Kate is Chief Creative Officer at Saatchi & Saatchi London. Since joining in 2005, she and her Partners have enjoyed developing the Agency into one that has the depth & breadth of talent to create multi-platform ideas for both local and global clients. Creative highs have come in the form of awarded work for Carlsberg, Visa, Toyota, Guinness, Kerry foods, HSBC, EE and T-Mobile. Before arriving at Saatchi & Saatchi, Kate was Vice Chairman and Creative Director at St Luke’s, which she joined in 1995. Within two years at St Luke’s, the agency had amassed prolific new business wins including Clarks Shoes, Sky, IPC, COI, Boots and Eurostar, and an impressive body of work resulting in the agency being named Campaign’s agency of the year. Kate began her career at GGT under Dave Trott’s Creative Directorship where she created award-winning campaigns for Cadbury Flake, Cadbury Creme Eggs, Wispa, Holsten Pils, Access (Mastercard), Nurofen, Lurpak, and Seconda. Away from the creative world, Kate is married to David, has a 15 year old son Otto & dogs Rocky & Dino

Creative Director of Design, Marketing Communications, Apple EMEIA Harriet has spent over a decade at the creative helm of the European Marketing Communications Group at Apple, a team that delivers work across multiple markets in Europe. As well as leading the in-house creative team, she's an active member of the Women at Apple Group and a mentor to many people across the wider European organisation with an emphasis on encouraging women to rise into leadership roles. She’s long been a supporter of D&AD and will spend this year as their President having served on their management committee as a trustee for several years. She’s a huge fan of D&ADs Shift Programme - which focuses on giving opportunities to non-graduate creatives - and Apple have seen several Shift graduates come to them for creative internships.

Steve is an award winning creative who has worked on the launch of the iPhone and Amazon in the UK with NASA (Space Lab), The United Nations, UNICEF and headed up the Creative Lab at Google in EMEA for eight years. Most recently he was appointed as the Chief Creative Officer for Greece to help develop a new country narrative as a Special Advisor to the Prime Minister. Some of his projects include: a machine learning musical instrument called the NSynth Super, Assembly of Youth, an installation giving youth a voice at the United Nations, Inside Abbey Road - a virtual tour of the iconic music studios, Project Jacquard - an interactive wearables fabric and Chrome Web Lab, an installation connected live to the internet from the Science Museum in London. Steve also worked on the launch of project Bloks, a physical coding platform that teaches kids to code for which he was granted two Google patents and bringing dinosaurs back to life in Virtual Reality at the Natural History Museums in London and Berlin. In 2015 Steve went to the island of Lesvos to build a mobile information site (refugee.info) to help Syrian refugees fleeing civil war keep safe. His work has been featured in WIRED, The New York Times, Telegraph, Wall Street Journal, Creative Review, Huffington Post, FT, Design Week, Adage and he’s written columns for Adweek, Marketing, Campaign and conducted interviews with the BBC, CNN, CNBC, Lürzer's Archive and Shots.

Bruce Duckworth is a designer. He is the Co-Founder and Co-Chairman of Turner Duckworth, the award winning international brand identity design firm he founded with David Turner in 1992 in London and San Francisco, and opened in New York 2016. The company employs around 100 people of which 80 are designers. The studios work collaboratively on most projects and the company has achieved an international reputation for design excellence. Working with some of the most culturally significant brands in the world from Amazon, Coca Cola and Samsung and entrepreneurial brands such as Elemis and the band Metallica. Bruce has won over 500 design awards including D&AD Yellow pencils, the inaugural Cannes Design Lions Grand Prix, the first ever design accepted in the Clio Hall of Fame and a Grammy award amongst others. His work and opinions have been published in many design books and magazines all over the world. The Drum Magazine named Bruce as one of the top twenty most influential and talented UK designers in 2014 and Creativity Magazine named Bruce as one of America's fifty most creative people.

