Industry News
New culture secretary compares UK creative industries to a woolly mammoth



New secretary of state for culture Matt Hancock has described the UK's creative industries as "a mammoth" in his first speech to the sector in his new post.


Speaking at the Creative Industries Federation's anniversary event at the Natural History Museum in London on the 9th January, Hancock noted how the museum contains "one of the world's finest collections of artefacts, from the T-Rex to the woolly mammoth".


"And I see only one mammoth," he added. "And that's the mammoth that is our creative industries."


The statement comes amid widespread concern that Brexit will damage the UK's creative sector, with restrictions on immigration viewed as a particular threat to the industry.


Creative sector worried over impact of Brexit.


Hancock was promoted to the high-profile role of secretary of state for digital, culture, media and sport as part of prime minister Theresa May's cabinet reshuffle this Monday.


He previously held the post of minister for digital and culture, a more junior post within the Department for Digital, Culture, Media and Sport (DCMS).


"The creative industries are one growing faster than ever, contributing almost 100 billion pounds to the UK economy every year," Hancock added in his speech.


However the Creative Industries Federation (CIF) has repeatedly expressed concern about the government's handling of Brexit negotiations and their potential damaging impact on the creative sector.


Most recently it urged the government not to adopt "reckless" immigration policies that could hurt creative businesses.


"Our global reputation has made us a magnet for world-class talent who, in turn, have helped build our international renown," said CIF chief executive John Kampfner. "It would be reckless to lose this hard-won success."


Many architecture and design firms rely on skilled workers from abroad, with with half of employees at some London firms coming from the EU. There are increasing concerns that tougher immigration policies, combined with the falling numbers of young people studying creative courses in the UK, could lead to a skills crisis.


Hancock met Dezeen last year to discuss Brexit concerns.


Just over a year ago Hancock attended a dinner organised by Dezeen, where he met leading figures from the architecture and design sector to discuss concerns about Brexit and to highlight issues raised in Dezeen's Brexit Design Manifesto.


In a statement issued after the dinner Hancock praised the UK's architects and designers, describing the sector as "vitally important to our future as an outward looking, creative nation".


The UK has the world's third most valuable creative sector after the US and China, employing three million people and £87 billion to the UK economy, according to CIF figures.




Article orignally posted on Dezeen | 10 January 2018

Hays reveals 2018 Hiring Trends



We’ve reached December and 2017 is drawing to a close, and so it’s that time of year when we look ahead to what changes 2018 will bring and the recruitment trends we could expect. 


Recruitment giant Hays has laid out what they think the top recruitment transformations will be next year. They include; recruitment fuelled by data and science and digital technology; Virtual Reality that enhances a job seeker’s profile; and upskilling as a benefit. 


Nick Deligiannis, MD of Hays added that these changes were unsurprising. As the demand for professionals with digital skills grows, so too shall the digitisation of the recruitment process. 


He said: “The overall theme is that of technology changing history norms in recruitment, from using data science analytics to help identify the most suitable person to the virtualisation of the screening process and the growing demand for high-skilled professionals in response to digitalisation technologies. 


“These changes present opportunities for adaptable and innovative employers and jobseekers to stand out and secure top talent or their next job.”


As well as these evolutions in recruitment, Hays as also laid out ten likely changes that will happen in recruitment next year. 


  1. Recruitment driven by big data
  2. Artificial Intelligence to screen candidates
  3. Virtual reality to enhance jobseeker profiles 
  4. Augmented reality to give candidates a proper experience i.e. walkthrough of a new workplace
  5. Jobseekers enhancing their personal brand with videos on their CVs 
  6. Automation will impact temp jobs
  7. Roles with ‘upskilling’ become increasingly popular 
  8. Low-skilled jobs in lower demand; high skilled in higher demand 
  9. Fintech professionals in huge demand 
  10. Diversity remits and increasing hiring priority 


Do you think these changes will happen in 2018? 

Have Designers Lost Control Of Design?



Design is everywhere and more influential than ever. But that power has come at a cost, says designer and technologist Matt Webb.


Do designers have an ethical responsibility toward their users? It’s a question that designers struggle with, as the products and interfaces they help bring into the world can have unintended consequences, from spreading fake news to exacerbating mental health problems. Even tech luminary and Nest founder Tony Fadell has expressed regret about the products he brought into the world.


But for Matt Webb, managing director of R/GA’s IoT Venture Studio in the U.K. and founder of the now-defunct influential London-based design studio Berg, the conversation about ethics is focused on the wrong question: How can you talk about ethics if designers aren’t the ones making decisions about how products and interfaces work in the first place?


“The gap between what the designer creates and what the people who use it actually touch has gotten really big,” Webb says. That’s a problem because designers are trained to base their work on empathy for the user and the user’s needs. When products and interfaces are persuasive, engaging, and maybe even psychologically manipulative, they haven’t been designed with empathy. They’ve been designed to be so user-friendly that they take advantage of the user’s weaknesses.


This is a unique problem of the software age. Historically, design was about making physical things, whether it be office chairs or album covers. Now, designers are coders–or at least working within the constraints of code–typing inputs into a computer that conjure up an interface that lives across millions of screens.


