The future of the UK’s Creative Industries

The creative industries have been identified as a key growth-driving sector in the Government’s Industrial Strategy. A taskforce, led by Baroness Shriti Vadera and Sir Peter Bazalgette, has begun work to deliver an ambitious and targeted Creative Industries Sector Plan.

On 8^th April 2025, leaders, creatives, policymakers and innovators came together in the heart of London for Westminster Insight’s UK Art, Culture and Creative Industries Conference, chaired by Sir Peter Bazalgette, Co-Chair of the Creative Industries Taskforce.

This flagship event brought together representatives from central and local government, funding bodies, public institutions, creative businesses, and universities to explore how to unlock the full potential of the sector through policy, investment, innovation and inclusive growth.

A New Vision: Creative Industries Sector Plan 2025 

The conference was expertly chaired by Sir Peter Bazalgette, Co-Chair of the Creative Industries Taskforce  and current CIC co-chair, who presented the sector as one the UK’s most dynamic and economically significant sectors, with a key role in driving national identity. Drawing on his wealth of experience across broadcasting, publishing, and cultural policy, Sir Peter set the tone for a day of lively discussions focused on sustaining and scaling the UK’s creative strengths over the next decade.

Hannah Malik, Director for Culture and Creative Industries at the Department for Culture, Media and Sport (DCMS) outlined the Government’s priorities. This plan includes a £60 million funding package aimed at enhancing innovation, access to finance, and long-term sustainability within the sector. She reinforced the Government’s commitment to its “Arts for All” initiative, emphasising inclusivity and access to culture for every citizen.

A key focus of the plan is increasing support for small businesses and start-ups in the creative industries, with the British Business Bank expected to play a pivotal role. Access to finance remains a significant barrier to growth, particularly for smaller creative enterprises, and this funding will enable businesses to scale, invest in R&D, and innovate. 61% of creative firms are already identified as innovative, highlighting the potential for even greater growth if the right support systems are in place.

The Government’s strategy also aims to foster short-term apprenticeships, ensuring more young people gain skills and direct career pathways within the sector. The plan is designed to ensure that the benefits of growth are felt across the entire UK, especially in rural and under served areas, creating opportunities in places that have historically been overlooked.

Unlocking Growth Through Public and Private Investment 

In the first panel discussion of the day, Professor Christopher Smith (Executive Chair, AHRC), Professor Hasan Bakhshi MBE (Director, Creative PEC, Newcastle University), and Tonya Nelson (Executive Director, Arts Council England) discussed investment models, both public and private, and importance of targeted investment in cultural institutions, with a particular focus on supporting small and regional arts organisations that often struggle to secure funding. Without these vital support structures, smaller organisations could face closures, undermining the diversity and vibrancy of the creative sector. They also discussed the need for a comprehensive approach to funding that balances both financial sustainability and creative freedom, ensuring that artists and creators have the space and resources to innovate.

AI and Employment Rights in the Creative Economy 

Emerging technologies—particularly artificial intelligence (AI)—and broader issues around employment rights were explored in depth by Philippa Childs (Deputy General Secretary, Bectu), Reema Selhi (Head of Policy and International, DACS and Vice Chair, Alliance for Intellectual Property), and Dr Aoife Monks (Director, Queen Mary Centre for Creative Collaboration, Queen Mary University of London).

They raised vital concerns around employment protections for freelancers and self-employed creatives, many of whom are navigating a fast-changing environment shaped by evolving copyright frameworks, digital distribution, and technological advancement. The discussion also examined the Creative Industries Action Plan and the Employment Rights Bill, recognising that employment security and safeguarding are increasingly urgent for creatives across the UK.

Developing Creative Sector Careers and Skills

The mid-morning panel discussion brought together sector leaders to explore how we can better prepare and support the creative workforce of the future. Hilary Carty (Executive Director, Clore Leadership), Sara Whybrew (Director, Skills and Workforce Development, BFI), and Tim Reeve (Deputy Director and COO, Victoria and Albert Museum) reflected on the importance of collaboration between industry and education providers to address persistent skills gaps and ensure sustainability across the sector.