Andy is a Founder, Creative Partner and Innovation Director @ Work Club. He's passionate about the Internet as a power source for business and social change. Recent projects include The 'McLaren Pitwall' which mixes live data from an F1 car, pit lane chatter and Facebook creating up-to-the-micro-second status updates, A live animated Tattoo and the D&AD White Pencil. A prominent member of institutions championing creativity such as the Creative Social and a mentor for The Marketing Academy, Andy is a regular speaker on advertising futures. Andy is already embedded within D&AD helping guide digital vision, new blood, and recently as foreman for the Digital Design jury. Previously he was CD @ Agency Republic, a TV channel brander, designer, game designer, 3D animator and originally an illustrator who got frustrated that his airbrush did not have 'cmd z'. You can follow him on the streets of South London or @sandoz.

Mark Bonner MA(RCA) Strategic Brand Creativity /B.randed Former Co-Creative Director GBH London and D&AD President 2015 Mark graduated from the Royal College of Art in 1993 and worked at The Partners, Carter Wong & Partners and SAS before co-founding multi-disciplinary graphics group GBH In 1999. Now 20 strong, GBH works internationally solving communications problems across the disciplines for clients such as Alajmo, America’s Cup, BMW, Eurostar, Flos, Louis Vuitton, Mikli Eyewear, North Sails, Puma, Royal Mail, Starck Network, SBE Entertainment, Virgin Galactic and Yotel. GBH has consistently ranked within the UK’s top ten most creative design groups by awards won (DW Hot 100 Survey) since its foundation in 1999, reaching No. 2 in 2007 and again in 2011. Mark began his relationship with D&AD via a Student Yellow Pencil in 1991 and has now won 43 D&AD Awards including four Yellow and nine D&AD Graphite Pencils as well as six Design Week Award wins including Best of Show in 2003 and a Silver Award at the New York Art Directors Club amongst many others. Mark is visiting lecturer at Kingston, LCC, UAG, UAB and New Bucks Universities, and is a regular judge in industry awards schemes including eight times at D&AD. A four-year stint on D&AD’s Board of Trustees culminated in Mark serving as the 52nd D&AD President in 2015.

Laura cut her teeth as a key figure in Australia's infamous 'geekgirl' hyperzine in the early nineties, and has been involved ever since in the design and implementation of many of the world's most cutting edge projects for top international brands. She has worked at a senior level at deepend, Lateral, I-D Media London and glue, before joining LBi in 2009. She also lectures extensively at major Universities and centres of excellence. She has consistently won awards for her commercial work, and has been honoured with personal recognition over 15 years in the industry, including recently winning the New Media Age Greatest Individual Contribution to the Industry Award. She is co-founder/Director of SheSays (www.shesays.org.uk) – an international volunteer organization encouraging women to take up digital creative careers; and is also the founder of the Cannt festival (www.cannt.org) which offers up a bit of Cannes spirit to those hardworking Londoners (and in 2012 New Yorkers) in advertising and design who don't get to walk along the Croisette.

Neville Brody is an internationally renowned designer, typographer, art director and brand strategist. As founder of the Research Studios network and partner in each of our operations, his insight, methodology and appetite for excellence inform every aspect of our work. Today, in addition to lecturing and contributing to a variety of cultural and educational initiatives, Brody works both independently and alongside our designers on commercial and private projects – guiding Research Studios, our clients’ and inspiring the wider design community.

Rosie has now left full time agency life to pursue personal passions. She will be lecturing, coaching and doing good deeds with the occasional creative freelance project and film making. She left AMV on the very last day of 2018 having worked there on mainly Mars brands, winning a few awards for Maltesers, Snickers and M&M's. She had joined AMV in September 2016 after a short sojourn at BBH, some 33 years. She graduated from Central St Martins with a BA( Hons) in graphic design while moonlighting for the then tiny hotshop which was BBH. While there she won numerous awards on for her creative work on businesses ranging from Levi’s, Pretty Polly Robinsons, Audi, Heineken Shell, Yeo Valley and Lynx which she ran as Creative Director for only 15 years, maximising ‘The Lynx Effect”. She was made deputy ECD of BBH in 2009. Rosie was honoured to be president of D&AD in 2012- the charities 50th year, while president she introduced the first new pencil in D&AD’s history- The White Pencil -awarded for work that not only sells but does good in the world. The urge to do great creative work and to make the world a better place is still strong so watch this space.

