to you now. So, we originally met about four years ago when you were at the other side of a desk at a university doing an assessment on accreditation of a CBT course, and I was sitting there as somebody who uses his own lived experience, to talk to the students, about what it's like from this side of the fence or this side of the desk or this side of the couch, I suppose, And then from that I was asked if I'd like to apply for a role that was being advertised by the BABCP, as advising as a lived experience person. And I guess my background is, is a little bit that I actually was diagnosed with PTSD back in 2009 now, as a result of work that I undertook as a police officer and unfortunately, still suffered until 2016 when I had to retire and had to reach out. to another, another psychologist because I'd already had dealings with psychologists, but, they were no longer available to me. And I actually found what was called at the time, the IAPT service, which was the Improving Access to Psychological Therapies. And after about 18 months treatment, I said, can I give something back and can I volunteer? And my life just changed. So, we met. Yeah, four years ago, probably now. Helen: thank you so much, Paul. And we're really grateful to you for sharing those experiences. And you said about having PTSD, Post Traumatic Stress Disorder, and how it ultimately led to you having to retire. And then you found someone who could help. Would you like to just tell us a bit about what someone might not know about being on the receiving end of CBT? Paul: I feel that actual CBT is like a physiotherapy for the brain. And it's about if you go to the doctors and they diagnose you with a calf strain, they'll send you to the physio and they'll give you a series of exercises to do in between your sessions with your physio to hopefully make your calf better. And CBT is very much, for me, like that, in as much that you have your sessions with your therapist, but it's your hard work in between those sessions to utilize the tools and exercises that you've been given, to make you better. And then when you go back to your next session, you discuss that and you see, over time that you're honing those tools to actually sometimes realising that you're not using those tools at all, but you are, you're using them on a daily basis, but they become so ingrained in changing the way you think positively and also taking out the negativity about how you can improve. And, and yeah, it works sometimes, and it doesn't work sometimes and it's bloody hard work and it is shattering, but it works for me. Helen: Thank you, Paul. And I think it's really important when you say it's hard work, the way you described it there sounds like the therapist was like the coach telling you how to or working with you to. look at how you were thinking and what you were doing and agreeing things that you could change and practice that were going to lead to a better quality of life. At the same time though, you're thinking about things that are really difficult. Paul: Yeah. Helen: And when you say it was shattering and it was really difficult, was it worth it? Paul: Oh God. Yeah, absolutely. I remember way back in about 2018, it would be, that there was, there was a fantastic person who helped me when I was coming up for retirement. And we talked about what I was going to do when I, when I left the police and I was, you know, I said, you know, well, I don't know, but maybe I've always fancied being a TV extra and, That was it. And I saw her about 18 months later, and she said, God, Paul, you look so much better. You're not grey anymore. You know, what have you done about this? And it was like, she said I was a different person. Do I still struggle? Yes. Have I got a different outlook on life? Yes. Do I still have to take care of myself? Yes. But, I've got a great life now. I'm living the dream is my, is my phrase. It is such a better place to be where I am now. Helen: I'm really pleased to hear that, Paul. So, the hard work that you put into changing things for the better has really paid off and that doesn't mean that everything's perfect or that you're just doing positive thinking in the face of difficulty, you've got a different approach to handling those difficulties and you've got a better quality of life. Paul: Yeah, absolutely. And don't get me wrong, I had some great psychologists before 2016, but I concentrated on other things and we dealt with other traumas and dealt with it in other ways and using other, other ways of working. I became subjected to probably re traumatising myself because of the horrendous things I'd seen and heard. So, it was about just changing my thought processes and, and my psychologist said, Well, you know, we don't want to re traumatise you, let's look at something different. Let's look at a different part and see if we can change that. And, and that was, very difficult, but it meant that I had to look into myself again and be honest with myself and start thinking about my honesty and what I was going to tell my psychologist because I wanted to protect that psychologist because I didn't want them to hear and talk about the things that I'd had to witness because I didn't think it was fair, but I then understood that I needed to and that my psychologist would be taken care of. Which was, which was lovely. So, I became able to be honest with myself, which therefore I can be honest with my therapist. Helen: Thank you, Paul. And what I'm hearing there is that one of your instincts, if you like, in that situation was to protect the therapist from hearing difficult stuff. And actually the therapist themselves have their own opportunity to talk about what's difficult for them. So, the person who's coming for therapy can speak freely, although I'm saying that it's quite difficult to do. And certainly Post Traumatic Stress Disorder isn't the only thing that people go for CBT about, there are a number of different anxiety difficulties, depression, and also a wider range of things, including how to live well with a long term health condition and your experience could perhaps really help in terms of somebody going for their first session, not knowing what to expect. As a CBT therapist, I have never had somebody lie down on a couch. So, tell us a little bit about what you think people should know if they are thinking of going for CBT or if they think that somebody they care about might benefit from CBT. What's it like going for that first appointment? Paul: Bloody difficult. It's very difficult because by the very nature of the illnesses that we have that we want to go and speak to a psychologist, often we're either losing confidence or we're, we're anxious about going. So I have a phrase now and it's called smiley eyes and it, and it was developed because the very first time that I walked up to the, the place that I had my CBT in 2016, the receptionist opened the door and had these most amazing engaging smiley eyes and it, it drew me in. And I thought, wow. And then when I walked through the door and saw the psychologist again, it was like having a chat. It was, I feel that for me, I know now, I know now. And I've spoken to a number of psychologists who say it's not just having a chat. It is to me. And that is the gift of a very good psychologist, that they are giving you all these wonderful things. But it's got to be a collaboration. It's got to be like