We chatted with Aimée McLaughlin, associate editor at Creative Review, the UK's go-to source for arts, advertising, and design since 1980. Aimée shared her thoughts on what makes the magazine unique, on the creative industry's current hurdles, and on joining the Epica Awards Grand Jury for the first time.
What inspired you to become a journalist and how did you get into the profession?
I loved reading and writing from a young age, so journalism quickly emerged as a potential career option. When I was younger, I always said that I wanted to be the editor of Vogue (bit of a cliché!) but it was when I did a masters degree in magazine journalism that I became more interested in arts and culture. I got my first job at a magazine called Design Week, and since then have been building a career writing about the arts, advertising and design.
What’s your role at Creative Review - and what are the latest developments there?
I’m associate editor at Creative Review magazine. Our primary focus is digital – we have a website which is a mix of paywalled and free content – but we also publish four print magazines a year, run an annual award scheme, as well as a podcast and events.
What essential qualities and skills do journalists need to thrive in today’s media landscape?
Curiosity is still probably the most fundamental one. But the difference now is that the pace is so much faster, editorial teams are smaller, and you need to be much more digitally savvy than previous generations.
This year you joined the Epica Awards Grand Prix jury for the first time. What were your impressions? Did your favourites get selected?
I really enjoyed the process, as I’ve hosted awards judging panels before but never been on the other side of things choosing what work ends up winning. It was also interesting to be in a room with so many journalists from other parts of the world and see where our viewpoints were similar or different. I was happy with the breadth of winning work that ended up winning, especially the Last Photo campaign by CALM. Also wanted to give a shoutout to a very creative and craft-focused ad by DIY brand Hornbach that didn’t end up making it in.
Creative Review is somewhat different to some of the other magazines on the jury. What sets it apart, for you?
While our core audience is people who work in advertising and design, our coverage has always spanned the creative industries as a whole. I personally love that we are able to delve into every element of the creative process, from the perspectives of the clients and agencies right through to the talented photographers/illustrators/artists who help bring the end result to life.
In the UK, the creative industries are currently under-appreciated and under-invested in by those in power, despite the fact that so much brilliant creativity comes out of the country.
It's also still in print as well as online. What's the secret to a successful print magazine?
Make sure you play to the strengths of the format. We started out in the 1980s as a monthly magazine but recently went quarterly, and I think it’s made the print edition so much more valuable to our readers, most of whom still love a beautifully designed print object and want to take the space and time to read well-researched and in-depth articles.
What are some of the most memorable campaigns or creative projects you've covered and what made them stand out for you?
There are too many to name to be honest, but I’ve always loved being able to delve into the creative process of an album or a film/TV from a slightly different angle – from interviewing Kano about the concept behind his Hoodies All Summer album artwork to speaking to Daniel Kwan (one half of the Daniels who directed Everything Everywhere All at Once) about the duo’s career journey from directing ads and music videos to an Oscar-winning film.
What’s the biggest challenge facing the creative industry today – and how might it be addressed?
In the UK, the creative industries are currently under-appreciated and under-invested in by those in power, despite the fact that so much brilliant creativity comes out of the country. We can also always do better when it comes to diversity, equity and inclusion in my opinion.
What role do you see journalism playing in promoting and advocating for diversity and inclusion within the creative industry?
Journalists are able call for change from those in positions of power within the industry and offer a vital platform for those who are less represented.
Who are your role models or mentors in journalism and the creative world? And what’s the best piece of career advice you’ve ever been given?
All of the editors I’ve worked with have been brilliant in different ways, whether it’s pushing me outside of my comfort zone, nurturing my voice, or simply being lovely people to work with. As for the best piece of career advice I’ve received, I think it would be to prioritise what you’re passionate about over purely money, but also make sure that you aren’t being undervalued.
Journalists are able to call for change from those in positions of power within the industry and offer a vital platform for those who are less represented.