That shift has occurred in tandem with a new design process. Designers create the parameters that dictate interfaces, which are then A/B tested and optimised based on how users interact with them. (Designers have always done user testing, of course, but it’s much harder to change a physical object than it is a piece of code.) Now, the constant tweaking of software creates a never ending design process, where every click is another piece of data to optimise. “The thing that generates the most money or that people use the most wins,” he says. “So who actually designed that?”


One example: the Amazon Echo ecosystem, which consists of “skills” that other companies and individuals can create so users can access their products through the Echo. Designers of these skills–which can do things like give you a recipe, guard your secrets, and even tell you about the flat Earth conspiracy–work within constraints so that their skill fits within the Echo interface. But there’s no guarantee of the quality or usefulness of any of the 15,000 skills that the Echo currently offers–the only measure is popularity. “It’s more like a scaffolding [where] loads of creators can throw an interface at the wall and see what’s most popular,” he says. “And then that’s what everyone uses. Who’s actually designed that user interface?”

Engagement becomes the chief metric, and just because something holds someone’s attention doesn’t mean it’s good for the user. Take the Facebook Newsfeed, which has arguably been optimised to hold your attention within an inch of its life. Facebook boasts that its users spend an average of 50 minutes on its various platforms per day. But the same algorithms that enable this incredible amount of user engagement also enable sensationalist fake news to spread like wildfire. The problem was so bad during the lead-up to the 2016 election that it may have contributed to Donald Trump’s win.


Call it a design paradox: More than ever before, designers are sitting on the C-suite of companies. Large corporations are investing in design because it makes good business sense, both through hiring and through “innovation labs” that have become a crucial part of how companies grow and adapt. But as design has become integrated into the heart of companies, Webb believes there has been–ironically–an unintended consequence. Designers themselves, beholden to business interests that demand the most optimised, most persuasive version of something as opposed to the most useful and helpful for the user, have decreased agency. In other words, with power has come less responsibility. “Designers have less control over what they put out, in some cases,” he says.


Webb likens this conundrum to how engineering as a discipline has evolved. Engineers used to be the only ones who made the devices and appliances that people used, but as more things have become integrated into the internet, engineers now also create the constraints of systems–whether they’re game systems or AI systems–and a fully optimised world emerges within. These engineers, who Webb calls “the debuggers, the AI whisperers, the people who know how to do the robot psychology of the future,” no longer code the systems. They code the code that builds the system.


Webb sees a similar trajectory within design. Design as a whole has greater influence over organisations–even as it has ceded agency over the intricacies of interfaces to optimisation and A/B testing. As Webb put it, “individual designers can wield the supply chains of China.” But that also has made it harder for designers “to deliberately create something which is going to have the effect that we want.”


What does this mean for designers? If they have little power in this ecosystem where A/B testing and optimisation are the kings of the hill, what is their true responsibility? What ethics should designers adopt, if any, if they don’t have the power to deliberately create things that will actually serve users? Can designers keep their position of power within organisations while maintaining their agency? What does a revised design process for the digital era look like? Do chief design officers have a role to play? How can organisations address this problem?


These are not easy questions and Webb doesn’t pretend to have answers, but we’d love to hear what you think.


Sourced from Fastco Design 

Does a creative's CV need to be creative?

lemon cropped

Getting a job has always been competitive and candidates are doing all they can to give themselves an advantage. So is there a need to get creative with your CV?

Let’s first consider the purpose of a CV; to portray important information in a concise and informative way which allows the reader to quickly scan and take in the relevant information. So how do you make yours stand out?

In the creative industry people want to show their creative potential, are making CVs their own by expressing themselves through their unique presentation and layout. But can this get in the way of the sole purpose of a CV? Is it not the job of the portfolio to show creative talent and potential?

I guess it can be quite subjective; one employer may be impressed with your creativity, whilst another may not be prepared to spend the extra time needed to actually find the relevant information on your CV. But it seems getting the balance right is crucial. If you can keep it easy to read whilst showing some unique creative flair, then it will probably make a good impression.

Have a look at these creative CV’s below. Which ones have got the balance right, and which ones seem to have forgotten the aim of a CV? Let us know what you think…

The Importance of Work Experience for Graduates
scroll-32278 640According to a recent article by the BBC and research by High Fliers of more than 18,000 university leavers - graduates who have had internships or work experience whilst at university are three times as likely to land jobs.
Job applications are at record levels with applications being sent earlier than ever. The research suggests that students will have submitted an average of more than seven job applications each before leaving university. This is the highest level found in 18 years of research into the graduate jobs market.
Researchers estimate that from the 30 universities involved in the study there will have been 427,000 job applications generated this year - almost double the number from five years ago!
The destination for these young job hunters is more likely than ever to be London. Half of all graduates now expect to work in London, with the capital the most popular location for students leaving 27 out of 30 universities. The only exceptions are Queen's University in Belfast and Strathclyde and Glasgow universities.
Unemployment in the UK falls again as record numbers are in work

New figures from the Office for National Statistics have shown that a record number of people are in work after another fall in unemployment and a further dip in the numbers claiming jobseeker's allowance.


Almost 30 million adults were in a job in the quarter to last November, up by more than half a million on the previous year. This gives an employment rate of 71% - the highest since records began in 1971.


The number of job vacancies in the economy increased by 10,000 to almost half a million at the end of last year, the highest number for four years.


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