having a chat. We don't want to be lectured, often. I didn't want to have homework because I hated homework at school. So, it was a matter of going in and, and talking with my psychologist about how it worked for me as an individual, and that was the one thing that with the three psychologists that I saw, they all treated me as an individual, which I think is very, very important, because what works for one person doesn't work for another. Helen: So it's really important that you trust the person and you make a connection. A good therapist will make you feel at ease, make you feel as safe as you can to talk about difficult stuff. And it's important that you do get on with each other because you're working closely together. You use the word collaboration and it's definitely got to be about working together. Although you said earlier, you're not sure about the word expert, you're the expert on what's happening to you, even though the therapist will have some expertise in what might help, the kind of things to do and so there was something very important about that initial warmth and greeting from the service as well as the therapist. Paul: Oh, absolutely. And you know, as I said earlier, I'm honoured to speak at some universities to students who are learning how to be therapists. And the one thing I always say to them is think about if somebody tells you their innermost thoughts, they might never have told anybody and they might have only just realised it and accepted it themselves. So think about if you were sitting, thinking about, should I put in this thesis to my lecturer? I'm not sure about it. And how nervous you feel. Think about that person on the other side of the, you know, your therapy room or your zoom call or your telephone call, thinking about that. What they're going to be feeling. So to get through the door, we've probably been through where we've got to admit it to ourselves. We then got to admit it to somebody else. Sometimes we've then got to book the appointment. We then got to get in the car to get the appointment or turn on the computer. And then we've got to actually physically get there and walk through. And then when we're asked the question, we're going to tell you. We've been through a lot of steps every single time that we go for therapy. It's not just the first time, it's every time because things develop. So, you know, it's, it's fantastic to have the ability to want to tell someone that. So when I say it's fantastic to have the ability, I mean, in the therapist, having the ability to, to make it that you want to tell them that because you trust them. Helen: So that first appointment, it might take quite a bit of determination to turn up in spite of probably feeling nervous and not completely knowing what to expect, but a good therapist will really make the effort to connect with you and then gently try to find out what the main things are that you have come for help with and give you space to work out how you want to say what you want to say so that you both got , a shared understanding of what's going on.So your therapist really does know, or has a good sense of what might help. So, when you think about that very first session and what your expectations were and what you know now about having CBT, what would you say are the main things that are different? Paul: Oh, well, I don't actually remember my first session because I was so poorly. I found out afterwards there was three of us in the room because the psychologist had a student in there, but I was, I, I didn't know, but I still remember those smiley eyes and I remember the smiley eyes of the receptionist. And I remember the smiley eyes of my therapist. And I knew I was in the right place. I felt that this person cared for me and was interested and, you know, please don't think that the, the psychologist before I didn't feel that, you know, they were fantastic, but I was in a different place. I didn't accept it myself. I had different boundaries. I wanted to stay in the police. I, you know, I thought, well, if I, you know, if I admit this, I'm not going to have my, my job and I can't do my job. So a hundred percent of me was giving to my job. And unfortunately, that meant that the rest of my life couldn't cope, but my job and my professionalism never waned because I made sure of that, but it meant that I hadn't got the room in my head and the space in my head for family and friends. And it was at the point that I realized that. It wasn't going to be helpful for the rest of my life that I had to say, you know what, I'm going to have to, something's going to have to give now. And unfortunately, that was, you know, my career, but up until that point, I'm proud to say that I worked at the highest level and I gave a hundred percent. Now I realised that I have to have a life work balance rather than a work life balance, because I put life first. And I say that to everybody have a life work balance. It doesn't mean you can't have a good work ethic. It doesn't mean you can't work hard. It's just what's important in that. So what's the difference between the first session then and the first session now? Well, I didn't remember the first session. Now, I know that that psychologist was there to help me and there to test me and to look at my weaknesses. Look at my issues, but also look at my strengths and make me realize I'd got some because I didn't realise I had. Helen: That's really important, Paul, and thank you for sharing what that was like. I really appreciate that you've been so open and up front with me about those experiences. Paul: So let's turn this round to you then Helen as a therapist And you talked about lots of conditions, and things that people could have help with seeing a CBT therapist because obviously I have PTSD and I have the associated anxiety and depression and I still deal with that. What are the other things that people can have help with that they, some that they do have heard, have heard of, but other things that they might not know can be helped by CBT? Helen: Well, that's a really good question. And I would say that CBT is particularly good at helping people with anxiety and depression. So different kinds of anxiety, many people will have heard, for example, of Obsessive-Compulsive Disorder, OCD, or Generalized Anxiety Disorder where people worry a lot, and it's very ordinary to worry, but when it gets out of hand, other things like phobias, for example, where the anxiety is much more than you'd expect for the amount of danger people sometimes worry too much about getting ill or being ill, so they might have an illness anxiety. Those are very common anxiety difficulties that people have. CBT, I mean, you've already mentioned this, but CBT is also very good for depression. Whether that's a relatively short term episode of really low mood, or whether it's more severe and ongoing, then perhaps the less well known things that CBT is good for. For example, helping people live well if they have a psychotic disorder, maybe hearing voices, for example, or having beliefs that are quite extreme and unusual, and want to have help with that. It's also very good for living with a long term health condition where there isn't anything medical that can cure the condition, but for example, living well with something like diabetes or long term pain. Paul: interestingly, you spoke about phobias then, Is the work that a