18 January 2022

Studio PI Founder on how the award-winning artist agency is already changing the industry

Back in June 2020, UK government statistics revealed that women, people of colour, people living with disabilities and people with working-class origins were the four social groups most underrepresented in the UK’s creative industries. After reading these findings Sachini Imbuldeniya, Creative Director for News UK’s award-winning creative content agency The Bridge Studio, felt moved to do something. She got to work founding her own photography and illustration agency, Studio PI, for creatives from underrepresented backgrounds, and just 18 months and multiple industry awards later, this trailblazing agency – where she also serves as Executive Creative Director – is going from strength to strength.

Having experienced a number of barriers throughout her own impressive career in a competitive, mostly white and male industry, Imbuldeniya felt well placed to respond and wanted to use her high position to give others a platform.

In recent years, she has been recognised with a cluster of accolades, including making the shortlist for Campaign’s Female Frontier Awards: Conquering Creativity (2022) and being one of its Honourees for Diversity & Inclusion (2021), as well as, for Studio PI, receiving the Campaign Publishing Awards: Launch of the Year (2021) and being shortlisted for Creative Pool Annual’s Creative Services Company of the Year (2021).

All this has made for an explosive start for the young company, speaking to the quality of the artists it represents and the very real need for more diversity within the creative industries. Imbuldeniya feels more strongly than ever about Studio PI’s founding mission to promote equality and celebrate diversity across the creative industry. After hearing from her at magCulture Live last year, FIPP caught up with Imbuldeniya to find out more about Studio PI’s origins, the creatives it represents, where it’s going next, and much more. Read on for the full Q&A.

Could you start by telling us about Studio PI – when and why was it founded? 

My background is in Art Direction and Creative Direction, so I’ve always been a commissioner of photography and illustration. Throughout my career, I’ve relied quite heavily on big, reputable agencies to source artists – and although they are fantastic, I found that their rosters weren’t necessarily as inclusive as I would have liked them to be. 

The creative industry is a space (like many others) that’s heavily dominated by white males who are mostly from middle-class backgrounds, and as a busy commissioner juggling multiple tight deadlines, it can be difficult to find the headspace to look for new talent. 

As a result you can often end up commissioning the same people over and over again because you know them and trust them. But that tunnel vision can also lead to stagnant and uninventive content that doesn’t always inspire or speak to a wide enough audience. 

I wanted to change that. The government’s stats from June 2020 highlighted that the four most underrepresented groups in the UK’s creative industry were women, people of colour, people living with disabilities and people from working-class origins. I sadly drew the short straw on that front as I happen to fall into all four of those groups, so changing the narrative was (and still is) a mission that’s incredibly close to my heart.

I’ve had to overcome a lot of hurdles to get to where I am in my career today, and I got to a point where I was tired of just doing my regular 9-5. As much as I loved my job, I wanted to do something that actually made a tangible difference to the world. I wanted to use the position of power that I found myself in to make a positive change, creating more opportunities for those that were struggling to get a foot in the door and fundamentally a more equitable playing field for future generations to come.

I think the only way we can solve the problem is by coming together as an industry and collectively taking responsibility to make the change.

So I came up with Studio PI. A photography and illustration agency that ONLY represents exceptionally talented individuals from the UK’s most underrepresented groups.

I set myself a challenge to take a step back from my day to day and scour pretty much every creative space known to man as well as putting open call outs across my social media to actively search for underrepresented artists whose work was not only fresh and innovative, but also whose work I had never come across before. 

It was probably the most refreshing experience in my career and I was inundated with exceptional portfolios. I ended up with about 260 artists that I curated down to my top 60. I then created a panel of 50 industry experts that consisted of commissioners from across the board – creative agencies, media owners, publishers and design agencies. I tasked them with a blind judging process to avoid any unconscious bias, and removed all of the artists’ names and bios so that they were assessed solely on the quality of their work.

The feedback was incredible, and the best part of the process was seeing the reactions to the artists’ work and how much they aligned with my own. One said “Who is this person? I can’t believe I haven’t come across them before. Send me their details as I want to commission them immediately!”