Sanky co-founded AllofUs in 2003 and is one of 3 creative partners in the business, his client responsibiliites include Covent Garden, IKEA, Samsung, Tony Blair and YOTA and he has created installations for most of the major galleries in London aswell as brands such as Motorola & Microsoft, a sound reactive identity for Great Ormond Street Hospital and a 5 year digital strategy for IKEA. He has given talks at IDN Fresh Conferences in Sydney and Singapore, Flash Forward, Design Yatra Goa 2003 & 2013 and Design Indaba. He has also been a judge for the D&AD Awards, Design Week, Flash Forward, Roses, Canadian Art Directors Club and Kyoorius Awards

Chairman & CCO Paul is passionate about creating game-changing work and encouraging diversity within creativity. He is driven and fascinated by creative ideas that can make a difference. Ideas that have the power to reach and affect people, add value to companies and help solve business problems. This passion extends to helping young creatives find their career path and encouraging them towards their chosen career. In his 33 years in advertising, Paul has seen a lot of changes in the industry. During his 26 years at AMV BBDO he has seen them grow from a small print-biased agency to the UK’s biggest billing agency and part of BBDO, the world’s most creatively awarded network. Paul cites standing as President of D&AD in 2010 and being named Chairman of AMV BBDO in 2013, as the highlights of his career.

Garrick Hamm is a Creative Partner at Williams Murray Hamm, where he heads up creative projects which have included the rebrand of Castrol Oil and the relaunch of Fortnum & Mason, which included helping the company raise £26m for a total store refit. In addition to serving as D&AD President, Hamm has several Yellow Pencils to his name, as well as other high profile creative industry awards. Outside of his work with brands, Hamm is also a successful filmmaker; his short film The Man Who Marries Himself won a Best Comedy Award at the Rhode Island Film Festival in 2009.

Simon Waterfall’s career spans the worlds of design and business. After graduating from the Royal College of Art in 1996 with a masters in industrial design, Waterfall co-founded Deepend Design and then later, in 2001, Poke. He went on to establish several more companies including Social Suicide and Fray before moving over to the client side. He’s held senior creative roles at Intel, Verizon, Vevo and Airbnb – where he served as Creative Director and Head of Operations at the company’s Samara Lab.

Tony Davidson, Executive Creative Director of Wieden+Kennedy London, puts much of his creativity down to his late father who was an inventor in the 'Heath Robinson' mould. Throughout his career he has been fortunate to work with and learn from some incredible creative talent at agencies such as Boase Massimi Pollitt, Leagas Delaney and Bartle Bogle Hegarty. In 2000, he and his long-term creative partner, Kim Papworth, made the move to become Executive Creative Directors of Wieden+Kennedy London. Since their appointment, the office has gone from strength to strength, having been globally recognised and highly lauded for the effectiveness of its creative output. Whilst it is nice to be recognised with awards, Tony is happiest when the work enters popular culture. Levi's 'Flat Eric', Nike's 'Run London' and 'Nothing Beats a Londoner', Cravendale’s ‘Cats with Thumbs’, Three’s 'Moonwalking Pony', Honda's 'Power of Dreams’ campaign including ‘Cog' and 'Grrr', Lurpak's long-standing 'Good Food Deserves' campaign, and the recent rebranding of Formula 1, are all examples that are testament to this fact. He is also incredibly proud of the ‘Forever Curious’ schools programme and ‘The Kennedys’ creative internship programme, that he helped set up. Perhaps one of his biggest achievements has been growing and maintaining an internal culture over the past 18 years, that allows others to do the best work of their lives. In 2015, Tony partnered with Executive Creative Director Iain Tait, formerly of Poke and Google, to continue evolving the business.

Dick Powell, co-founder and director of global design and innovation company Seymourpowell, is the new D&AD Chairman. Powell is a past President of D&AD and recipient of the D&AD President’s Award for his outstanding contribution to creativity. He has appeared on numerous radio and television programmes alongside business partner Richard Seymour, and, along with the D&AD Executive, has sat on the boards of the Design Council and the Design Business Association. Dick was global design advisor to Samsung Electronics and is currently a member of the International Advisory Panel for Design in Singapore. He also holds the role of group creative director at Loewy, Seymourpowell’s parent company.

