It’s easy to see why. We have a vibrant media in our own industry. Press such as Creative Review, Creative Bloq, Design Week, or It’s Nice That, podcasts like Design Matters or My Life in Design, conferences like AIGA, OFFF, D&AD, The Design Effect, and awards schemes like the DBA Design Effectiveness, D&AD, and the Clios all offer excellent opportunities for creative agencies to reach new people and grow their reputations within the creative industry.
However, the business media has a far greater reach. Fast Company attracts 7.8 million unique visitors every month. Forbes towers over that with 150 million monthly visitors. Even behind a paywall, the Financial Times commands 1.3 million daily readers. The sheer volume ensures you reach a vast, untapped audience.
But the value goes far beyond numbers. Over 70% of Financial Times readers are business decision-makers, boasting an average household income of over $330,000. When we analysed the social media habits of CMOs at the world’s 250 biggest brands, a clear pattern emerged: they follow top-tier business titles like Fast Company, Forbes, and the FT, alongside the leading trade publications in their specific sectors.
Business media delivers the right audience, but its most profound benefit is the credibility it confers. Only genuine authorities and experts get quoted in those pages. Pitch decks featuring logos and article clippings from these outlets perform better. Clients trust agencies whose leaders are recognised by respected journalists.
Consistently appearing in the business media grows an agency’s reputation, fills its talent and client pipeline and, most importantly, drives value into its brand.
Unsurprisingly, getting featured in these publications is tough. Competition is fierce, and journalists receive hundreds of pitches every day. To stand out, you need to master three key areas.
First, you must offer stories that journalists actually want to publish. Winning pitches typically share five qualities:
Second, you need the right contacts. You have to know which journalist covers which beat and how they prefer to receive pitches. As you consistently send high-quality stories, they will start opening your emails. Remember to look beyond the massive mainstream titles. Every industry has a highly respected niche publication. Targeting these sector-specific magazines is often just as valuable as chasing a feature in Forbes.
Third, you must be able to deliver. If a journalist wants to interview you, you need the media training to handle the conversation smoothly. Give them the soundbites they need while seamlessly landing your key messages. If they ask you to write a guest column, you need to know how to structure your argument like a professional business journalist.
As we move further into a new era of search, the rules of visibility are changing. Clients increasingly turn to Large Language Models (LLMs) like Claude or ChatGPT for agency recommendations. To win this new game, we must appeal to machines just as much as humans. These AI systems draw their answers from highly trusted sources like widely read, credible media outlets.
Ultimately, earning your place in the business press creates a powerful flywheel. It delivers the massive reach you need to find new audiences, the unquestionable credibility required to win their trust, and the digital footprint necessary to ensure the next generation of AI search engines can find you. Stop talking exclusively to your peers. Step out of the echo chamber, claim your space in the publications that matter, and watch your agency reach its next level of growth.
6 April 2026 came and went. Most agency founders I’ve spoken to since made some changes; updated their contracts, amended a policy or two, ticked a few boxes. What far fewer have done is thought about what actually needs to change in how they manage their people day to day.
That gap is where the risk sits.
I work with a lot of small and medium-sized agencies. The people challenges in this sector are particular. Founders who are also the creative director. Studio managers doubling up as line managers. No dedicated HR function. Good instincts about people, but not always the processes to back those instincts up. The Employment Rights Act changes make that combination more exposed than it used to be.
Here’s what I’d focus on, and why.
The three-day waiting period has gone.
Statutory Sick Pay (SSP) now applies from the first day of absence, and the lower earnings threshold has been removed too.
The cost of SSP itself isn’t usually the issue for agencies. What changes is that absence patterns surface faster and need to be managed differently. Without a clear, consistent approach to return-to-work conversations, documentation, and some structure around what you expect, short-term absence can quietly become a bigger problem. Most agencies handle this by feel. That’s worked reasonably well until now. It’s a riskier approach going forward.
Previously, an employee needed 26 weeks of service before they could make a flexible working request. That qualifying period has gone.
You don’t have to grant every request – there are still legitimate grounds to decline. But you do need a process for considering requests consistently, and that process needs to apply across your whole team. For agencies with studio-based ways of working or genuinely client-facing roles, there are usually good grounds for managing this carefully. What creates exposure is different people being treated differently without a clear rationale. That’s where disputes tend to come from.