It was really satisfying to see the judges acknowledging the scale of the problem with this lack of diversity in our industry, and giving us their valuable time and energy for free to help us try to tackle it. I think the only way we can solve the problem is by coming together as an industry and collectively taking responsibility to make the change.

As a result, Studio PI is now an easily accessible space that busy commissioners can come to to find diverse talent that bring fresh and authentic perspectives to their clients and brands. We launched in October 2020 and our current roster was a result of that process.

We have a very small team, and I wanted to have a roster that reflected that, so we can ensure our artists receive the right amount of support and attention.

What’s your professional background, and what’s your day-to-day work like now?

I studied Graphic Design ad have always lived and breathed creativity. I’ve mostly worked across editorial publications from The Sunday Times Magazine to GQ, but I currently juggle two jobs which means I have very little free time.

As well as being the Founder and Executive Creative Director of Studio PI, I’m also the Creative Director of Bridge Studio, a content agency within News UK.

In my role as Creative Director I oversee a team of brilliant art directors, designers and picture editors to deliver the most innovative content to clients.

And in my role as Founder and ECD on Studio PI, I work very closely with my Managing Director Darren Sital-Singh, to ensure that the artists are getting all of the exposure they deserve and that Studio PI is sustainable as a business. If our artists don’t succeed, neither will we.

We have a very small team, and I wanted to have a roster that reflected that, so we can ensure our artists receive the right amount of support and attention. We’re quite unusual as an agency in that we wanted to foster a strong sense community for our talent. Many agencies have huge rosters, and artists that are in competition with each other to win jobs. I’ve spoken to some that say they have often just felt like a number on the agency’s books, and that’s something I didn’t want for PI. We encourage everyone to talk to each other and learn from each other, which has led to some great collaborations and even greater friendships. We feel more like a close-knit family, which I think is really lovely, and they all know that they can call me anytime for help or advice.

For an industry that’s supposed to be about cutting-edge creativity, it’s never really felt like it’s been that interested in a different perspective or a new idea. 

Each day is different. Whether it’s talking through ideas for a commission, helping to cost up a job, going through artist folios to see what gaps we can fill, meeting clients and agencies to showcase work, advising on personal projects to help expand folios, curating exhibitions, working on marketing materials and ensuring our socials are up to date, keeping an eye out for new talent and so much more! We’re a startup, and that means doing a hundred things at a hundred miles an hour. 

It’s dizzying and crazy and sometimes too much, frankly! But I don’t regret setting it up. I’m on a mission to tell the world about these brilliant artists and my ultimate goal is to get to a place where Studio PI no longer needs to exist because equality is just the norm. But sadly, we have a very long way to go, and if the last 15 months has taught me anything, it’s how far away from that we currently are.

Could you talk about some of the specific barriers for those groups identified by government statistics – not only barriers to entry, but ongoing challenges in the workplace?

I went to quite a multicultural London University – but out of the 80 students on my course, I was one of three that actually managed to get a job in this industry – and that was mostly because I happened to be in the right place at the right time. 

Throughout most of my career I’ve pretty much been the lone brown face in a sea of white. And I’ve always had this weird feeling of gratefulness for being one of the lucky few that actually managed to get a foot in the door. As a result I worked incredibly hard and always tried to keep my head down because I didn’t want to say or do anything that might risk me losing a job that I fundamentally loved – despite most of my experiences being pretty traumatic. 

I remember when I was working on a national magazine and the Art Director needed a pair of hands for a very last-minute cover shoot. He instructed his deputy to go round the office and see who had the nicest hands. She came back to him and said “Sach has the nicest hands.” He said (whilst standing next to me): “but they’re brown?”. He then proceeded to hold my hand whilst inspecting it closely and said “ohh…but they are actually nice – I tell you what, we can photoshop them white.”

It starts with honesty, and ends in bravery.

In another incident, an Editor demanded that I go into his office as if it was a matter of life and death. I thought I was going to be fired because that was the only reason you’d be summoned in, in such a manner. But what he actually said was, “I immediately need you to go and contact your people back home and investigate the sudden boom in the Indian sex toy Industry – I want a report on my desk in the morning.”