good therapist doing just in the, the consulting room or just over, the, this telephone or, or do you do other things? I'm thinking of somebody I knew who had a phobia of, particular escalators and heights, and they were told to go out and do that. You know, try and go on an escalator and, they managed to get up to the top floor of Selfridges in Birmingham because that's where the shoes were and that helped. But would you just, you know, would you just talk about these things, or do you go out and about or do you encourage people to, to do these with you and without? Helen: Again, that's, that's a really good point, Paul, and the psychotherapy answer is it depends. So let's think about some examples. So sometimes you will be mostly in the therapist's office or, and as you've mentioned, sometimes on the phone or it can be on a video call. but sometimes it's really, really useful to go out and do something together. And when you said about somebody who's afraid of being on an escalator, sometimes it really helps to find a way of doing that step by step and doing it together. So, whether that's together with someone else that you trust or with the therapist, you might start off by finding what's the easiest escalator that we've got locally that we can use and let's do that together. And let me walk up the stairs and wait for you and you do it on your own, but I'll be there waiting. Then you do it on your own and come back down and meet me. Then go and do it with a friend and then do it on your own. So, there's a process of doing this step by step. So you are facing the fear, you are challenging how difficult it is to do this when you're anxious. But you find a place where you can take the anxiety with you successfully, so we don't drop you in the deep end. We don't suddenly say, right, you're going all the way to the fifth floor now. We start one step at a time, but we do know that you want to get to the shoes or whatever your own personal goal and motivation is there's got to be a good reason to do it gives you something to aim towards, but also when you've done it, there's a real sense of achievement. And if I'm honest as a therapist, it's delightful for me as well as for the person I'm working with when we do achieve that. Sometimes it isn't necessarily that we're facing a phobia, but it might be that we're testing out something. Maybe, I believe that it's really harmful for me to leave something untidy or only check something once. We might do an experiment and test out what it's like to change what we're doing at the moment and see what happens. And again, it's about agreeing it together. It's not my job to tell somebody what to go and do. It's my job to work with somebody to make sure that they've got the tools they need to take their anxiety with them. And sometimes that anxiety will get less, it'll get more manageable. Sometimes it goes away altogether, but that's not something I would promise. What I would do is work my very hardest to make the anxiety so that the person can manage it successfully and live their life to the full, even if they do still have some. Paul: And, and for me, I think one of the things that I remember is that my, you know, my mental health manifested itself in physical symptoms as well. So it was like when I was thinking about things, I was feeling sick, I was feeling tearful. and that's, that's to be expected at times, isn't it? And, and even when you're facing your fears or you're talking through what you're experiencing. It's, it's, it's a normal thing. And, and even when I had pure CBT, it can be exhausting. And I said to my therapist, please. Tell people that, you know, your therapy doesn't end in the session. And it's okay to say to people, well, go and have a little walk around, make sure you can get somebody to pick you up or make sure you can get home or make sure you've got a bit of a safe space for half an hour afterwards and you haven't got to, you know, maybe pick the kids up or whatever, because that that's important time for you as well. Helen: That's a really important message. Yes, I agree with you there, Paul, is making sure that you're okay, give yourself a bit of space and processing time and trying to make it so that you don't have to dash straight off to pick up the kids or go back to work immediately, trying to arrange it so that you've got a little bit of breathing space to just make sure you're okay, maybe make a note of important things that you want to think about later, but not immediately dashing off to do something that requires all your concentration. And I agree with you, it is tiring. You said at the beginning it's just having a chat and now you've talked about all the things that you actually do in a session. It's a tiring chat and tiring to talk about how it feels, tiring to think about different ways of doing things, tiring to challenge some of the assumptions that we make about things. Yes it is having a chat, but really can be quite tiring. Paul: And I think that the one thing that you said in there as well, you know, you talk about what would you recommend. Take a pen and paper. Because often you cannot remember. everything you put it in there. So, make notes if you need to. Your therapist will be making notes, so why can't you? And also, you know, I think about some of the tasks I was given in between my sessions, rather than calling it my homework, my tasks I was given in between sessions to, I suffered particularly with, staying awake at night thinking about conversations I was going to have with the person I was going to see the next day and it manifested itself I would actually make up the conversations with every single possible answer that I could have- and guess what- 99 times out of 100 I never even saw the person let alone had the conversation. So it was about even if I'm thinking in the middle of the night, you know, what I'm going to do, just write it down, get rid of it, you know, and I guess that's, you know, coming back again, Helen to put in the, the ball in your court and saying, well, what, what techniques are there for people? Helen: Well, one of the things that you're saying there about keeping a note and writing things down can be very useful, partly to make sure that we don't forget things, but also so that it isn't going round and round in your head. The, and because it's very individual, there may be a combination of things like step by step facing something that makes you anxious, step by step changing what you're doing to improve your mood. So perhaps testing out what it's like to do something that you perhaps think you're not going to enjoy, but to see whether it actually gives you some sense of satisfaction or gives you some positive feedback, testing out whether a different way of doing something works better. So there's a combination of understanding what's going on, testing out different ways of doing things, making plans to balance what things you're doing. Sometimes there may be things about resting better. So you said about getting a better night's sleep and a lot of people will feel that they could manage everything a bit better if they slept better. So that can be important. Testing out different ways of approaching things, asking is that reasonable to say that to myself? Sometimes people are thinking quite harsh things about themselves or thinking that they can't change things. But with that approach