The Real Talk About Junior Salaries in London's Creative Scene

With another 4% minimum wage increase on the horizon, I've been having a lot of conversations lately. The kind where everyone's frustrated, no one feels heard, and frankly, I think we're all missing the bigger picture.

Junior candidates in London's creative and design sector are walking into interviews with salary expectations that would've been mid-level just two years ago. At the same time, agencies and studios are pulling back on hiring anyone without a few years under their belt. The gap is widening, and it's not helping anyone build the career they actually want.

So let's talk about what's really happening here.

What I'm Seeing From Both Sides

If you're a graduate or junior candidate looking for that first proper role in project management or operations, you're probably thinking: London is expensive, my degree cost a fortune, and I need to live. All true. All fair.

If you're running a creative agency or design studio, you're thinking: our clients haven't increased their budgets, our costs keep climbing, and hiring someone junior means investing serious time and money before we see any return. Also true. Also fair.

The thing is, you're both right. And you're both stuck.

Here's What Junior Candidates Often Don't Realise

When a company hires you fresh out of uni or with less than a year's experience, they're not hiring someone who can hit the ground running. They're hiring someone they believe in enough to invest in, knowing it's going to cost them before it pays off.

That investment looks like this:

Your senior colleagues spend billable hours training you instead of working on client projects. That's real money they're choosing not to earn so you can learn.

Projects take longer because you're still figuring out the systems, the tools, the way the company works. That's expected, but it impacts the bottom line.

You're not bringing in revenue yet. In project management and operations, you're supporting the people who do. That doesn't make you less valuable, but it does mean the business is banking on your future, not your present.

There's more oversight needed to make sure client work stays at the standard they expect. Again, totally normal, but it requires resources.

When I explain this to candidates, I'm not trying to justify low pay. I'm trying to show you why companies see junior hires as a bet on potential, not an immediate contributor. It usually takes 12 to 18 months before that bet starts paying off.

Why This Matters More Now

Here's the part that's making everything harder: costs are going up across the board, but creative work isn't getting more expensive for clients. Agencies are working with the same fee structures they had two years ago, sometimes less. The margin they're operating on? It's shrinking.

So when salary expectations rise but client budgets don't, companies have fewer options. What I'm seeing is:

They're hiring fewer junior people altogether.

They're redefining what 'junior' means, expecting more experience for the same title.

They're cutting back on training programmes and development opportunities to protect their margins.

And honestly? That's terrible news for anyone trying to break into the industry.

What Actually Works

I'm not here to tell junior candidates to accept less than they're worth or to tell companies to just pay more. Neither of those things solve the actual problem.

If you're starting out:

Think about what you're really looking for in your first role. Yes, salary matters. But so does who's going to teach you, what kind of work you'll be exposed to, and where this role could take you in two years' time. The highest offer isn't always the smartest one to accept.

Do your research on what people with your exact level of experience are actually earning in the creative sector right now, not what your mate in tech is making or what you think you should earn. London's expensive, but the market is what it is.

Be realistic about what you bring on day one versus what you could bring in a year. Companies want to know you understand that difference.

If you're hiring:

If you're asking someone to accept that they're an investment, show them what they're investing in too. What will they learn? Who will mentor them? Where could this role go? Make the full picture worth it.

Be transparent. If your margins are tight and you can't compete on salary, say so. Then explain what you can offer instead. People respect honesty, especially when it comes with a genuine development plan.

Junior talent isn't getting cheaper, so make sure the experience you're offering is genuinely valuable. If you're not committed to proper training and mentorship, you probably shouldn't be hiring junior at all.

The Bit No One Wants to Hear

The tension between rising costs and flat client fees isn't going away anytime soon. The creative industry needs to have some serious conversations about pricing, value, and what sustainable actually looks like. But while we're figuring that out, we need both sides to meet somewhere in the middle.

• For candidates: your first role isn't about maximising salary. It's about maximising what you learn and who you become. Pick the opportunity that sets you up properly, even if it's not the biggest number.

• For employers: if you want good people to stick around and grow with you, you have to make that growth real. Junior hires are still worth it, but only if you're doing it right.