Paternity and parental leave rights now apply from the first day of employment. No qualifying period.
For a small team, losing a senior designer or a project lead to parental leave, even briefly and even when planned, has a real impact on delivery. It’s worth thinking about how you’d handle that before you’re in the middle of a project and having to figure it out under pressure.
The unfair dismissal qualifying period reduces from two years to six months on 1 January 2027. But the effective date for your business is sooner than that. Anyone you hire from 1 July 2026 will already have six months’ service when the law changes which means the practical deadline isn’t January 2027. It’s now.
I’d ask you to sit with that for a moment.
When this comes in, the window for dealing with a situation informally and without significant legal exposure will be much shorter. By the time someone has been with you for six months, they will have substantially the same employment protections as a long-serving member of your team.
Probation in most small agencies is treated as a formality; a six-month period that passes, a conversation at the end of it, and then things continue. That approach needs to change before January. Not because you need to become bureaucratic, but because if a situation becomes difficult, what protects you is evidence of a fair process. Regular structured check-ins. Expectations set clearly from the start. Feedback documented, not just given verbally. A genuine opportunity to improve if performance isn’t where it needs to be.
In agency culture, the instinct is usually to avoid those conversations until something is already complicated. That’s a much harder position to manage from and a riskier one under the new rules.
Since October 2024, employers have been under a legal duty to take proactive, reasonable steps to prevent sexual harassment in the workplace. This came in under the Worker Protection (Amendment of Equality Act 2010) Act 2023 and it applies to every employer regardless of size.
The shift matters. Previously the law focused on responding to harassment after it happened. Now employers have to actively work to prevent it before it occurs. If an employee makes a successful harassment claim and a tribunal finds you failed in this duty, compensation can be increased by up to 25%. The Equality and Human Rights Commission can also take enforcement action directly.
For agencies there are two things worth attending to. The first is clear internal policies, a genuine process for raising concerns, and manager training that goes beyond a tick-box exercise.
The second is specific to how design agencies work. From October 2026, the duty extends to third-party harassment meaning employers will be liable if a client, visitor or anyone else working with your team harasses a member of your staff and you haven’t taken all reasonable steps to prevent it. For agencies where client relationships are central to how you operate, this is worth thinking about properly. Having a clear protocol for what happens if a client behaves inappropriately toward a member of your team isn’t just good practice, from October 2026 it will be a legal requirement.
If you haven’t reviewed your approach to this since October 2024, now is the time.
If you’re running a smaller agency without a dedicated HR function, I’d start with three things:
If you’re a larger agency with an HR function, the priority is consistency. Your managers need to understand what’s changed and what’s now expected of them. Documentation is essential, as well as a consistent approach across teams, otherwise this is where your exposure will be if something goes wrong.
None of this is complicated to get right. It just needs some attention now before you’re dealing with a situation you’d rather not be in.
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To maintain our global standing as a destination for world class design services, we must guarantee the quality of the design talent coming into our sector. Launched on 18 June 2026, ‘A Shared Vision for Industry-Led Design Education within Higher Education‘, produced in partnership with our friends at CHEAD suggests a systemic approach for leaders to reimagine succession into the industry.
The report calls on Higher Education, Government and Industry to work together to secure future generations of design graduates, ensuring emerging practices reflect the aspirations and realities of those who will enter, inherit and reshape the profession.
This is just the beginning, but today we urge you to read the report and consider what it is that you will do to support this cause.
Professor David McGravie, Pro Vice-Chancellor (Arts, Humanities and Social Sciences) at the University of Chester, says: “As Chair of CHEAD, I am delighted to endorse this important mission outlining the principles of industry-led design in Higher Education.
Industry-ready design graduates will represent the future creative talent of the design sector, offering new, diverse perspectives, innovative thinking, and the energy to drive the industry.
They will possess up-to-date technical skills in content creation, AI, and sustainable practices, informed by the vital real-world expertise they will have gained throughout their programme of study.”
“If industry and education are working well together, graduates enter their careers ready and equipped to contribute. We want this to be true for every design graduate, and we look forward to working with CHEAD to make this a reality nation-wide.”