of, well, let's see, if we test something out different and see if that works. So there's a combination of different things that the therapist might do but it should always be very much the, you're a team, you're working together, your therapist is right there alongside you. Even when you've agreed you're going to do something between sessions, it's that the therapist has agreed this with you. You've thought about what might happen if you do this and how you're going to handle it. And as you've said, sometimes it's a surprise that it goes much better than we thought it was going to. So, so we're testing our predictions and sometimes it's a surprise. It's almost like being a scientist. You're doing experiments, you're testing things out, you're seeing what happens if you do this. And the therapist will have some ideas about the kind of things that will work. but you're the one doing, doing the actual doing of it. Paul: And little things like, you know, I, I remember, I was taught a lovely technique and it's called the 5, 4, 3, 2, 1, technique about when you're anxious. And it's about, I guess it's about grounding yourself in the here and now and not, trying to worry about what you're anxious about so you try and get back into what is there now. Can you just explain that? I mean, I know I know I'm really fortunate. I practice it so much. I probably call it the 2-1 So could you just explain how what that is in a more eloquent way than myself? Helen: I think you explained that really well, Paul, but what we're talking about is doing things that help you manage anxiety when it's starting to get in the way and bringing yourself back to in the here and now. And for example, it might be, can I describe things that I can see around me? Can I see five things that are green? Can I feel my feet on the floor? Tell whether it's windy and all of those things will help to make me aware of being in the here and now and that the anxiety is a feeling, but I don't have to be carried away by it. Paul: And there's another lovely one that, I, you know, when people are worrying about things and, it's basically about putting something in a box and only giving yourself a certain time during the day to worry about those things when you open the box and often when you've got that time to yourself. So give yourself a specific time where you, you know, are not worrying about the kids or in going to sport or doing whatever. So you've got yourself half an hour and that's your worry time in essence. And, you know, I use it on my phone and it's like, well, what am I worrying about? I'll put that in my worry box and then I'll only allow myself to look at that between seven and half past tonight. And by the time I've got there, I'll be done. I'm not worrying about the five things. I might be worrying slightly about one of them, but that's more manageable. And then I can deal with that. So what's the thought behind? I guess I've explained it, but what, what's the psychological thought behind that? And, and who would have devised that? I mean, who are these people who have devised CBT in the past? Because we haven't even explored that yet. Helen: Well, so firstly, the, the worry box idea, Paul, is it's a really clever psychological technique is that we can tell ourselves that we're going to worry about this properly later. Right now, we're busy doing something else, but we've made an appointment with ourselves where we can worry properly about it. And like you've said, if we reassure ourselves that actually, we are, we're going to deal with what's going on through our mind. It reassures our mind and allows it not to run away with us. And then when we do come to it, we can check, well, how much of a problem is this really? And if it's not really much of a problem, it's easier to let it go. And if it really is a problem, we've made space to actually think about, well, what can I do about it then? so that technique and so many of the other techniques that are part of Cognitive and Behavioural psychotherapies have been developed in two directions, I suppose. In one direction, it's about working with real people and seeing what happens to them, and checking what works, and then looking at lots of other people and seeing whether those sorts of things work. So, we would call that practice based evidence. So, it's from doing the actual work of working with people. From the other direction, then, there is more laboratory kind of science about understanding as much as we can about how people behave and why we do what we do, and then if that is the case, then this particular technique ought to work. Let's ask people if they're willing to test it out and see whether it works, and if it works, we can include that in our toolkit. Either way, CBT is developed from trying to work out what it is that works and doing that. So, so that's why we think that evidence is important, why it's important to be scientific about it as far as we can, even though it's also really, really important that we're working with human beings here. We're working with people and never losing sight of. That connection and collaboration and working together. So although we don't often use the word art and science, it is very much that combination Paul: And I guess that's where the measures and outcomes, you know, come into the science part and the evidence base. So, so for me, it's about just a question of if I wanted to read up on the history of CBT, which actually I have done a little. Who are the people who have probably started it and made the most influence in the last 50 years, because BABCP is 50 years old now, so I guess we're going back before that to the start of CBT maybe, but who's been influential in that last 50 years as well? Helen: Well, there are so many really incredible researchers and therapists, it's very hard to name just a few. One of the most influential though would be Professor Aaron T. Beck, who was one of the first people to really look into the way that people think has a big impact on how they feel. And so challenging, testing out whether those thoughts make sense and experimenting with doing things differently, very much influenced by his work and, and he's very, very well known in our field, from, The Behavioural side, there've been some laboratory experiments with animals a hundred years ago. And I must admit nowadays, I'm not sure that we would regard it as very ethical. Understanding from people-there was somebody called BF Skinner, who very much helped us to understand that we do things because we get a reward from them and we stop doing things because we don't or because they feel, they make us feel worse. But that's a long time ago now. And more recently in the field, we have many researchers all over the world, a combination of people in the States, in the UK, but also in the wider global network. There's some incredible work being done in Japan, in India, you name it. There's some incredible work going on in CBT and it all adds to how can we help people better with their mental health? Paul: and I think that for me as the patient and, and being part of the BABCP family, as I like to, to think I'm part of now, I've been very honoured to meet some very learned people who are members of the BABCP. And it, it astounds me that, you know, when I talk to them, although it shouldn't, they're just the most amazing people and I'm very lucky that I've got a