This was despite the fact that I’m not Indian. I’m not a journalist. And unsurprisingly – I’m not exactly a leading authority on sex toys either.

I’ve been told that I wasn’t allowed to spend my personal lunch hour with my only other ethnic colleague who happened to be in a more junior position to me, because if I was seen hanging around with “inferior” people I would never make it anywhere in my career. And most recently, I’ve been shouted at when someone mistook me for the “other Asian girl” on the floor. 

The worst thing about these stories is that this sort of behaviour is still rife in our industry today.

We call these things “discrimination”, but what we mean is “racist bullshit”. And it wears thin pretty quickly. For years it diminished my sense of self, my sense of worth. 

In hindsight, I massively regret not speaking up at the time and if I could have a conversation with my younger self I would have told her to stand up for what’s right. Would I be in the position I am now if I had done so? I highly doubt it.

For an industry that’s supposed to be about cutting-edge creativity, it’s never really felt like it’s been that interested in a different perspective or a new idea. 

The day I became a Creative Director was the first day that I felt my voice was being heard. So I decided that enough was enough. I wanted to use this newfound voice for good, and create a fairer world for existing creatives and for future generations to come.

The tragic killing of George Floyd and the global BLM movement have led to increased awareness about challenging the status quo, in media and beyond. Studio PI also seems to have received a really positive response from the industry. Beyond good intentions, what does a brand taking diversity and representation seriously look like, in your view? Do you have examples of brands doing this well?

I think it starts with honesty, and ends in bravery. Brands and marketers have to be honest about when they don’t understand the culture or mindset of the people they’re trying to attract as customers. And then brave enough to put their brands in the hands of people that do. 

That means putting diversity and inclusion at the heart of the business, not just as a fig leaf to “blackwash” the brand’s reputation. 

These brands don’t just try to “look” diverse. They bake it into their DNA from the ground up. 

I was once told that I wasn’t allowed to put a black man on the front cover of a national magazine because “what would middle England think?” 

That black man was Jay-Z. 

Luckily attitudes have changed – but the creative personnel haven’t. Now we’ll get a Black man or an Asian woman on a magazine cover, but they’ve often been interviewed by a white man and photographed by a white man. So while on the surface it might look more diverse, the end result isn’t always as honest or authentic as it could be. 

A good example was a picture editor who wanted a black Muslim photographer to photograph a black Muslim celebrity and his mother on the estate that they all happened to grow up in. The picture editor wanted a genuine, authentic portrait of the celebrity and his relationship with his mother, and that’s why he came to us. But the examples he shared with the types of photos that he wanted were all taken by white men.

Tunnel vision can also lead to stagnant and uninventive content that doesn’t always inspire or speak to a wide enough audience. 

The best image from the shoot was of the son and mother facing each other while holding hands with their eyes closed in silent prayer. It was a powerful visual that really showed this family’s culture, bond and roots. But the picture editor couldn’t understand it. He questioned why you would photograph someone with their eyes closed and not facing the camera. It wasn’t the “norm.” He thought the photographer had got it wrong. The photographer, who is a black man from the same religion, growing up on the exact same estate with his own mother. Luckily, I told our artist to make sure he took some “normal” shots just to be safe. So the magazine ran with an image that was to his mind authentic – but it’s like a Disneyland kind of authentic. 

And that kind of photography doesn’t change anything. 

Nike is at the top of this game. It used to be that Nike would pay a fortune for diverse sports “ambassadors” – Michael Jordan, Tiger Woods, and so on – which meant sticking their name on a shoe, and that’s about it. But now they get the talent involved in the creative process so the product is more authentic. Their work with UK artist Skepta is a great example. I think the Colin Kapaernick ad – where they stood (or knelt) alongside him during his protest of the US national anthem – was a watershed moment for a brand being brave enough to risk its own reputation to make a political statement of solidarity. And their ‘Just don’t do it’ campaign in the wake of the Black Lives Matter protests even gained support from rivals Adidas. And it’s the same for Nike’s womenswear – the Pro Hijab being another example. 