Dick Powell, co-founder and director of global design and innovation company Seymourpowell, is the new D&AD Chairman. Powell is a past President of D&AD and recipient of the D&AD President’s Award for his outstanding contribution to creativity. He has appeared on numerous radio and television programmes alongside business partner Richard Seymour, and, along with the D&AD Executive, has sat on the boards of the Design Council and the Design Business Association. Dick was global design advisor to Samsung Electronics and is currently a member of the International Advisory Panel for Design in Singapore. He also holds the role of group creative director at Loewy, Seymourpowell’s parent company.

Nick Bell began his advertising careering in the post room at Ogilvy & Mather, but quickly landed a job at Abbott Mead Vickers, where he focused on TV and poster advertising. He went on to work at several high profile agencies including The Brooklyn Brothers, DDB, J walter Thompson, Fallon – around the time of the Cadbury Gorilla ad – and Leo Burnett.

Michael graduated from University with a 1st in Visual Art and Marketing, then proceeded to work around the world with eight different jobs in London, Sydney, Melbourne, Tokyo and New York. Aged 28, he decided to create his own company, Johnson Banks. Today, the consultancy is established as one of the pre-eminent European identity and branding companies, regularly competing for projects against companies ten times its size and twice its age, with clients as far afield as Beijing, Doha and San Francisco. The success of the company has been reflected in the numerous awards that Johnson has collected over the past two decades, including 8 D&AD Pencils (one of them a very rare black one). Dozens of his designs are held in the permanent collection of the Victoria and Albert Museum, and both the Guardian and Independent newspapers have recently identified him as one of Britain’s foremost designers. Michael served on the D&AD executive board for four years before being appointed president in 2003, the year that his project to celebrate forty years of D&AD (Rewind) was commemorated with an exhibition at the V&A and a Phaidon book of the same name. His first book, Problem Solved (Phaidon Press) has just been revamped for a second edition and he is researching two further titles.

Peter Souter began his career in advertising as a copywriter, working at Abbott Mead Vickers BBDO for four years before becoming Creative Director, and then Executive Creative director. He went on to become Chairman and Chief Creative Officer of TBWA London, but has said his Make Poverty History campaign is the piece of work he’s most proud of. Outside of the advertising industry, Souter has also written several radio plays as well as a TV drama and a theatre play.

David Stuart was a founding partner and Creative Director of The Partners, the award-winning creative design consultancy. He has nearly 40 years’ experience in both design and branding, helping and advising companies on how best they can express themselves. Throughout his career David has encouraged more creative collaboration within the industry and promoted the greater use of wit in design.

Copywriter Larry Barker has made award-winning work for household-name brands that include Levi’s, Haagen Dazs and Foster’s, collaborating with some well-known names along the way: Stephen Fry, Jonathan Glazer and Hugh Laurie, to name a few. Barker began his career at Bartle Bogle Hegarty, before moving on to WCRS, then later BMP DDB. The copywriter left the advertising industry in 2007 to pursue a passion for screenwriting, and currently runs Reservoir Road Production.

British designer Richard Seymour is the co-founder of hugely influential industrial design firm SeymourPowell, which he set up together with Dick Powell in 1984. The company has worked on a vast range of projects, which includes designing bras, trains, phones and bikes, and advising clients such as Nokia, Casio and Tefal. Seymour has described his business as “a truly fantastic innovation machine”.

Tim Mellors has three decades of experience in the ad industry, having worked at agencies including FCB, Gold Greenlees Trott, Doyle Dane Bernbach, Lintas, French Gold Abbott, Saatchi & Saatchi, McCormick-Publicis and Grey. In that time he’s collaborated with brands including British Airways, The Conservative Party and The Independent. He’s described his Abbey endings ad, for the Abbey National Building Society, as the best piece of work he’s ever made.

Mike Dempsey has been a graphic designer for over forty years, ten of which he spent in the publishing industry. In 1979 he set up design consultancy Caroll & Dempsey – which would later become CDT Design Limited – and then in 2007 Studio Dempsey, which he describes as “an intimate space to dream and create”. He’s worked on a wealth of creative projects, which run the gamut from stamps and title sequences to visual identities and editorial design, for brands including Royal Mail and the Royal Opera House.