couple of signed books as well from people that I take around, when I do my TV extra work. And one of them is a fascinating book by Helen Macdonald, believe it or not on long term conditions that, that I thoroughly recommend people, read, and another one and another area that I don't think we've touched on that. I was honoured to speak with is, a guy called, Professor Glenn Waller, who writes about eating disorders. So eating disorders. It's one of those things that people maybe don't think about when they think of CBT, but certainly Glenn Waller has been very informative in that. And how, how do you feel about the work in that area? And, and how important that may be. I know we'll probably go on in a bit about how people can access, CBT and, you know, and NHS and private, but I think for me is the certain things that maybe we need to bring into the CBT family in NHS services and eating disorders for me would be one is, you know, what are your thoughts about those areas and other areas that you'd like to see brought into more primary care? Helen: Again, thank you for bringing that up, Paul. And very much so eating disorders are important. and CBT has a really good evidence base there and eating disorders is a really good example of where somebody working in CBT in combination with a team of other professionals, can be particularly helpful. So perhaps working with occupational therapists, social workers, doctors, for example. And you mentioned our book about persistent pain, which is another example of working together with a team. So we wrote that book together with a doctor and with a physiotherapist. Paul: Yeah, yeah. Helen: And so sometimes depending on what the difficulties are, working together as a team of professionals is the best way forward. There are other areas which I haven't mentioned for example people with personality issues which again can be seen as quite severe but there is help available and at the moment there is more training available for people to be able to become therapists to help with those issues. And whether it's in primary care in the NHS or in secondary care or in hospital services, there are CBT therapists more available than they used to be and this is developing all the time. And I did notice just then, Paul, that you said about, whether you access CBT on the NHS and, and you received CBT through the NHS, but there are other ways of accessing CBT. Paul: That was going to be my very next question is how do we as patients feel, happy that the therapist we are seeing is professionally trained, has got a, a good background and for want of a phrase that I'm going to pinch off, do what it says on the tin. But do what it says on the tin because I, I am aware that CBT therapists aren't protected by title. So unfortunately, there are people who, could advertise as CBT therapist when they haven't had specific training or they don't have continual development. So, The NHS, if you're accessing through the NHS, through NHS Talking Therapies or anything, they will be accredited. So, you know, you can do that online, you can do it via your GP. More so for the protection of the public and the making sure that the public are happy. What have the BABCP done to ensure that the psychotherapists that they have within them do what they say it does on the tin. Helen: yes, that's a number of very important points you're making there, Paul. And first point, do check that your therapist is qualified. You mentioned accredited. So a CBT psychotherapist will, or should be, Accredited which means that they can be on the CBT Register UK and Ireland. That's a register which is recognised by the Professional Standards Authority, which is the nearest you can get to being on a register like doctors and nurses. But at the moment, anyone can actually call themselves a psychotherapist. So it's important to check our register at BABCP. We have CBT therapists, but we have other people who use Cognitive and Behavioural therapies. Some of those people are called Wellbeing Practitioners that are probably most well known in England. We also have people who are called Evidence Based Parent Trainers who work with the parents of children and on that register, everybody has met the qualifications, the professional development, they're having supervision, and they have to show that they work in a professional and ethical way and that covers the whole of Ireland, Scotland, Wales and England. So do check that your therapist is on that Register and feel free to ask your therapist any other questions about specialist areas. For example, if they have qualifications to work particularly with children, particularly with eating disorders, or particularly from, with people from different backgrounds. Do feel free to ask and a good therapist will always be happy to answer those questions and provide you with any evidence that you need to feel comfortable you're working with the right person. Paul: that's the key, isn't it? Because if it's your hard-earned money, you want to make sure that you've got the right person. And for me, I would say if they're not prepared to answer the question, look on that register and find somebody who will, because there's many fantastic therapists out there. Helen: And what we'll do is make sure that all of those links, any information about us that we've spoken in this episode will be linked to on our show page. Paul, we're just about out of time. So, what would you say are the absolute key messages that you want our listeners to take away from this episode? What the most important messages, Paul: If you're struggling, don't wait. If you're struggling, please don't wait. Don't wait until you think that you're at the end of your tether for want of a better phrase, you know, nip it in the bud if you can at the start, but even if you are further down the line, please just reach out. And like you say, Helen, there's, there's various ways you can reach out. You can reach out via the NHS. You can reach out privately. I think we could probably talk for another hour or two about a CBT from my perspective and, and how much it's, it has meant to me. But also what I will say is I wish I'd have known now what, or should I say I wish I knew then what I knew now about being able to, to, to open myself up, more than, you know, telling someone and protecting them as well, because there was stuff that I had to re-enter therapy in 2021. And it took me till then to tell my therapist something because I was like disgusted with myself for having seen and heard it so much. But actually, it was really important in my continual development, but yeah, don't wait, just, just, you know, reach out and understand that you will have to work hard yourself, but it is worth it at the end. If you want to run a marathon. You're not going to run a marathon by just doing the training sessions when you see your PT once a week. And you are going to get cramp, and you are going to get muscle sores, and you are going to get hard work in between. But when you complete that marathon, or even a half marathon, or even 5k, or even 100 meters, it's really worth it. Helen: Paul, thank you so much for joining us today. We're really grateful for you speaking with me and it's wonderful to hear all your experiences and for you to share that, to encourage people to seek help if they need it and what might work. Thank you. Paul: Pleasure. Thanks Helen.