London's creative scene is built on fresh ideas and new talent. Let's not price out the next generation before they've even had a chance to prove themselves.

How a Strong Client Services Team Elevates Your Design Potential

Let's talk about something that doesn't get nearly enough credit in design studios: a really good client services team.

I'm not talking about someone who just answers emails and books meetings. I'm talking about the kind of team that creates actual space for your designers to do their best work. The kind that means your creative director isn't spending half their day managing client expectations or decoding vague feedback.

If you've ever thought "we need another designer" when what you actually need is someone to handle everything around the design work, this one's for you.

What Happens When Designers Are Also Client Managers

Here's what I see all the time: talented designers spending huge chunks of their day on calls, writing follow-up emails, chasing approvals, managing scope creep, and trying to translate "can you make it pop more?" into something they can actually action.

It's exhausting. And it's expensive, because those are hours they're not spending on the work you actually hired them to do.

A strong client services team changes that equation completely. They become the buffer, the translator, the organiser. They let your designers be designers.

What This Actually Looks Like in Practice

They handle the communication so your designers don't have to. Every back-and-forth with a client, every status update, every "just checking in" email. That's all managed by someone whose job is communication, not creation. Your designers get clear, actionable briefs instead of messy threads and last-minute panic calls.

They're really good at getting useful feedback. Not all feedback is created equal, and not all clients know how to give it. Client services teams know how to dig deeper, ask the right questions, and translate "I don't like it" into something your designers can actually work with. Less guessing, more doing.

They figure out what actually needs to happen first. When everything feels urgent, nothing is. A good client services team assesses what's genuinely time-sensitive, what can wait, and what needs the most attention right now. Your designers stop firefighting and start focusing on work that actually moves the needle.

They build the relationships that make projects easier. Trust takes time, and someone needs to be building it consistently with your clients. When that's handled well, clients are more patient, more collaborative, and way less likely to derail a project with constant changes. Your designers get the breathing room they need to do great work.

They spot opportunities your designers might miss. Because they're in regular contact with clients, they hear about upcoming projects, shifting priorities, and new needs before anyone else does. That means more work coming in and your design team getting to stretch into new areas instead of wondering where the next brief is coming from.

They balance workloads so no one burns out. A good client services team knows who's swamped, who's got capacity, and what's coming down the pipeline. They manage expectations on both sides so your designers aren't over-promised to clients and under-supported by the studio.

What This Actually Gets You

When client services and design work together properly, everything shifts. Projects run smoother because communication is clearer. Quality goes up because designers have time to actually think. Capacity increases because you're not losing half your team's hours to admin and client management. And clients? They're happier because someone's genuinely looking after them, not squeezing them in between design tasks.

It's not about adding headcount for the sake of it. It's about structuring your team so everyone's doing what they're actually good at.

Is Your Team Set Up Right?

If your designers are spending more time managing clients than designing, or if you're turning down work because you "don't have capacity" when really you just don't have the support structure, it's worth looking at how your team's built.

Sometimes the answer isn't hiring another designer. Sometimes it's hiring the right client services person who makes your existing team twice as effective.

I'd genuinely love to hear how your studio's currently set up and whether this is something you've thought about. If you're trying to figure out whether you need to expand your client services team or restructure what you've already got, let's talk. I work with studios navigating this exact question all the time.

Looking to build or strengthen your client services team? Let's have a conversation about what would actually make a difference for your studio.

Portfolio Advice That Actually Matters

I've looked at a lot of portfolios. Like, a truly ridiculous number. And whilst every designer has their own style and approach, there are some things that make the difference between a portfolio that gets you interviews and one that gets a polite "thanks, but not right now."

So here's what I tell every designer I work with, based on what actually lands well with Creative Directors and hiring managers.

Put Your Name On It

Sounds obvious, right? You'd be surprised how many portfolios I receive with no name anywhere. Yes, your CV has your contact details, but your portfolio should have your name on it too. Contact info is optional if you're sending both together, but your name? Non-negotiable.

Keep It Clean and Easy to View

Your portfolio should absolutely reflect your personality and design style. But here's the thing: if I can't easily see your work because the typography is impossible to read, the colours are fighting for attention, or the layout is so clever it's confusing, you've lost me.