Deborah Dawton, CEO, DBA
Designers are famously reluctant to treat their own businesses as brands in the way they might for clients. I’ve always liked D8’s deadpan declaration: “without a slogan since 1999” – and there’s a truth in the humour. It’s hard to find the words to stand by.
I examined agency messaging in detail as co-author of the Fully Saturated report. We analysed the positioning and language of hundreds of studios, determined to unearth some gems in a very repetitive verbal landscape. We were looking for three things: the angle, the relevance, and the memorability.
The Chase’s storytelling has survived for 40 years, landing the idea that every element must have a reason for being. Asked how he carves elephants, an accomplished craftsman answers: “I just cut away the wood that doesn’t look like an elephant.” It’s a thought-provoking and re-tellable story that speaks of instinct and strategic design. We were also struck by Analogue Creative’s “seriously playful” positioning, which is both promise and vibe, and Among Equals’ foundational mantra “Start with no-one cares.”
These are hard-working words, but in this sector there’s an abundance of language that does little more than explain the role of design: standing out, bringing your brand to life, making a difference, connecting with audiences. Let’s revisit Among Equals’ truth bomb; it’s relevant in the design sector just as any other. If no one cares about your agency, what are you doing to change that?
We know there’s an in-built reluctance to go all-in on creative messaging, which likely derives from a reliance on portfolios to tell the story and the absence of in-house skills. Most agencies are small businesses, and few small businesses have in-house writers. But we also know that marketing is not optional, so you need to find your voice. Daniel Poll, founder of Noramble told us, “In the past, agencies have used their work quality and process to gain the advantage. Having a stand or a viewpoint within your agency messaging is what can really help you relate to clients looking, because great work is everywhere these days.”
This is a people-driven sector, but there are times when your words need to stand alone and do the hard lifting, even if it’s not a full-blown multi-channel marketing campaign (though maybe it could be, or should be? Just a thought).
So how do you choose the words that sit on your home page, on your LinkedIn page, and what do you opt for in that hateful moment when you’re asked for a company bio? When forced to articulate something versus nothing, the next challenge is balancing the pressure to be sensible and follow the rules, while also secretly wanting to be altogether more rebellious.
When the pipeline is running dry and you need to make briefs happen, following the rules feels like the safest option. Every business wants an easy win – even though it’s likely not what studios advise for clients; they call for bravery and big ideas.
First SEO brought rules, striking the first blow to the idiosyncrasy of words, as the whole point is to chime with the most commonly used terms. Since then, with LinkedIn as the dominant B2B platform, it’s sensible to appease the algorithm, which rewards clear niching and narrow topic ownership. These are valid rules and well worth knowing, but we need to be aware that online environments are shaping language and reducing our vocabulary. And this could be opening up an opportunity for those that choose not to play by them.
Agencies should know the rules and stick to them to a certain degree, but this piece is all about defining that degree. Just as with design practice, great words don’t simply come from rules, they come from breaking the mould and choosing when to deviate.
There’s now a new holy grail in marketing: visibility in AI answers. The interesting thing here is that AI is a much more sophisticated form of search. It can tell the generic from the genuine and noteworthy. Businesses with something unique and valuable to say are rewarded for it. This means there’s a very good reason to build a brand, not just a sales machine. And this should be music to the ears of creatives. If any sector is permitted to wear its weird on its sleeve – surely this is it?
But there are other constraining factors too. On the face of it, no one celebrates corporate language; words like ‘elevate’ are frequently mocked but at the same time accepted as a necessary evil. The biggest influence on agency language right now comes from the verbal culture of the boardroom. We see promises of change, transformation, growth, and scale. And while there’s huge benefit in speaking to your audiences’ ambitions and pain points, and using their language, if this shows up as simplistic unsubstantiated tropes, it starts to work against you as clients can’t tell one agency from another.
Let’s think smarter: make commercial promises grounded in the effectiveness of your design, but bring your hard-earned nuanced insight to the table (or deck, or screen). Surprise clients with your incisiveness. Own a more interesting angle on how you will uniquely deliver widely promised commercial outcomes, for example see how EatBigFish brings deep insight into what it means to be a challenger brand. Lean into attributes that go beyond a textbook explanation of design, because the clients you really want already understands design; they just need to know why to work with you.