Welcome to the final episode in this series of The F Word at Work, where we discuss mental health at work, and its prevalence regarding the topic of fertility in the workplace. We're delighted to be in conversation with Simon Blake, CEO of MHFA England® and a leading voice in mental health advocacy.With a passion for driving social change, Simon champions diversity and community support. As Chair of the Dying Matters Campaign, he continues his commitment to promoting holistic wellbeing.Here's a glimpse into our conversation:Over 300,000 mental health first aiders are now active in the UK, with one in 40 adults receiving training. We delve into the impact of this training and how it has evolved over the years.Mental health takes centre stage alongside physical health concerns, emphasizing its crucial role in creating a healthy work environment.We explore the importance of using inclusive language and fostering supportive behaviours when discussing both fertility issues and mental health. The importance of listening and offering support, rather than trying to "fix" someone's situation.Learn about the valuable resources available for Mental Health Awareness Week and how these can support the fertility conversations in the workplace.We learn about Mental Health First Aid England's mission to provide training and consultancy on mental health awareness and support.Understand what mental health first aid is and its role in the workplace, including recognizing signs and symptoms of mental health issues, providing initial support, and signposting individuals to appropriate resources.The importance of creating a workplace culture where employees feel safe, supported, and have a sense of belonging, especially in the wake of the pandemic's impact on mental well-being.We explore the "My Whole Self" campaign, which emphasizes the need for dismantling the stigma surrounding fertility challenges and their connection to mental health.The importance of well-being check-ins and the need for managers to be trained in supporting employee well-being. It also recognizes the fear of missteps in difficult conversations and emphasizes building trust with employees.How mental health first aiders can empower managers and employees to address mental health and well-being concerns, including those related to fertility challenges.The importance of psychological safety in the workplace is highlighted and how mental health first aid training empowers individuals to support their colleagues, fostering a positive work environment.We conclude by reflecting on the rewarding aspects of MHFA England's work. This includes the widespread impact of training, the stories of individuals using their skills to help others, and the dedication of mental health first aiders in creating positive workplace cultures.Thank you to Apricity who are sponsoring this series of The F Word at Work. To find out about more about how they can support your employees with inclusive fertility care please get in touch with its expert corporate team here. We'd love your support and feedback so please do hit follow and if possible leave a review in the app you are listening to.Stay Connected:Follow The F Word at Work for access to our free resources:Download our guidance here.Watch our latest webinar with Selfridges, Cadent Gas and Diageo talking about...

In this week's episode, Jess chats to Anna Sweet, a jewellery maker who specializes in creating unique pieces with a focus on storytelling, who also features in episode one of the Handmade Jewellers. Anna discusses her journey in the jewellery business, which hit a rough patch when she felt demotivated and lacked creativity. She even contemplated quitting her business. However, after taking a break and stepping back from the pressure, she found renewed inspiration. A pivotal moment came when she created the "ribbon ring," a charming piece inspired by Victorian jewellery, which went viral on TikTok. This unexpected success reignited Anna's passion for her craft, leading to opportunities like showcasing her work at Selfridges. Through her story, Anna emphasizes the importance of allowing oneself to take breaks, experiment, and create for personal fulfillment rather than solely for commercial success. This Story Jewellery on tiktok This Story Jewellery on Instagram Learn more about Jewellers Academy Watch this episode on YouTube Join the Jewellers Academy Facebook Group Find Jewellers Academy on Instagram and Facebook

Running two beauty businesses without outside funding is no small feat, but Maria Hatzistefanis, founder and CEO of Rodial and Nip+Fab, is making it work. And her businesses are thriving. Hatzistefanis launched the luxury skin-care and makeup brand Rodial in 1999, after being fired from her investment banking job in her early 20s. She went on to launch Nip+Fab in 2010. Now best known for its bestselling Glycolic Fix product range, Nip+Fab was originally meant to be Rodial's more accessible, mass-market little sister. "My idea [for both brands] was to come up with products that would give you instant and long-term results," Hatzistefanis told Glossy. "I had a passion for researching ingredients that no one else was using." Today, both Rodial and Nip+Fab are sold in over 10,000 stores across 35 countries. Rodial is distributed in luxury department stores, including Harrods, Selfridges and Blue Mercury, while Nip+Fab is available at Boots and JCPenney. "We have been growing double-digits year-over-year, for both brands," Hatzistefanis said. "Plus, profitability has been a driver of our business, and we've always been profitable." On this week's episode of the Glossy Beauty Podcast, Hatzistefanis discussed the ins and outs of running a business for over 25 years and the next stage of growth for Rodial Group. Get more from Glossy with the daily newsletter, sent out each weekday morning. Visit glossy.co/newsletters to sign up.