Graham Fink is a multimedia artist and one of the world’s most awarded creatives. He is Group Creative Advisor at Asteria Corporation and agent to Sophia, the Humanoid Robot. Fink was recently Chief Creative Officer at Ogilvy & Mather in China, and previous to that, he held the position of Executive Creative Director at M&C Saatchi in London. The creative’s first job in advertising was as Art Director at Medcalf, Wrightson, Lovelock, before progressing to roles as an Art Director CDP, and Group Head at Saatchi & Saatchi and WCRS. In 1995 he began directing television commercials and music videos at the Paul Weiland film company. And in 1996 he became the youngest president of D&AD and was voted into D&AD’s Art Direction book representing the world's top 28 Art Directors of all time.

Mary is the Creative Director and founding partner of Lewis Moberly. Her numerous awards include British Design & Art Direction Gold award, three Silver Awards, the President’s Award and the DBA Grand Prix. Mary holds a Pentaward Honorary Award for exceptional achievement. In 1995 she became the first woman President of British Design and Art Direction. Mary holds an Honorary Masters Degree from Surrey University, has chaired the BBC Graphic Design Awards and The Scottish Design Awards. She was the 2013 President of the Cannes Lions Design Jury and in 2014 guest speaker at Design Thinkers Conference in Toronto. She is an independent consultant to Marks and Spencer where she founded the Design Forum, and has been a member of the Royal Mail Stamps Advisory Committee. Mary is honoured by the Women’s Advertising Club of London as one of “75 Women of Achievement” and is a Prince Phillip Design Award nominee. Her award winning work is diverse. It includes brand design for Johnnie Walker, Moet and Chandon and Waitrose and identity design for La Grande Epicerie de Paris, Grand Hyatt, LVMH, St Pancras and Gatwick Airport. Mary has been a keynote speaker at Luxe Pack in Monaco, the San Francisco Museum of Modern Art, the President Nelson Mandela Creative Conference in Johannesburg and the Fiat Conference ‘I Colori Della Vita’. She has been profiled in the Sunday Times and the Financial Times and is co author of Understanding Brands.

Adrian Holmes is a copywriter and former Y&R Executive Creative Director for EMEA and Lowe worldwide chairman. He’s also the co-founder of agency Homles Hobbs Marcantonio. Together with art director Alan Waldie he created Heineken’s much-loved Water in Majorca ad in 1985. In 2020 he founded Ancient & Modern together with John O’Driscoll and Seamus O’Farrell, describing the business as “London’s oldest agency”. It aims to offer a counter to “the relentless march into digital and social media”.

Aziz Cami has been working in the design industry for the last 30 years, collaborating with brands that include Harrods, Asprey and De Beers. He’s one of the founding members of noted design agency The Partners as well as, more recently, a creative director at data insights company Kantar. Cami has received several awards over his career, including the D&AD Yellow Pencil. “The magic is in the combination of thoughts,” wrote Cami, in A Smile in the Mind, which was authored by Beryl McAlhone and David Stuart as a ‘sourcebook’ of design ideas. “It is when you bring ideas together that interesting things happen.”

Tim Delaney launched his copywriting career at the age of 19, going on to become creative director at BBDO at 27 and managing director at 29. Legend has it he rung up the MDs of all his clients to get some insider tips on how to do the job. After his meteoric rise up the ranks, he partnered up with Ron Leagas in 1980 and founded Leagas Delaney. The agency has worked with major brands, including Harrods, the BBC, Bosch, adidas and Sony. “Everything has a story to tell and I want to write it,” Delaney once said.

Designer Martin Lambie-Nairn began his career at the BBC in 1965, and worked as a graphic designer at several broadcasters and production companies including ITN, where he designed the graphics for the Apollo space missions, as well as the company’s logo. In 1976 he set up his own studio, which was renamed Lambie-Nairn & Company in 1990. The Channel 4 ‘blocks’ logo is perhaps his best-known work, although Lambie-Nairn also created a groundbreaking 30-second CG advert for Smarties. Other high profile projects came during his time as consultant creative director at the BBC, where he designed the iconic BBC Two identity. Lambie-Nairn went on to work at several other studios including Heavenly, ML-N and Red&White.