Our Fully Saturated report champions agencies that think like brands. That means ownable ideas and distinctive language that bring greater relevance, believability and, crucially – premiumisation. This, we know, is the payback of thinking like a brand: to rise above the competition and command higher fees. A brand works hard to avoid being seen as a replaceable commodity service.
How can natural-born rebels navigate the rules of language?
I think about messaging in strata. Know the rules, follow the best practices, hit the key words, but then layer on something more authentic and imaginative. The really good stuff comes from defining your true values, knowing what you deliver that goes beyond the expectation of the sector, and articulating a point of view.
I spend all day every day working on B2B positioning and language and have come to the conclusion that the most powerful stories are infused with genuine personal experience and personality, not from following rules or playing the part. After all, design clients are people too and in the midst of a day of pitches, they want something that will wake them up.
In the report, we show how I Am Female studio makes a virtue out of being queer-led and brings a punchy attitude with it, “CREATIVITY. INNOVATION. BLAH BLAH BLAH… We’re the queer-led brand communications agency for brands tired of the same-old sh*t.” It stands out and increases relevance for a particular kind of client. And we showcase Land of Plenty’s unmissable commitment to ethics. This agency comes with a strong point of view: “People love the products and experiences you create. They just want to know you’re not delivering them at a cost to the planet. It’s about small steps towards being better, not huge claims of being perfect.”
The good news is that if your agency is a good one, those deeply-held provocations or quirks are already there, albeit hidden in a bid to show up as professional. Perhaps it’s time to let your inner rebel have some airtime too. I’m certain you won’t regret it.
Image credits: Felicity Tai | Becolourful | Bailey Mahon
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Client service helps generate serious returns — account growth of 30% to 346% year-on-year, EBITDA uplifts of 250%, campaign ROI of 20:1. These are not hypotheticals. They are outcomes documented across the categories in the recent Client Impact Awards, all directly attributable to the quality of strategic relationship management.
The role has been shifting for years: from bridge or buffer role focused on stability, to growth architect focused on commercial value.
Yet the role has been systematically undervalued, under-defined, and — most damagingly — badly measured. That has to change.
Agencies commonly use utilisation as the primary metric for performance. In a classic time-based model, it’s a reasonable rule of thumb. For studio resource management, it’s essential — without it, designers end up triple-booked and burnt out.
But utilisation is a blunt instrument for relationship management. When we treat client service time as a commodity to be “filled,” we incentivise activity over impact. A client service person measured on 50% utilisation looks expendable on a spreadsheet. A Client Partner measured on account growth and relationship advocacy becomes retention-critical.
Changing the measurement model for client relationships is the first step to building a partnership strategy aligned to both agency and client commercial priorities.
Now is the moment to retire the term “Client Service” officially. These professionals are not in service. They are strategic allies. And that distinction matters enormously — because a strategic ally has a fundamentally different focus, different behaviours, and different conversations with clients.
The primary job of any client-facing team is to nurture trust. Trust is the foundation of every sustainable commercial outcome. Trust creates access. Access enables influence. Influence drives growth.
Everyone contributes — strategists, writers, designers, producers, project managers. But the person who holds the lead on this is the ‘Client Partner’. And that title is neither cosmetic nor interchangeable with account handling.
There are specific skills and behaviours that distinguish a Client Partner from its service-based foundations and other client-facing roles. Client Partners are relationship strategists; skills such as business and commercial take on a new meaning. Their internal team role is to have a centralising, multiplier effect.
This shift is being driven by clients. Marketing teams are smaller, more generalist, and faster-moving than they were a decade ago. Senior marketers rotate through organisations more frequently. The institutional memory that once made long-term agency relationships easier to sustain is eroding.
As a result, successful client partners must now function as outsourced brand custodians — people with deep, visceral knowledge of the client’s world, their strategic priorities, their internal politics, their commercial pressures. That knowledge takes time to accumulate, and a strategy for how to deploy it across the whole agency team — so the client gets a consistent, authoritative experience whoever they speak to.
Here is the critical paradox: clients know they want partnership. Almost none of them measure whether they’re getting it.
There is no KPI for relationship quality in most marketing plans. No budget line for relationship investment. No annual review of whether the agency partnership is delivering at its full potential — separate from whether campaigns are hitting targets.
