Creativity's Diversity Disconnect

Creativity’s DiversityDisconnectNOVEMBER 2017

RESEARCH PURPOSE

Diversity and inclusion are important issues that affect many industries, including the creative field. As a partner and contributor to the creative community, we’d like to understand how race and gender impact creative professionals in their education and careers.

PRIOR INDUSTRY RESEARCH

Our work builds on studies that shed light on the composition and advancement of creatives in different industries. Examples include the 2008 “Artists in the Workforce” study by the National Endowment of the Arts and AIGA’s 2016 Design Census, which provide foundational benchmarking for the gender and ethnic/racial demographics.

Our observations are:• Women enter the creative field in

comparable numbers to men but don’t advance at the same pace.

• People of color run into challenges in the workplace relative to entry and advancement.

IntroductionOUR COMMITMENT

Our hope is that the insights from our study will help build awareness, amplify the conversation, and provide a basis for action in education and the workplace for women and people of color. This research is just the beginning. We view it as the start of the conversation and we will continue to build on this body of work through additional discussions and partnerships, as well as our own work with the creative community.

CREATIVITY’S DIVERSITY DISCONNECT1. INTRODUCTION, METHODOLOGY & KEY FINDINGS 2

https://www.arts.gov/sites/default/files/ArtistsInWorkforce.pdf

http://designcensus2016.aiga.org/#!/section/results

U.S. creative industry professionals

U.S. creative industry professionals, educators, and community leaders

±3.6% at the 95% confidence level**

MARGIN OF ERROR

N=750*N=150 photographersN=150 videographersN=150 designers

SAMPLE SIZE

N=10

15-minute online survey

METHOD

45- to 60-minute phone interview

Survey fielded from August 29 to September 5, 2017

TIMING

Calls occurred between September 25 and October 4, 2017

*Note: The additional job titles represented in our study include architects, creative directors, art directors, animators, web / app developers, etc.**Unless otherwise noted, differences between audiences are statistically significant at the 95% confidence level

Research methodology

QUANTITATIVE SURVEY

QUALITATIVE INTERVIEWS

AUDIENCE


RICK ALBANOExecutive Creative Director,SWIFT

LIZ DANZICOChair, MFA Interaction Design, SVA

RIC EDWARDSCreative Director,NA Collective

KATHLEEN DIAMANTAKISChief Strategy Development Officer, KBS & Co-Founder, On Behalf Organization

SHAMEKA BROWN BARBOSACreative Director/Writer and Entrepreneur, The Brown Scribe

GINA GRILLOCEO, President, The Advertising Club of New York

ASH HUANGUX Designer,Adobe

JACINDA WALKERDiversity Task Force Chair, AIGA

IAN SPALTERHead of Design,Instagram

JON HINOJOSAArtistic/Executive Director, SAY Sí

Qualitative interview participantsWe’d like to thank the following people for sharing their experience and insights to help us better understand the survey findings.*

*Quotes in this report are personal opinions of the interviewees and do not reflect the views of the company and organizations they work for or are affiliated with. CREATIVITY’S DIVERSITY DISCONNECT1. INTRODUCTION, METHODOLOGY & KEY FINDINGS 4

Survey: Key findings

Diversity drives success and better work, yet progress lags.• Eighty-two percent of creatives believe their most successful

group projects were produced by a diverse team. Page 10• Seventy-six percent report they will avoid working for/with a

company they believe does not take diversity seriously. Page 11• Eighty-seven percent say a diverse workforce should be an

industry priority. Page 12• A vast majority (90 percent) agrees a more diverse workforce

is only effective if everyone feels included. Page 12• Yet, only about half of respondents (54 percent) believe

diversity in the creative industry has gotten better, compared to five years ago. Page 13

MAKING THE CASE FOR DIVERSITY



Creative careers are out of reach for many people of color.• Lack of awareness of creative professions is a barrier.

Page 16• Creatives of color are twice as likely to perceive a lack of

access to tools and training as a significant barrier. Page 17• Parents and mentors of students of color are perceived

as being less likely to be very supportive of a creative education. Page 18

• Fewer creatives of color graduate with a creative major compared to white respondents. Page 19

* This section focuses mainly on perceptions among people of color around their awareness and exposure to the creative profession. We also analyzed responses by gender and found many similarities in experience and barriers that men and women face overall. While differences exist in individual cases, overall this lines up with broader industry data that indicates that there is a robust pipeline for female creatives.

CREATIVES OF COLOR START AT AN UNEVEN PLAYING FIELD*



Bias and exclusion stall women and people of color in their career progression.• Creatives of color are more likely to report experiencing

career barriers and are less likely to say that people they work with value their contributions. Pages 22 & 23

• Women are less likely than men to report seeing people like themselves in their industry and at work. Page 24

• Women are also more likely to say their gender will hamper their future success. Page 26

A STEEP CLIMB


Making the case for diversityDiversity drives success and better work, yet progress lags.