If you're feeling the weight of past trauma and struggling to find healing, then you are not alone! Many individuals have tried traditional methods of healing without finding the relief they seek. Instead of finding validation and empowerment through conventional means, there's a unique path to healing waiting to be discovered through creativity and art.My special guest is Erin HungErin Hung, an artist residing in Hong Kong, brings two decades of experience in the art and design space, collaborating with prominent global brands such as Chronicle Books, American Greetings, Liberty of London, and Selfridges. Her creative journey, spanning from illustration work to murals and community art, is intertwined with her deep commitment to advocacy. A graduate from Central St. Martins School of Art and Sotheby's Institute in London, Erin's practice now revolves around amplifying voices at the fringes, working closely with mental health organizations and NGOs like UNHCR. Her profound insight into the healing power of creativity, stemming from her own experiences with religious trauma, has led her to spearhead the social media movement "A to Z of trauma recovery," inviting survivors and marginalized communities to heal creatively together. With her compelling art and thoughtful advocacy, Erin is a beacon of inspiration and empowerment.Therapy is not just for those who are in crisis, although it's definitely for that. But therapy is also a place where you're just stepping into your own skin, figuring out who you are, what it is you're offering to the world around us, and how you're making the world a better place. - Lori Adams BrownIn this episode, you will be able to:Discover the transformative power of healing through creativity and art for personal growth and emotional well-being.Uncover the impact of spiritual abuse on faith and explore ways to navigate and heal from this trauma.Embrace the role of therapy as a catalyst for personal growth and self-discovery, unlocking your full potential.Navigate the intricate layers of cultural and religious identity, finding empowerment and validation through self-exploration.Experience the profound benefits of somatic practices for trauma recovery, fostering a deeper connection between mind and body.Impact of Spiritual AbuseErin Hung shares her candid experiences of spiritual abuse within her faith community, highlighting an issue that is oftentimes overlooked or swept under the rug. Such experiences can cause an individual to internalize pain and shame, profoundly impacting their perceptions of self and their relationship with their faith. As Erin rightly emphasizes, acknowledging and addressing the impacts of spiritual abuse is crucial in the journey towards healing.The resources mentioned in this episode are:Follow Erin Hung on Instagram at @erinhung_studio to see her beautiful art and stay updated on her latest projects and movements.Contribute to the A to Z of trauma recovery movement by using the hashtag #AtoZofTraumaRecovery on social media to share your own creative expressions and join the community of healing and support.Explore the A to Z of trauma recovery hashtag on social media to view the diverse and impactful artwork and expressions shared by others in the community.Engage in right brain activities such as art, creativity, and expression to process and heal from trauma, allowing yourself to explore your own creative impulses and find healing through artistic endeavors.Reach out to Lori Adams-Brown to share your thoughts and experiences, and to connect with others who are navigating similar journeys of healing and recovery.I think for people, when they say they are not creative or they're not artistically inclined, I want to try and be the person that brings that piece. That's like, maybe if I ignite this match, you might burn a fire. It might kindle a fire that could help you on your way. - Erin HungTransformative Power of HealingArt has a powerful potential to heal, as guest Erin Hung explores in her personal journey of self-discovery and recovery. Channeling our creative impulses can serve as a means of processing personal experiences and finding solace, particularly when navigating trauma. As Erin notes, the exploration of art can foster empowerment, liberation, and ultimately, transformative healing.If we don't answer to what the creative impulse or the thing that God put inside us and fully explore that, then it's very hard to imagine a way forward for ourselves and for the church. - Erin HungRole of Therapy as CatalystTherapy, particularly non-verbal modalities such as art and somatic body work, can act as a catalyst for trauma recovery. Erin Hung recounted how these therapeutic methods empowered her to process her personal traumas, finding a language for her experiences that words could not capture. As a creative outlet, therapy can enable an individual unparalleled self-expression, providing a pathway towards understanding, acceptance, and healing.The key moments in this episode are:00:00:02 - Introducing the Podcast and Guest Erin Hung 00:02:41 - Erin's Journey as an Artist and Advocate 00:10:29 - Cultural Influence on Faith and Interpretation of Scriptures 00:14:28 - Decolonizing Scriptures and Cultural Identity 00:16:17 - Disentangling Cultural Norms and Global Conversations 00:18:23 - Understanding Family Trauma and Shame Culture 00:19:23 - Overcoming Shame and Sharing Personal Trauma 00:20:32 - Decolonizing Faith and Silence 00:21:10 - Healing Through Creativity and Somatic Work 00:27:47 - Experiencing Spiritual Abuse and Gaslighting 00:35:11 - Realization of Making a Difference 00:36:39 - Healing Through Creativity 00:39:39 - The Power of Creativity 00:42:41 - A to Z of Trauma Recovery 00:49:42 - Embracing Beauty and Joy Timestamped summary of this episode:00:00:02 - Introducing the Podcast and Guest Erin Hung Lori introduces the podcast and guest Erin Hung, an artist living in Hong Kong, known for her illustration work, murals, and community art. Erin's background in the evangelical faith and her journey through religious trauma is also mentioned.00:02:41 - Erin's Journey as an Artist and Advocate Erin shares her upbringing in an evangelical family in Hong Kong, her experiences with art and faith, and the cultural pressures she faced as a creative individual within her community. She also discusses the intersection of her faith with her artistic sensibilities.00:10:29 - Cultural Influence on Faith and Interpretation of Scriptures Erin delves into the impact of cultural undertones in Chinese churches, specifically the concept of Filio piety and its influence on interpretation of biblical teachings. She reflects on the need to challenge traditional interpretations and explore diverse perspectives within the faith community.00:14:28 - Decolonizing Scriptures and Cultural Identity Erin discusses the concept of decolonizing scriptures and its relevance to her own faith experience, particularly in the context of being Chinese and the impact of colonization on cultural identity. She highlights the growing global conversation around colonization and the need for broader understanding.00:16:17 - Disentangling Cultural Norms and Global Conversations Erin shares her journey of disentangling cultural norms and understanding the broader historical and global conversations