Ron Brown was one of Abbott Mead Vickers BBDO’s first art directors, and David Abbott’s long term creative partner. His work has been described as some of the most celebrated in advertising history, and includes campaigns for The Economist, Volvo, and RSPCA, which included the controversial ‘pile of dead dogs’ creative. “Ron’s art direction looked effortless, but it was anything but,” wrote Paul Brazier, in an obituary published in Campaign in 2015. “He would often be there at his desk or down in the studio after most people had left, perfecting his work.”

John Hegarty has been central to the global advertising scene over six decades working with brands such as Levi's, Audi, Boddingtons, Lynx, British Airways and Johnnie Walker. He was a founding partner of Saatchi and Saatchi in 1970. He then helped start in 1973 the London office of TBWA as Creative Director. He founded Bartle Bogle Hegarty in 1982 with John Bartle and Nigel Bogle. The Agency now has offices in London, New York, Singapore, Stockholm, Shanghai, Mumbai and Los Angeles. John’s creative awards are numerous. He has been given the D&AD President's Award for outstanding achievement and in 2014 was admitted to the US AAF Hall of Fame. He was also invited to be an Honorary Fellow of The Marketing Society in the UK in recognition of his contribution to outstanding communication campaigns. In 1996, John was appointed as a Trustee for The Design Museum, London and has been on the Board of Trustees ever since. John was awarded a Knighthood by the Queen in 2007 and was the recipient of the first Lion of St Mark award at the Cannes Festival of Creativity in 2011. In 2013 he was the honorary President of the Film Jury at the festival in its 60th year. John wrote his first book ‘Hegarty on Advertising – Turning Intelligence into Magic’ in 2011 and his latest book "Hegarty on Creativity - there are no rules" was published last year. In 2014 John helped set up The Garage Soho, an early stage investor company that believes in building brands, not just businesses. In 2015, working with Aardman Animations, he created the first global goals cinema campaign for the UN’s Global Goals initiative; Project Everyone.

Gert Dumbar studied at the Royal Academy of Fine Arts in The Hague and the Royal College of Arts in London, before setting up his own company, Studio Dumbar, in 1977. The studio is known for its corporate identity work, which includes graphic design for the Danish Post, the Dutch Postal and Telecom Service and Dutch Railways – for which Studio Dumbar’s ‘canary bird’ train proved controversial. Dumbar has taught at the RCA, as well as the University of Bandung and the Royal Academy of Fine Arts. “What would my legacy be? Probably that I don’t take things as seriously as others might take. Humour is important to me,” said the designer.

Jeremy Sinclair joined Cramer Saatchi in 1968, where he oversaw the Health and Education Council’s infamous ‘pregnant man’ campaign. As part of Saatchi & Saatchi he dreamt up the Labour Isn’t Working campaign for the Conservative Party, and is known for several other political adverts as well as adverts for Schweppes. In 1995 he founded M&C Saatchi, together with Bill Muirhead, David Kershaw, Maurice and Charles Saatchi. Outside of the creative industry Sinclair teaches Philosophy at the London School of Economic Science, and is a chairman and trustee of the Tony Blair Faith Foundation. Sinclair is the author of Brutal Simplicity of Thought, which began life as a training manual for Saatchi employees.

Designer and art director John McConnell studied at Maidstone College of Art, where he honed his craft skills - working on everything from lettering and silverwork to stonecutting and screenprinting. He was fascinated by the world of graphic design, but ended up working at a Baker Street ad agency for a short while, before joining Tandy, Halford and Mills and focusing on packaging design. After going freelance, McConnell’s work began to draw attention - with his work for Biba winning a D&AD Silver Pencil. He went on to work at Pentagram, and for clients including Clarks, Polaroid, Boots and Faber & Faber. According to McConnell: “The creative process is paring back all the time. If you can’t defend it, get rid of it.”

Allen Thomas began his career as a copywriter at JWT, and after a three-year spell at Davidson Pearce as creative director returned to the agency, where he eventually became chairman, and then worldwide creative director. While at JWT he oversaw some iconic pieces of work including campaigns for Polo, Bacardi and Persil. “Allen Thomas was an irresistible force, and every encounter with him was memorable and highly entertaining,” wrote Jaspar Shelbourne, in an obituary for Thomas, who died in 2010.