They discussed the need for more meaningful partnerships with local employers and education institutions, which could help align training and development with real-world opportunities. Panelists also highlighted the value of in-house training and continuous development in fostering career progression, especially for underrepresented groups. The conversation touched on the importance of creating accessible pathways from grassroots arts engagement to professional careers—ensuring creative potential isn’t lost due to structural barriers.

An engaging Q&A followed, with questions from attendees about broadening access, funding models, and examples of successful initiatives that are already making a difference across the UK.

Legal Focus: Copyright in the Age of AI 

Anna Rawlings, Associate Director at Osborne Clarke, then drilled into AI, the law, and how it is changing, particularly surrounding copyright and IP enforcement. She offered practical legal advice for creatives, outlining how emerging laws are attempting to keep pace with the rapid adoption of generative AI and other tools. Ensuring fair compensation, protecting ownership, and adapting contracts and licensing models were key themes, as was the importance of transparency in AI usage.

Creative Careers: Inclusion and Opportunity 

Next, Mel Rodrigues (CEO, Creative Access) and Rob Lehmann (Director of Young Lyric, Lyric Hammersmith) turned the spotlight onto inclusion within creative career pathways.They discussed how perceptions of creative careers—and structural inequalities—continue to block people from working-class backgrounds and underrepresented groups. The term “class ceiling” highlights the invisible but persistent barriers facing aspiring creatives.

Rob spoke passionately about the Springboard programme at Lyric Hammersmith, which is designed to engage underrepresented young people in theatre, providing structured routes into creative careers. The duo called for sector-wide action to remove structural barriers and promote leadership diversity.

Curriculum Reform and the Next Generation 

Jacqui O’Hanlon MBE (Royal Shakespeare Company), Deborah Annetts (Independent Society of Musicians), and Marlene Wylie (National Society for Education in Art and Design) addressed the state of arts education. A major talking point was the Curriculum and Assessment Review, alongside the Government’s announcement of the new National Centre for Arts and Music Education.

A creative curriculum that reflects the full value of the arts, both culturally and economically, is needed. They advocated for reforms that embed creativity throughout the education system and elevate arts subjects to the same status as STEM. The centrepiece: a united call for every child to have access to quality arts education, regardless of postcode or background.

Creativity Where People Are: Place-Based Approaches 

Shanaz Gulzar (Bradford City of Culture), Kim Wide MBE (Take A Part CIO), and Anne Torreggiani (Audience Agency) shared compelling examples of how the creative sector can embed itself into the fabric of local communities. Shanaz’s story of the Beacon and Loading Bay projects in Bradford showcased how infrastructure and storytelling can bring creative culture directly to the people.

They challenged the notion that audiences must always come to traditional cultural venues—instead, why not take creative opportunities to where people live, work and gather? Place-making, affordability, and co-creation were key themes of this dynamic and community-focused session.

Sustainability, Gender and the Power of Storytelling

The closing panel was a powerful and thought-provoking session that tied together several of the day’s overarching themes, with Matt Copson, Managing Director, BAFTA albert, Jamie Saye, General Manager, Co-founder and Secretary, Sustainable Arts In Leeds (SAIL)and Tamara Cincik
Founder and CEO, Fashion Roundtable.

While their primary focus was on the role of the creative industries in addressing the climate crisis, the panel also made space for an important and emotionally resonant conversation around gender and inclusivity within environmental narratives.

Storytelling can drive social and environmental change, particularly in the context of a rapidly shifting political and cultural landscape. In order to engage audiences, narratives that inspire collective action and offer hope — rather than fear or guilt.

During a discussion of gender and climate justice, described by many as a highlight of the day, the panel reflected on how climate impacts are not experienced equally and how inclusive storytelling can amplify the voices of marginalised communities. It was a powerful moment that brought together the day’s themes of equity, representation, and innovation in a meaningful and memorable way.

The conference closed with a reflection from Sir Peter Bazalgette concluding that with the energy, urgency, and optimism expressed throughout the day, the creative sector is uniquely positioned to generate economic growth while driving social change. Creativity remains central to the UK’s global identity, and with ongoing collaboration, innovation, and investment, the future of the creative industries looks brighter than ever.

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