surrounding colonization. She emphasizes the importance of gaining a broader worldview to challenge entrenched cultural dynamics and promote00:18:23 - Understanding Family Trauma and Shame Culture Erin discusses the intergenerational trauma within families and the shame culture that perpetuates silence about taboo topics, making others uncomfortable and bringing shame onto oneself and the family.00:19:23 - Overcoming Shame and Sharing Personal Trauma Erin shares her openness about discussing personal childhood trauma, acknowledging the potential shame it brings to friends and family, and the collective nature of shame within the community.00:20:32 - Decolonizing Faith and Silence Erin delves into the intertwining of faith, church abuse, submission, and shame, highlighting the tendency to silence uncomfortable truths, sweep issues under the rug, and the challenges of decolonizing these ingrained dynamics.00:21:10 - Healing Through Creativity and Somatic Work Erin shares her journey of healing through somatic activities like art and gardening, emphasizing how these activities helped her process trauma and connect with her spirituality in a new way.00:27:47 - Experiencing Spiritual Abuse and Gaslighting Erin reflects on her experiences of spiritual abuse, gaslighting, and the struggle to find her voice within church settings, ultimately leading to her pursuit of therapy to gain clarity and language for unhealthy dynamics.00:35:11 - Realization of Making a Difference Erin reflects on her realization that making a difference does not depend on credentials. She shares her journey of trying to make a difference and the examination of why it wasn't working.00:36:39 - Healing Through Creativity Erin discusses her artistic expression as a means of healing. She shares her fear of not leaving a mark in the world and the importance of exploring creativity for healing and personal growth.00:39:39 - The Power of Creativity Erin emphasizes the importance of creativity in finding solutions and moving forward. She encourages people to explore their creative impulses and imaginations, highlighting the need for outside-the-box thinking.00:42:41 - A to Z of Trauma Recovery Erin introduces the A to Z of trauma recovery movement she started, emphasizing the inclusivity and diversity in the community. She shares how creative expression is a powerful tool for healing and processing trauma.00:49:42 - Embracing Beauty and Joy The host reflects on the importance of adding beauty, joy, and hope in life to build resilience in facing hard times. Erin's story serves as a reminder of the power of artistic expression in navigating life's challenges.https://www.twitter.com/@awodpodhttps://www.aworldofdifferencepodcast.comhttps://www.youtube.com/@aworldofdifferencehttps://www.facebook.com/A-World-of-Difference-613933132591673/https://www.linkedin.com/company/aworldofdifference/

Andrew Minosh Pieris's story starts in the lush landscapes of Sri Lanka, where the vibrant culture and architecture sparked his creative passion. Moving to London as a teen, he interned with Alexander McQueen, and other names such as Jonathan Saunders, John Rocha, KTZ. He immersed himself in the fashion world from the age of fifteen. His journey led him to visual merchandising and design, where he blends fashion insights with London's energy in his distinctive styling and displays. With over ten years in the industry, Andrew has worked with top brands like Prada, Selfridges, Neiman Marcus, and Marvel Studios. His diverse portfolio highlights his ability to innovate across different fields, marking him as a creative force in visual design. In this episode, Andrew talks with Thomas Mitchell how a chance meeting he had at age 15 with someone he didn't even recognize forged his career path.

For early access to episodes and so much more, subscribe to our HeroHero!Sol and Michael are joined by Bailey Goldberg (knitting extraordinaire, funny guy, recent victim of someone stealing his hubcaps (it was me)) this week on the podcast! Over the episode, the boys discuss the rise of knitting culture in New York (and elsewhere), dungeons and dragons, hand-knitting versus machine knitting, eBay, Sears, where to get the best Cortado in NYC, their "white whales" of fashion items, instagram story faceoffs, having beef, and falling into the worst 'work' arrangement ever (don't fall for the unpaid intern scam, everyone!).We hope you enjoy the pod - go check out Bailey's work on his instagram and over at Selfridges!Lots of love,Sol---Sol Thompson and Michael Smith explore the world and subcultures of fashion, interviewing creators, personalities, and industry insiders to highlight the new vanguard of the fashion world. Subscribe for weekly uploads of the podcast, and don't forgot to follow us on our social channels for additional content, and join our discord to access what we've dubbed “the happiest place in fashion”.Message us with Business Inquiries at pairofkingspod@gmail.comFOR ADDITIONAL EPISODES, EARLY ACCESS, AND GIVEAWAYS, SUBSCRIBE TO OUR HEROHEROLinks:InstagramTikTokTwitter/XSol's InstagramMichael's InstagramMichael's TikTokMessage us with Business Inquiries at pairofkingspod@gmail.comSubscribe to get early access to podcasts and videos, and participate in exclusive giveaways for $4 a month Links: Instagram TikTok Twitter/X Sol's Instagram Michael's Instagram Michael's TikTok

Creating a life doing what you love is a dream for many and something that Lia-Belle King, co-founder and creative director of Worn Store, has been able to turn into a reality. Together with her partner in business and life, Lotte Barnes, she has worked hard over the past decade to build a brand dedicated to designing and sourcing furniture with strict sustainability guidelines.  Come listen to our conversation where Lia-Belle shares the couple's journey to launching Worn, what it was like to be stocked by iconic London store Selfridges, how they have navigated having their designs copied and taking creative risks and trusting your intuition. Podcast shownotes: https://www.nataliewalton.com/podcast/172 Connect on Instagram: https://www.instagram.com/nataliewalton Connect on Facebook: https://www.facebook.com/thenataliewalton

“The artist working alone in their studio is the antithesis of what we do every day as architects […] and yet one hopes that the work you produce might have the same resonance.”Jamie Fobert a Canadian-born architect who has found himself increasingly working on projects at the centre of British culture. Fobert, who has recently become chair of the Architecture Foundation's board of trustees, studied at the University of Toronto before moving to London in 1988, where he worked for for David Chipperfield, before establishing his own practice in 1996. He is best known for his work with major fashion brands and cultural institutions, and has designed retail spaces for Selfridges, Versace and Givenchy, as well as major extensions and alterations to galleries and museums including Tate St Ives, Kettles Yard in Cambridge, and most recently London's National Portrait Gallery. Scaffold is an Architecture Foundation production, hosted by Matthew Blunderfield. Download the London Architecture Guide App via the App Store or Google Play Hosted on Acast. See acast.com/privacy for more information.