British designer Rodney Fitch studied set and TV design at the Central School of Arts and Crafts before a brief stint at an architecture practice. This was followed by a job at the Conran Design Group – where he rose to become managing director in 1968. In 1972 he bought out the company, and renamed it Fitch & Company. The business went on to design the interiors for Heathrow’s Terminal 4 and Topshop. After something of a turbulent stretch, Fitch stepped down in 2010, and went on to join the boards of the Royal College of Art and the V&A, as well as assume the role of professor at the Delft University of Technology. Terrance Conran described Fitch as “the best seller of design I have ever met”.

Tony Brignull is D&AD’s most-awarded copywriter and the former head of copywriting at Collett Dickenson Pearce during its heyday in the 1970s and 80s. He’s known for his work on Parker Pens and Benson & Hedges, as well as Heineken – for whom he coined the tagline ‘Heineken refreshes the parts other lagers cannot reach’. As well as his work in the ad industry, Brignull writes poems and short stories. According to him: ”Creativity, when given into freely and wholeheartedly, enriches everyone.”

Italian designer Marcello Minale was born in Tripoli, and studied art and architecture in Naples before completing a stint at Young & Rubicam’s Rome office and moving to Finland to work for agencies Taucker and Mackkinointi Uiherjuuri. In 1962 he moved to London, later setting up his own studio, Minale Tattersfield, with partner Brian Tattersfield. Together the pair worked with everyone from Kodak and Nestle to Natwest and Armani. Minale was the recipient of more than 300 design awards, and was described in a DesignWeek obituary in 2001 as “enthusiastic about design and never short of an opinion.”

Martin Boase studied languages at Oxford, and spent some time working at the London Press Exchange and Robert Sharp & Partners agency before taking a role at Pritchard Wood. In 1968 he co-founded Boase Massimi Pollitt, landing Cadbury’s as its first client and introducing the much-loved ‘For mash get Smash’ tagline. After working with brands that include Volkswagen, PG Tips and John Smith’s, and selling the agency to Omnicom, Boase took up a new role as Chairman. “I think we did pioneer a new way of producing advertisements,” said Boase of his time at BMP.

Anthony Armstrong-Jones originally studied architecture at the University of Cambridge, but went on to pursue a career as a photographer and filmmaker. He shot society images for Tatler, as well as portraits of the royal family and many other well-known figures including Marlene Dietrich, David Bowie and Irish Murdoch. In 2000 the National Portrait Gallery hosted a retrospective of his work. Outside of his career as a photographer, Armstrong-Jones co-designed London Zoo’s Snowdon Aviary, and served as provost of the Royal College of Art from 1995 to 2003.

Arthur Parsons was Art Director at Collet Dickenson Pearce, and according to friend and CDP colleague John Salmon created “some of the greatest print campaigns to come out of the agency, including Army Officer recruitment, Harveys Bristol Cream, Hamlet and Benson & Hedges”.

Michael Rand was Art Director at the Sunday Times Magazine for 30 years, and turned the title into a showcase for work by the likes of Diane Arbus, David Hockney and Peter Blake. “I never attempted a style for the Magazine,” he’s said. “I just wanted it busy, but simply laid out, and there had to be tension there: grit and glamour.”

John Salmon has been described by Frank Lowe as one of the three greatest copywriters of the late 20th century, having worked on iconic ads for Parker Pens and Heineken. He spent time at both Doyle Dane Bernbach and Collett Dickenson Pearce - where he infamously ‘fired’ Ford as a client, for meddling in the creative process. The Times has described Salmon as “a gentleman among mad men”.

Filmmaker, producer and writer Alan Parker started his career as an office boy in an ad agency post room, but spent his time off dreaming of writing adverts. A job as copywriter was the next logical step, and Parker went on to work with Collett Dickenson Pearce before changing tack to become a director and producing a pair of short films for the BBC, one of which, exploring the story of two evacuees, won a BAFTA and International Emmy. In 1976 he directed his first feature film Bugsy Malone, followed by Midnight Express in 1978, and Fame in 1980. He continued directing throughout the 80s and 90s, winning 19 BAFAs, ten Golden Globes and six Academy Awards.