This absence reinforces the myth that relationship management is soft and fluffy. But the data says otherwise. When the Six Client Needs are met, the agency experiences measurable commercial value in 75% of cases. The Client Impact Awards confirmed this again and again: the outcomes were experienced differently by client and agency, but the value was matched on both sides.
I’m running a two-part DBA Masterclass on 25 and 30 June for those in client-facing roles. We’ll be examining the “value gap” – the persistent, commercially significant space between what clients say they want from their agency and what they typically receive and I’ll introduce a practical framework for relationship measurement you can take directly to your clients — turning “good chemistry” into a defined, trackable commercial focus. (Here’s how to join us)
It’s time to recognise client partnership today — the role of Client Partner as relationship strategist for growth has begun.
Joanna works with creative agencies and in-house creative operations teams to translate strategy into systems, behaviours, and results. As a client service and change specialist with 30+ years’ experience inside agencies, she’s skilled at ‘making it happen’.
Joanna is an accredited DBA Expert.
Check out our upcoming events and training and if you’re looking for a good book, we’ve got a great list of recommended reads.
The next DBA Member Forum is on Monday 6 July, 1.30-2.30 BST.
The EU AI Act (“Act”) is a legal framework under EU law aimed at the development, placement and/or use of AI within the EU marketplace.
In this guide you can find details on:
UK businesses that provide or distribute AI systems on the EU market (known as “providers” and “distributors” respectively) or that place AI systems on the UK market where the output of those systems is used in the EU (known as “deployers”) are caught under the Act. Many UK businesses could fall within the category of being a “deployer”. For example, a design agency that uses AI to produce a brand marketing strategy or marketing materials which ultimately may be distributed to individuals in the EU.
It is a set of binding rules for AI systems within the EU, having regard to a defined risk-based approach. Certain unacceptable AI practices are prohibited under the Act, whereas specific requirements are laid down for high-risk AI systems and obligations are imposed. In addition, transparency obligations apply for certain AI systems.
There is a general requirement of “AI literacy” in that providers or deployers of AI systems must take measures to ensure a sufficient level of AI literacy of their staff and other persons dealing with the operation and use of AI systems on their behalf.
Prohibited AI practices include matters such as the placing or use of an AI system that deploys subliminal techniques beyond a person’s consciousness or purposefully manipulative or deceptive techniques that cause people harm or exploit people’s vulnerabilities in ways reasonably likely to cause significant harm.
Article 50 of the Act places transparency obligations on providers and deployers of certain AI systems, for instance:
UK businesses should consider whether any of their activities fall within the Act. In essence, if any of their products or deliverables end up in the EU where they have involved or involve AI systems, then they are likely to be caught under the Act.
UK businesses should carry out an internal audit to understand how and where AI is used in their business and whether as a “provider”, “distributor” or a “deployer” in respect of the EU market. As part of this, we recommend a review of “supply-side” and “client-facing” contract terms is carried out. This should reveal what AI any suppliers are using and whether any protections need to be put in place. Likewise, consideration should be given as to whether any restrictions or parameters need to be inserted in client contracts concerning use of the products and deliverables.
If the UK business does fall under the scope of the Act then they should consider if the AI literacy requirement is being met, whether any of the transparency obligations apply, whether any of the AI systems sit within the higher risk categories under the Act, and what steps, therefore, need to be taken to ensure compliance.
Breach of the rules on the prohibited AI practices, and breach of the obligations regarding high-risk and limited risk AI systems, could mean a significant fine. More info can be found at the European Commission’s AI Act Service Desk.
The Act came into force on 1 August 2024, with phased implementation now through to 2027/8 under the EU’s proposed “Digital Omnibus on AI Regulation”.
The provisions concerning AI literacy and prohibited AI practices came into force on 2 February 2025.
The provisions concerning general purpose AI (“GPAI”) models, governance and penalties (without the fines for providers of GPAIs) came into effect on 2 August 2025.
The transparency obligations for providers and deployers of certain AI systems under the Act are due to come into force on 2 August 2026.
As above, the EU’s proposed “Digital Omnibus on AI Regulation” has pushed back certain of the other implementation deadlines through 2027/8.
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This publication is a general summary of the law.
