Hey Jodi, how’s things?
Hey Megan! Things are good thank you! It's been a busy year with lots of exciting things going on both in and out of work. Very ready for a Christmas break now though!
For those that don’t know, tell us about yourself.
I'm a creative director, and after 15 years or so of agency and in-house roles as a designer and art director mainly working with clients in the fashion, retail and leisure sectors, I started my own consultancy, Studio Zenko, 6 years ago with the aim of helping good people doing good things make an impact. Outside of work I'm also a mentor with an incredible LGBTQ+ charity supporting young people experiencing or at risk of homelessness, and I'm on the board of trustees at the Proud Trust, another amazing charity supporting LGBTQ+ young people.
You started Studio Zenko and serve as the creative director and brand consultant, what does that involve for you?
It's an incredibly varied role and every project is different, but we predominantly work with organisations in the charity, not-for-profit and ethical business sectors on their branding, brand strategy, design and advertising (and everything else in between!).
How do you differentiate between what you like and the client likes?
I've never been someone who has wanted to feel bound to a certain style of work. Ultimately, it's got to be about what's right for the client to make the strongest connection with their audience. And while I always want to create the strongest creative work possible, my personal satisfaction comes more from solving problems rather than pleasing the 'gram.
Do you try and work on getting a ‘thicker skin’ or do you think it comes naturally?
I think it's something that you certainly have to develop as a commercial creative. It's always tougher when you do something that you're passionate about and are so emotionally invested in for a living. But creativity is so subjective for a whole range of reasons, so I've learned not to take things personally.
How important is feedback on refining the creative outcomes?
It's vital. It's got to be a two-way conversation between you and the client. You're the expert at what you do, they're the expert at what they do. You need both sides' input to create great work.
Do you believe there is a thing as too much feedback?
Not necessarily too much feedback, but I try and encourage clients not to focus too much on the small details and focus more on whether they think the work is achieving what it needs to be doing and, if not, why not? Fonts, colours etc can all be changed accordingly once the bigger ideas are all aligned.
You describe yourself as one of the few trans leaders in your industry, what does this mean for you?
I guess it literally means there's not many of us! And I think visibility is really important. It's not something I saw in the industry when I was younger, and still not so much today either. But it doesn't mean we're not here. My main aim of being visible is to hopefully foster a safe space where no one feels like they have to apologise for or hide any part of their identity, whatever that may be.
Is there pressure to be a positive voice that other people in the communities can look up to?
I think I felt that responsibility a lot more at the start of my transition, and probably put a lot of pressure on myself to try and be a positive representation. But I've learned as I've grown as a person that the best way to be a good role model is just to be a good person in general, regardless of your identity.
How important is it that our creative industries and society as a whole are represented?
I think it's incredibly important. Both in fostering work environments where no one feels like they can't enter the industry or progress because of their identity or their background, and in creating good work. We can't create work that truly connects with the world around us if we don't understand the different needs and experiences of the people in it. A lot of progress has been made in the creative industries, but there's still a very long way to go.
It has been widely documented that England is going down a disappointing regression in terms of the rights and support for Trans people. Is there a message of support you could have to trans people who might read this?
I genuinely believe that the majority of people are good people. And the people who are out to make life harder for the trans community are a minority. They're just a very vocal, persistent and aggressive minority unfortunately. So while we really can't be complacent about the threats to our rights and there is a lot of important work to be done to both keep and improve them, try to keep a positive perspective. We're living a life of joy, love, fulfilment and freedom. They're sat at home being miserable on the internet. Who's really winning here?
Let’s talk to you about the start of your career, what got you into design?
I've always been a weird mix of creative and analytical. I love art and craft, but I've also always taken a lot of joy in solving problems. I think design is a great fit for both of those things, even more so when they're working together in harmony.
You’ve mentioned in a previous conversation that you’re an overthinker, how does this affect your work?
It has its pros and cons. I think it makes me good at what I do, particularly as my work has moved into much more strategic territories. But it can mean I spend a lot of time deliberating over things that probably aren't that important which is not always good for productivity. I'm constantly trying to find a happy balance!
Through Studio Zenko, you have worked for some high-profile brands and some that aim to make a huge difference. What do you look for in a client?
I guess I take the 'good people doing good things' motto quite literally. Clients don't always have to be changing the world. But if they're passionate about what they're doing and it's helping make people's lives better in some way, I'm always really interested to hear what they're looking to achieve and think about how I can help in that goal.
Do you have any favourites that stand out to you?
I love the fact that all of the projects I work on are so different so it's very hard to pick favourites. But the Polari beer project was a big eye-opener for me. They donate 10p from every pint and 5p from every can sold to the amazing LGBTQ+ charity Stonewall Housing. Going into it, I thought that doesn't seem like a lot of money. But they've raised nearly £90,000 in just three years only selling in the queer venues of London, Brighton and Manchester. The aim of the rebrand project was to create a broader appeal for the brand so they can widen their distribution and raise even more money for the charity. It was a big reminder that we don't always need to try and think big. Thinking small can make a far bigger impact than you might realise.
As well as working you attend a lot of events, do you believe this is important especially if you are entering the industry?
First of all, I think it's important to attend things for your own enjoyment or education above all else. I'm a big believer that you should never stop learning, however experienced you are. But they're also a great opportunity for people entering the industry to chat and connect with people who are working in the kind of areas they might be interested in. I get a lot of emails from students, but I'm far more likely to remember the ones who made a great impression in person as nothing beats human connection.
What is your creative industry pet peeve?
From a creative point of view, style over substance. I see so much work that looks impressive on the surface, but that has nothing original or interesting to say once you get beyond the aesthetics. And from an industry culture point of view, the fact that crazy hours are still a big feature of so many agencies across the sector. You shouldn’t have to dedicate your entire life to your work to prove your passion for it, and it creates barriers for a lot of people to enter or stay in the industry, such as mothers, carers, and disabled and neurodivergent people. Plus, a tired mind isn’t usually a very creative one.
Who are your standout creatives?
Sana Iqbal’s passion for cause-based work and desire to create positive change in the world through everything she does is always so energising and inspiring.
Katherine Tromans is one of the most talented creatives I know. Her work with watercolour illustration is stunning, and she’s also a great designer too!
And Jessica Lee’s work makes me smile everytime I see it - so fun and joyful!
For my final question, whats next?
I’m always keen to explore ways of making a bigger impact with the work I’m doing, so more brand and campaign work for some great organisations, increasing my knowledge and experience in the charity sector through my trustee and mentoring roles, and I’m also doing a lot more in-person workshops and talks now which I’m really enjoying too!