David Abbott got his start writing copy for Kodak, followed by a job at Doyle Dane Bernbach in New York, then London, and then a role as Creative Director at the agency that would become French Gold Abbott. Abbott Mead Vickers was founded in 1991, and the agency created iconic work for the Economist, Sainsbury’s and Volvo. Abbott was known for his clever use of language, which he deployed to create some of the most memorable ads of all time. WCRS founder Robin Wright claimed he was “the best single copywriter in the history of advertising”.

Designer Alan Fletcher is a pioneering figure in British graphic design. He studied at Hammersmith School of Art, the Central School, the Royal College of Art and Yale University before becoming an assistant to Saul Bass. In the late 50s he was working with clients including Pirelli and Time and Life, while also teaching at the Central School. In 1961 he set up Fletcher/Forbes/Gill with Bob Gill and Colin Forbes, with the studio’s success and deft handling of type and image landing them clients such as Reuters and Penguin, as well as a feature in Vogue magazine. In 1971 the studio became Pentagram, where Fletcher would remain as Partner for two decades. In 1991 he left the company, and worked on his own projects as well as becoming Consultant Art Director for Phaidon. “In life, as in his art, he cut to the chase: reducing options and finding the shortest distance between the idea and the finished article,” wrote Philip Thompson in a Guardian obituary for Fletcher in 2006.

Peter Mayle started his career at Shell Oil but quickly realised adland was the place he really wanted to be. In 1961 he landed a copywriting role in Ogilvy’s New York office, and went on to work with Papert Koenig in London – which was later bought by BBDO. For some time Mayle commuted between the US and the UK, working with brands that included Olivetti and Sony, but he decided to leave the industry in 1974 and focus on a full-time writing career. Since then he’s published more than 30 books, including the bestselling A Year in Provence.

Designer Michael Wolff is founder of creative agency Wolff Olins, as well as Michael Wolff & Company. He explored several roles before joining the creative industry, dabbling in architecture, fashion, interiors and exhibition stands, before meeting Wally Olins and founding Wolff Olins in 1965. Here, he’s credited as creating some iconic identities, working in partnership with clients including BT, Audi, Bovis and P&O. He left in 1983, going on to lead Addison, before setting up Michael Wolff & Company . “Having an idea is a block to having more,” Wolff has said. “If you have an idea, just throw it away. You think you’ll never have another on but you will… sometimes you just have to leave things alone.”

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Editor and author Dennis Hackett is widely credited as an influential force in British journalism. He began his career on regional papers, working at the Sheffield Telegraph before joining the Daily Herald, the Daily Express, the Daily Mail and then The Observer. In 1965 he joined Nova, and turned it into what The Guardian described as a “must-read for the movers and shakers of “swinging London”, with men as well as the original target audience becoming devotees of its heady mixtures of social issues and cutting edge fashion and modern lifestyle features”. He was instrumental in launching a colour supplement for the Daily Mirror – entitled Mirror Magazine – which caused a stir in popular journalism, however sadly closed a year after launch. He continued to work in the British press for a long while afterwards, holding positions at the Daily Express and The Times, before passing away in 2016 aged 87.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Edward Booth-Clibborn began his creative career in J Walter Thompson’s typography department, going on to become an art director for brands that included Campbell Soup. After 11 years, during which he’s said he became “rather renegade”, Booth-Clibborn left the agency and joined D&AD as Chairman in 1963. He remained in the role for 30 years, later becoming an advertising consultant for the Labour Party. In 1974, Booth-Clibborn set up publishing company Booth-Clibborn Editions, focusing on books dedicated to art, design and popular culture.

Art director John Commander was one of the founding fathers of D&AD, and the first President in 1962. He was also Managing Director of printers Balding + Mansell, and Chairman of the Association of Graphic Designers London (AGDL). “He didn’t come from a background of Art or Design, but he evolved into a very good commissioner of design,” said Derek Birdsall, who was a close friend of Commander’s. Commander described graphic design’s role as “to create images which communicate specific ideas in purely visual terms and utter statements whose form graphically embodies or enhances the essential nature of the notions to be communicated.”