For any specific legal advice, you should take legal advice based on your circumstances. Please feel free to contact a member of HK Law’s Corporate & Commercial Team for more tailored advice.
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There’s a familiar rhythm in design agencies. New business is quiet, so marketing activity spikes. New business picks up, marketing stops. Delivery gets busy, outreach disappears. The pipeline dips, and the panic returns.
If that sounds familiar, you’re absolutely not alone. But the good news? There’s plenty we can do about it.
Published last autumn, the DBA In Focus Report predicted another tough year. The proportion of member agencies feeling positive about their business fell for the third year running, from 80% in 2022, to 72% in 2023, to 66% in 2024, to 60% in 2025. Confidence is the lowest it’s been since the pandemic. And for the second year in a row, “new business pipeline” was ranked the single biggest risk to agencies across the short, medium and long term.
So no, this isn’t a great year to leave your marketing on the “too difficult” pile, but what’s worth noting, is that the agencies who get this right aren’t doing more. They’re just doing things they can keep doing. That’s a much more achievable bar than it sometimes feels.
I’ll never stop making the point that agency marketing isn’t something you switch on when revenue dips. It’s never too early to begin, and it’s not something that should stop. It needs to be the engine that runs quietly in the background, year-round, identifying new relationships, building awareness, starting conversations, demonstrating your value. It’s how you make sure that when a prospect reaches their point of need, which might be next month, next year, or three years from now, your agency is already on their list.
There’s a related point worth highlighting. The DBA data shows the average agency now generates around three-quarters of its income from existing clients. That’s a wonderful testament to the work you do. It’s also a quiet vulnerability. A reliable base built from a small number of relationships is a lovely thing right up until one of those relationships ends. Gentle, consistent marketing activity is how you stay ahead of that risk, by making sure new relationships are always being built somewhere in the background.
And here’s where it gets genuinely exciting. What “sustainable marketing” looks like has shifted in the last few years, and the shift is good news for agencies. The traditional model of the lone agency principal posting opinion pieces into the LinkedIn void is getting harder to cut through. It’s also exhausting, and most of the people I work with quietly admit they hate doing it.
What’s working better, for a lot of agencies, is more collaborative.
Co-created content. Rather than positioning yourself as the lone expert, convene the conversation. Interview the people your prospects respect. Host the discussion your sector isn’t having. Authority by association is a very different thing, and often a more effective one, than authority by assertion.
Partner marketing. Teaming up with adjacent specialists, perhaps a strategy consultancy, a developer, a PR partner, a researcher, to create something useful together. A panel, a piece of research, a guide, a roundtable. You share the audience, share the load, and you both look more credible by association.
And lastly…
Newsletters. “But no-one reads them!” I hear you cry! And yet, as reported in Up To The Light’s ‘What Clients Think’ Report published earlier this year, 70% of clients expect their agency to produce some sort of regular newsletter or update.
None of this requires you to be the loudest voice in the room. It just requires you to be a useful presence in the rooms that matter to your prospects.
A few things to bear in mind as you think about your own approach.
Be honest about what you’ll actually keep doing. A monthly article you’ll abandon after four months is worth less than a quarterly piece of co-created content you’ll still be producing in two years. Smaller and sustainable beats bigger and burned out, every time.
Measure the right things. Network growth, conversations started, relationships warmed. These are the early indicators that matter. Don’t be too quick to write off an activity just because it didn’t produce a brief in the first month. That’s not what it’s for.
Most of all, try to enjoy it. Looking after the business, and that includes your marketing, isn’t a distraction from the creative work. It’s what protects it, and creates the conditions for it to thrive.
If you’d like some help thinking this through for your own agency, I’m running the DBA’s Marketing your Design Business course online across three 90-minute sessions on 16, 18 and 23 June. We’ll get into the smart, sustainable ways design agencies are building authority and starting the right conversations right now. I’d love to see you there.
Lucy helps agencies optimise their new business performance.
Drawing on 30 years’ new business experience, Lucy works with agencies to create workable new business and marketing strategies and plans, mentors in house new business teams and helps client service teams build deeper, more profitable relationships.
A big believer in using marginal gains to unlock new business paralysis, Lucy is the creator and host of the Small Spark Theory new business podcast.
Lucy is an accredited DBA Expert.