There are others too who build inclusiveness into every part of their business, not just their ad campaigns: Fenty is more diverse than the rest of the beauty industry put together – from its product line to its Savage x Fenty catwalk show. Dove has always done brilliant campaigns for women, as does Bodyform with its latest (and beautiful) #wombstories animated film. Tony’s Choco-Lonely does great work taking fair trade further by working to end modern slavery in the chocolate/cocoa trade. 

These brands don’t just try to “look” diverse. They bake it into their DNA from the ground up. 

The Studio PI website really reflects a spirit of championing the success of those you work with. Could you spotlight a couple of these creatives and their (sometimes award-winning) work?

• 

• 

• 

• 

• 

• 

Brunel Johnson:

Documentary photographer and film-maker Brunel Johnson is probably one of the most genuine and humble human beings that I have ever had the pleasure of meeting. He just won The Portrait of Britain Award for the second year in a row and his personal projects often explore complex themes of identity. “It’s My Hair” is an ongoing project that aims to show the time, effort and skill that goes into maintaining Afro hair whilst highlighting some of the prejudices, micro aggressions, and racism that Afro-Caribbean people face due to their hair and skin colour. And his most recent project was a four-part video and still series called “Can You See Me Now?” Which aims to provide an empowering and thought-provoking platform for Black and Minority Ethnic groups to express their struggles, feelings and experiences of living in Britain with the ultimate goal of steering change. It was featured in Port Magazine along with an exhibition at The London Lighthouse Gallery where the profits of print sales went to three charities who continue to help, support and celebrate Black lives within our communities.

Brunel’s clients include: Timberland, Adidas, The Sunday Times Magazine and Runners World.

• 

• 

• 

• 

Ngadi Smart:

Ngadi Smart is a multi award-winning visual artist who splits her time between the U.K and Cote d’ivoire. Her style combines illustration with collage and explores themes of identity, culture and sexuality, inspired by experiences that she can relate to, being an artist with African heritage. Ngadi’s work has a textural, colourful and unapologetic quality, which makes it appealing for clients seeking to make an impactful message. She says: “My illustrative work is usually motivated by the representation of minorities, social issues such as racism, as well as feminism and gender roles. I like to deconstruct mainstream society’s preconceived views of what the definitions of ‘normal’, ‘beautiful’ and ‘right’ are.” This equates to a subject matter drawn without binaries, featuring “gender ambiguous characters” each with “interchangeable stereotypical male or female characteristics.” By doing so, Ngadi aims to normalise non-binary identities and the fact that gender is all but a social construct. “I also draw a lot of Black people, as we (and minorities in general) are still underrepresented especially in the illustration world.”

Ngadi’s clients include: Eastpak, We Present, Riverhead Books, The Atlantic, Fringe! Queer Film & Arts Festival, The Marshall Project, OneWorld magazine, The Guardian, Time Out and Reportagen Magazine.

Our business has been modelled from the beginning to work in this “new normal”.

• 

• 

• 

• 

Janice Chang:

Janice Chang is a multi-award-winning Taiwanese artist who was born and raised in sunny California and currently resides in New York. Her signature bendy limbed characters are often presented in humorous ways to engage in conversations around social and interpersonal issues. She works primarily as a 2D illustrator and animator, but also has a passion for creating wall murals as well as 3D sculptures in her bold and vibrant style. Her work is influenced by the diversity and culture she grew up with in LA and a lot of the pieces she creates show people intertwined to represent solidarity and community. Whether conveying the story of Nigerian sisters who reconnected over crossword puzzles for the New York Times or capturing Chinese New Year celebrations when you’re separated by Covid for Penguin Books, Chang highlights moments of human interaction and emotion and is constantly reflecting, thinking about tone, representation, and inclusion in her illustrations.

Janice’s clients include: Apple, Nike, Penguin, The New York Times, Pentagram, Vice, Snapchat, Bumble, WhatsApp, The Washington Post, TED, The Atlantic and Dropbox.