Don't let the container overshadow the content. Your projects should be the star, not the way you've designed the portfolio itself.

Quality Over Quantity

Your showcase portfolio, the one you send to recruiters and potential employers, should be 20 pages maximum. Think of it as your highlight reel. Pick your top three to five projects that directly connect to the role you're applying for.

Applying for a retail position? Don't send a portfolio that's entirely hospitality work. Show them you understand what they need and that you've done it before.

Bring the Full Story to Interviews

Your presentation portfolio, the one you take to interviews, should be longer and more comprehensive. This is where you include all your favourite projects, the ones you're genuinely excited to talk about.

Digital is fine, but please, pre-download it or bring a hard copy as backup. I've sat in too many interviews where someone's scrambling with Wi-Fi or file sharing. Technology is great when it works, but always have a plan B.

Show Your Process, Not Just the Pretty Final Shot

Each project in your portfolio should tell the whole story. Start to finish, every step in between. Hiring managers and Creative Directors want to see that you understood the brief, how you responded to it, what your specific role was, and the input you provided along the way.

The glossy final render is great, but the journey to get there is what actually shows your thinking.

Make It Easy to Follow

Structure matters. Your portfolio and the individual projects within it should have a logical flow that's easy to navigate. This helps hiring managers move through your work without getting lost, and it helps you when you're presenting or discussing your projects in an interview.

If someone has to work hard to understand what they're looking at, you've already lost some of their attention.

Show Off Your Hand Sketching If You've Got It

Not every brief explicitly asks for hand sketching skills, but clients absolutely love seeing it. If you're strong at sketching, include samples in your portfolio. It's almost always seen as a major positive and sets you apart from designers who only work digitally.

Have Both a PDF and a Website

A website portfolio is brilliant for showing the full breadth of your work. But employers still prefer a PDF they can easily save, share, and review. The smart move? Use your PDF to showcase your three to five best projects, then direct people to your website if they want to see more.

It gives you control over the first impression whilst offering depth for anyone who's genuinely interested.

Only Include Work You Actually Love

This is the big one I see all the time. Designers include projects they don't even like, and then when we talk about them, they spend the whole time explaining what went wrong or why it's not their best work.

If you don't love it, don't include it. Your portfolio should be full of projects you're genuinely excited to discuss. That enthusiasm comes through in interviews, and trust me, Creative Directors can tell when you're proud of something versus when you're just filling space.

The Bottom Line

Your portfolio is doing one job: getting you into the room for a conversation. It needs to show your best work, tell a clear story about what you can do, and make it easy for someone to see why they should meet you.

Keep it tight, keep it relevant, and only show work that makes you think "yes, I want to talk about this."

If you're putting together a portfolio and want a second pair of eyes on it, or if you're wondering whether what you've got is landing the way you think it is, I'm always happy to take a look. I've seen what works and what doesn't, and I'm more than happy to share that with you.

Need portfolio feedback or advice on how to position your work for the roles you're going after? Get in touch. I'd love to help.

CV Advice That Actually Gets You Noticed

Here's something that might sting a bit: hiring managers and Creative Directors spend about 8 to 10 seconds looking at your CV. That's it. Less time than it takes to make a cup of tea.

So your CV needs to work fast. It needs to be easy to read, immediately clear, and interesting enough that they actually keep reading instead of moving on to the next one.

I've reviewed hundreds of CVs over the years and heard feedback from some of London's top Creative Directors and hiring managers. Here's what actually matters.

Start With the Basics

Your name and contact details need to be at the top. I know this sounds ridiculously obvious, but you'd be amazed how many CVs I've received with no name or no phone number. If a hiring manager is in a rush and can't immediately see how to reach you, your CV goes in the bin. Don't let that be you.

And please, no pictures of yourself. Just don't.

List Your Skills, Don't Rank Them

It's great to show all the software and skills you've picked up over the years, but don't rank them with little bar charts or percentages. You might think you're being helpful, but often you're just underselling yourself. List them clearly and let your experience speak for itself.

