Creative Insight

Analysis of significant creative projects, people and trends

Metatronia film for Uniqlo by Droga5

How I Got Here: Shelley Smoler, Droga5

Droga5’s newly appointed executive creative director Shelley Smoler talks to us about how growing up in South Africa shapes her work, tapping into culture, and learning the importance of bravery in advertising

Why it’s time to decolonise the creative industries

The cultural canon has been the subject of recurring debate over the years, but has taken on new significance in light of recent events. CR speaks to publisher Sold Out and photo editor and LISTO founder Sara Urbaez about why decolonisation should be a movement, not a moment

Time for change

The Black Lives Matter movement has led to a shake-up of some design’s oldest organisations and clubs. Such change is long overdue, writes Patrick Burgoyne

The evolution of electronic music

As the Design Museum opens its new show Electronic, we speak to curator Gemma Curtin and The Chemical Brothers collaborators Smith & Lyall about the genre’s wider impact on creativity and culture, and how the music industry could look post-pandemic

What Would I Change: Izzy Kertland, Unit9

In the latest in our series asking creatives what they would like to change about their industry, we talk to Unit9’s Izzy Kertland about creating more meaningful experiences, embracing remote working and putting sustainability front and centre

How to make remote onboarding work

How do you start a new role when you’ve never even seen the office? And how do you handle WFH if this is your first job? We investigate how studios and agencies have managed the onboarding process during lockdown, and what it could mean for the future of remote work

What Would I Change: Jo Jackson, Made.com

In the latest in our series asking creatives what they would like to change about their industry, Made.com’s chief creative officer Jo Jackson reflects on what the coronavirus pandemic means for retail and how it has prompted new ways of working for Made’s creative team

How I Got Here: Designer Sam Hecht

Sam Hecht has had a 20-year partnership with Muji, helping shape the company’s minimalist yet practical image. Here he looks back over 30 years as a designer, discussing his “obsessive curiosity” and why design sometimes needs to be driven by need rather than desire

What Would I Change: director Meji Alabi

In the latest in our series of articles asking creatives what they would like to change about their industry, Meji Alabi reflects on making films during a pandemic, finding new ways to shoot music videos, and how the industry can create more opportunities for underrepresented voices

Kate Moss by Corinne Day for Framestore and British Vogue

How Framestore revived the past for British Vogue

Framestore has teamed up with British Vogue to put a new spin on classic fashion photos, working with the magazine to model new collections onto decades-old images for its August 2020 issue. We speak to Framestore about bringing the project to life

What Would I Change: Sally Campbell, Somesuch

In the latest of our series of articles asking creatives what they would like to change about their industry, Somesuch co-founder Sally Campbell reflects on how production companies can create better environments for staff and find new ways of working post-lockdown

Christmas advertising during coronavirus

Has Covid-19 stolen Christmas?

It might be the height of summer, but brands are typically getting their festive campaigns and ranges under way around this time of year. With the pandemic demanding more guesswork than ever, we explore how coronavirus is changing proceedings this time around

How coronavirus helped The Big Issue go digital

When the pandemic struck, The Big Issue lost 80% of its revenue overnight. As the magazine’s vendors finally return to selling on the streets, CR looks at how a combination of quick-thinking and creativity has helped them stay afloat during the crisis

Why advertising needs to stop the shaming

Most advertising makes us unhappy: it’s designed to set unrealistic standards that make us feel ashamed of how we look and live, in order to sell products. But change is coming, says We Are Pi’s Mark Lester