• 

• 

• 

• 

Chantel King:

Chantel King’s work is a beautifully curated portfolio of beauty, fashion and portraiture with a cinematic edge. As a Black female photographer with Caribbean roots, her awareness of the lack of people like her in front of and behind the lens is the reason why she strives to strike a more inclusive balance within her work. Having taken a non-traditional route into the industry, Chantel developed her style for visual storytelling whilst assisting photographers including Matthew Shave. But in her 10-year industry experience she says she has never worked with a black photographer and that speaks volumes. She says: “The most work needs to come from the creatives that commission the photographers. We are continually seeing the same photographers get commissioned and what we get are the same styles and looks within campaigns and magazines. This narrative needs to change.” She highlights British Vogue and Edward Enninful as being a pioneer for that change. She also says that we need to stop only hiring black or brown photographers to photograph black or brown models/talent for Black History Month. This message again is putting these creatives into a box. Showcasing a diverse portfolio is how it should be for all creatives; I am a black photographer, but I do not only photograph black or brown people.

Chantel’s clients include Revolution Beauty, Boots, Guardian Weekend, Hunger Magazine, Tush Magazine, Stylist, Schön! Design Anthology, Grazia, Pheonix Magazine and 1883 Magazine.

From whether to keep an office to the way events are run, every media brand that FIPP works with has had to alter the way they work due to the pandemic – some fundamentally. As we approach two years since the first cases of Covid-19 were found in the UK, has anything changed in the way Studio PI works, for worse or better?

We launched Studio PI in October 2020, when Coronavirus was kicking off its second wave and the UK was still in lockdown. So our business has been modelled from the beginning to work in this “new normal”. I can’t say it’s been easy as we first opened our doors when the photography industry had pretty much shut down and exhibitions weren’t an option. It’s been a challenge to get in-person meetings with new clients, and to properly showcase our artists’ work – sometimes you just need to sit down and go through a physical portfolio to give the artist the best shot and really understand what a client is looking for. Virtual meetings don’t seem to have the same effect and this year’s Le Book [a platform for creative discovery] suffered from the same problem.

So, while we’re luckier than some businesses that have had to pivot to this new way of working, we’re really looking forward to going back to a more opened-up world where we can celebrate our talented roster in real life. 

We’re a startup, and that means doing a hundred things at a hundred miles an hour. 

What role do newsletters, social media and other communication arms play in connecting with Studio PI’s audience?

As I say, we launched in lockdown so these are our primary means of communicating with our clients and audiences. We are constantly promoting our artists’ work across our social channels and send regular outreach to clients, agencies and brands so they are up to date with what our roster has been working on. We’ve also had the support of big agencies like Mother and AMV BBDO who allowed our artists to do take overs on their social channels and we’ve also done Studio PI take over exhibitions at both the Adam & Eve DDB and & Partnership offices. We have also had a few of our female artists take part in She Takes Over, an initiative that kicks off on International Women’s Day and champions female stars in photography, helping to promote their work to the creative industry.

At the moment, how do you measure success? What are your metrics?

Studio PI is new to the industry, so for me the first year was all about exposure and ensuring that commissioners across the board knew who our artists were and what Studio PI stood for. Year two is all about ensuring that it is a self-sustaining business, and that can only come from the artists getting more work. We’ve done over a hundred individual campaigns since we launched with some amazing and progressive-thinking clients and brands, but what we really need is for the bigger creative agencies to not only support us by exhibiting our work in their offices or allowing us to take over their Instagram feed – we need them to actually commission our roster and help us to truly reshape the future of this industry.

We’re making real, positive change built on the backs of these artists and their exceptional skills, and their success means we can take on more artists, deliver more work, and make an even bigger and more sustainable impact. 

How do you think Studio PI will grow and/or develop in 2022?

It might be a bit ambitious for 2022, but I’d love for Studio PI to expand in the future and open its doors to other areas of the industry that also need attention. From stylists to hair and make-up artists to set designers and everything in between. There’s a lot of work to do but we’re taking small steps in the right direction.

Header image credit: Kofi Paintsil