Nobody Cares About Your Grades

Unless you've just graduated and got a first or a 2:1, leave your grades off. Seriously. Don't list your final uni grade if it's a 2:2 or below, don't list individual module grades, and if you're past junior level, don't bother with GCSEs or A-Levels at all. Your work experience is what matters now.

Keep It Tight

Junior to midweight? One page. Senior to team lead or associate? Two pages maximum. Your most recent role should have the most detail because that's what's most relevant. As you go back in time, the descriptions should get shorter and more concise. Only include responsibilities or projects that actually matter for the role you're applying for.

If you're padding your CV to fill space, you're doing it wrong.

Make It Look Good, But Keep It Readable

By all means, use colours and typography that reflect your personality and design style. But keep it professional and clean. If someone has to squint or work hard to read it, you've lost them. Remember, you've got 8 to 10 seconds. Make them count.

Your Words Matter

Avoid clichés like "team player" and "hard-working." Everyone says that. Instead, show those traits through your actual experience. What did you do that demonstrates you work well with others? What projects did you deliver that prove you're dedicated? Let your work speak instead of relying on tired phrases.

Hobbies Should Add Something

If you're going to list interests, make sure they're either relevant to the role or genuinely interesting. "Watching TV" is not a hobby. Neither is "socialising." If you've got nothing that adds to your story, just leave that section off entirely.

Proofread Until Your Eyes Hurt

Then get someone else to proofread it too. A parent, a friend, a flatmate, anyone. Typos and grammatical errors make you look careless, and that's not the impression you want to give. If you don't have anyone to ask, use Grammarly or another tool. Just make sure it's clean before you send it.

Don't Leave Unexplained Gaps

An unexplained gap on your CV looks worse than the actual reason for the gap. If you took time out to travel, do volunteer work, deal with health issues, or handle family matters, just say so. Keep it short and sweet. You don't need to give details you're uncomfortable sharing, but acknowledge it. It shows you're upfront and honest, which matters.

Tailor It Every Single Time

This is the one that separates people who get interviews from people who don't. If you're applying for a hospitality design position, your CV should highlight hospitality work. If you're going for a retail role, focus on retail experience. Don't send the same generic CV to every job and hope something sticks.

Hiring managers can tell when you've actually read the brief and tailored your application, and they really appreciate it.

The Bottom Line

Your CV is your first impression, and you don't get a second chance at it. Make it clean, make it clear, make it relevant. Show them quickly why they should care, and give them a reason to pick up the phone and call you.

If you're not getting responses and you're wondering whether your CV is the problem, I'm always happy to take a look. Sometimes it's just one or two tweaks that make all the difference.

Need a second pair of eyes on your CV? Want to make sure it's actually working for you? Get in touch. I'd love to help.

2026 incoming…

The UK’s creative industry is booming, driven by exciting digital innovations and a surge in demand. From virtual reality to AI-powered design, companies are looking for skilled creative talent to lead the way and deliver standout work that captures the imagination of clients and consumers.  

Since February 2020, the UK’s creative sector has grown by an impressive 9% - far outpacing the broader economy’s 1.6% growth. It's an incredibly exciting time to ride this creative wave, whether you're a creative professional, a business owner, or a specialist in design recruitment! 

Let’s dive into some key stats and trends that highlight where the buzz is strongest and what it means for jobs.   

Rising Demand for Creative Professionals  

The UK’s design economy is booming, and nowhere is this growth more evident than in London. From Architecture and Interior Design to Graphic and Digital Design, the demand for creative professionals is soaring. Between 2010 and 2019, the design economy grew at twice the rate of the UK economy, and all signs point to this momentum accelerating in 2025.   

Our 2024 Market Review and Salary Report highlights rising hiring and salary trends across key fields like Interior Design, Digital Design, Architecture, and Client Services. London, the epicentre of the UK’s design economy, hosts nearly 30% of design jobs and a third of all design businesses. As Deloitte forecasts 4.3 million creative jobs by 2030, there’s no better time to be part of this vibrant and rapidly expanding sector. If you’re looking for opportunities in design, London is calling! 

Growing Competition for Creative Talent   

When you’re looking to hire someone for a design, digital or creative strategy role, you’re likely to find competition for good talent is rather tough. And the fact is, it’s not going to get easier in 2025. Whilst there is strong revenue growth evident for creative economy businesses, profitability is getting squeezed by increases in salaries and pay rates, as companies race to snap up skilled talent.  

The challenge for employers is to demonstrate why their business is a great place to work – by articulating their employee value proposition (EVP). Companies with strong EVPs will cover the essentials of attracting talent, like a competitive base salary. But it’s just as important to emphasise other factors that make your company an attractive place to work. Flexible work arrangements, for example, have become increasingly valued by candidates in recent years – and we see no sign of that desire abating! 

Creative professionals are also flocking to roles that offer autonomy and opportunities to work on inspiring projects and innovations. The most sought-after candidates want to work for companies that provide genuine career development and invest in their people for mutual growth. With that said, as an employer, you can differentiate by offering clear career growth paths and support for upskilling.  

Investing in training and development may become increasingly essential rather than optional for employers in the creative industries, as there are warning signs of a dwindling pool of fresh graduate talent. The number of students taking Design and Technology (D&T) at GCSE has halved over the last decade, indicating that fewer young people are gaining foundational skills in creative disciplines.  

AI Everywhere? 

Generative artificial intelligence is by far the biggest headline story in several industries, particularly creative fields like design and digital. From graphic design, and 2D design to video and coding, AI has upped the ante for creative work. Now, the challenge is to see who can do the most interesting stuff with it! 

Can we expect AI to replace many design jobs? Whilst it’s too early to make that call, we’ve seen numerous examples of gen AI lifting productivity for designers in multiple disciplines. Considering that the rate of AI adoption has at least doubled over the past five years, demand for designers shows no signs of slowing down.  

 In 2025, we could expect human skills and talent to come at an even higher premium, as AI use becomes increasingly mainstream. Professionals with a strong grounding in design disciplines will be highly sought after for their ability to combine creativity with strategic thinking.  

Sensory Experiences 

In 2025, we may firmly find ourselves in the realm of the senses, at least when it comes to design innovations. More interior design and architecture projects will involve creating multi-sensory spaces that blend digital and physical experiences. As Dentsu highlights, there’s a growing demand for immersive sensory activations, where elements like touch, sound, light, scent, and gesture converge to captivate audiences.  

Engaging senses all five senses requires design and creative professionals with a multi-disciplinary mindset, who can meld the digital with the experiential.  

Industries such as hospitality, retail, and cultural institutions are hunting for new ways to engage consumers with a multi-sensorial feast of sound, colour, light, touch and scent.  From hotels incorporating haptic feedback into guest rooms to museums designing exhibits with interactive light and sound, the emphasis is on creating environments that stimulate and inspire – and look amazing on social ! 

Nostalgia Vibes 

From the aesthetics of nostalgia (90’s fashion revival, music on vinyl, vintage cameras) to the growing desire to disconnect from digital technologies (at least once in a while), nostalgia will be a powerful force for creative professionals and consumers alike in 2025.  

For built environment professionals (interior designers, architects), nostalgia will inspire the creation of spaces that evoke the vibes and memories of a bygone era – whether it be brutalism or mid-century modernism.  

On the digital front, graphic designers will draw on forgotten visuals like the pixelated, DIY look of early MySpace pages or the grainy, low-res charm of flip phone photography. By remixing these tiny slices of history, brands can be sure to capture attention with a playful feel. 

The Rising Tide for Creative Recruiters 

With creative sectors set for a bumper year in 2025, people with a background in recruitment for creative sectors are going to see their boats lifted by the same tide. 

As the creative sectors continue to expand, recruiters with experience in or passion for these industries will be instrumental. After all, creative businesses need help in identifying the talent that brings these trends to life. If that sounds like your kind of thing, we’d love to chat with you about our internal opportunities. Please feel free to send us a message to introduce yourself and pop your CV over to us! 

Connect with the Creative Recruitment Specialists 

Ready to add a team member or two, or planning your next career move for 2025? Twenty One Twelve’s creative and design recruitment specialists can help you get sorted with a solution or role that’s right for you.  

Contact us today for support in growing your team or finding your next role.  We’d love to chat with you!