CREATIVITY’S DIVERSITY DISCONNECT, PART TWO

“As designers, we are at the forefront of what people see and how they sell their products. If the design is not inclusive, we are manifesting a world where people will not have a meritocracy.”ASH HUANG, UX DESIGNER, ADOBE

8

I could tell right away that there was no one who looked like me in the room when they were making creative decisions. So now that I’m able to bring in different viewpoints, it just makes our story better.”RIC EDWARDS, CREATIVE DIRECTOR, NA COLLECTIVE

“CREATIVITY’S DIVERSITY DISCONNECT2. MAKING THE CASE FOR DIVERSITY 9

My most successful group projects or initiatives were produced by a diverse team

Without a more diverse workforce, the creative industry won’t advance at the speed it could

STATEMENT AGREEMENT (Top 2 box)

“When you’re in environments where people from all over the world, different cultures, and walks of life are working on a problem together, that’s pretty inspiring. It’s like the super-hero team-ups.”IAN SPALTER, HEAD OF DESIGN, INSTAGRAM

Q20: How much do you agree or disagree with the following statements?Base size: Total = 750

82% 78%

Creatives see diversity as core to industry success and advancement

CREATIVITY’S DIVERSITY DISCONNECT2. MAKING THE CASE FOR DIVERSITY 10

of creative professionals report they will avoid working for/with a company that they believe does not take diversity seriously



76%

Creatives make diversity a factor in career and project decisions


agree a more diverse workforce is only effective if everyone feels included

say a diverse workforce should be a priority for the creative industry


Q19: How much of a priority do you think a diverse workforce should be for the creative industry?Base size: Total = 750

90%87%

A vast majority agrees diversity is a priority and only effective with inclusionSTATEMENT AGREEMENT (Top 2 box selected)

STATEMENT AGREEMENT (Top 2 box selected)


COMPARED TO FIVE YEARS AGO, DIVERSITY IN THE CREATIVE INDUSTRY WORKFORCE IS… (% selecting)

Q23: Compared to five years ago, do you think the diversity in the creative industry workforce is…?Base size: Total = 750

7%

39%54%Getting better About the same

Getting worse

Yet, only half of respondents think the creative industry is more diverse than it was five years ago

“Diversity is very important, but I don’t think we’re there yet. The industry is changing but it’s not changing fast enough.”RICK ALBANO, EXECUTIVE CREATIVE DIRECTOR, SWIFT


Creatives of color start at an uneven playing fieldCreative careers are out of reach for many people of color

CREATIVITY’S DIVERSITY DISCONNECT, PART THREE

“My high school did not have any facilities or experts for creative. I didn’t know there were careers like art directors or that advertising was a major.”KATHLEEN DIAMANTAKIS, CHIEF STRATEGY DEVELOPMENT OFFICER, KBS & CO-FOUNDER, ON BEHALF ORGANIZATION

This section focuses mainly on perceptions among people of color around their awareness and exposure to the creative profession. We also analyzed responses by gender and found many similarities in experience and barriers that men and women face overall. While differences exist in individual cases, overall this lines up with broader industry data that indicates that there is a robust pipeline for female creatives.

14

We are actively trying to pursue younger people at different stages of their creative life. We are trying to talk to people well before middle school and high school to start educating people about what design means.”LIZ DANZICO, CHAIR, MFA INTERACTION DESIGN, SVA

““Opportunities for young people in visual arts in their

public schools were fairly non-existent when we started SAY Sí. Fast-forward 23 years later, and it’s even worse. One reason is budgetary confinements and restrictions; the other piece is not understanding the value and the importance of the arts.”JON HINOJOSA, ARTISTIC/EXECUTIVE DIRECTOR, SAY Sí

CREATIVITY’S DIVERSITY DISCONNECT3. PEOPLE OF COLOR START AT A DISADVANTAGE 15

Creatives cite lack of awareness as a barrier

BARRIERS TO PURSUING CREATIVE EDUCATION(Top 2 box)

Q8: To what extent do you consider each of the following to have been a barrier to pursuing your creative education?Base sizes: Total creatives who pursued a creative major after high school = 361, People of Color who pursued a creative major after high school = 101

51%say “lack of awareness of creative professions” is a barrier to a creative education

Fifty-five percent of creatives of color cite lack of awareness as a barrier


[ ]

Lack of tools and training is also considered a barrier

Q8: To what extent do you consider each of the following to have been a barrier to pursuing your creative education? (Top 2 box selected)Base sizes: White who pursued a creative major after high school = 260, People of Color who pursued a creative major after high school = 101

2x Creatives of color are two times more likely than white creatives to cite lack of access to tools and training as a significant barrier.

White

People of color

13%

27%


Students of color are less likely to have a strong support network

*Note: difference between audiences is statistically significant at the 90% confidence level Q5: Thinking about the people in your life, how supportive were they during your pursuit of your creative profession?Base sizes: White = 494, People of Color = 254

Parents* Mentor(s)

LEVEL OF SUPPORT (% selecting “Very supportive”)

“There was a perception that you had to get a real job and that a real job never included being something creative. Being happy at a career was not something that was a priority, being black and coming from a large family of working class people.” JACINDA WALKER, AIGA DIVERSITY TASK FORCE CHAIR

71% 65% 63% 54%

WhitePeople of color


Fewer respondents of color graduated with a creative major

Q3: Did you graduate with a creative major after your education post-high school? Note that this includes your primary major or a double major. Base sizes: White who attended education beyond high school= 454, People of Color who attended education beyond high school= 227Q8: To what extent do you consider each of the following to have been a barrier to pursuing your creative education? Base sizes: White who pursued creative major after high school= 260, People of Color who pursued creative major after high school = 101

White WhitePeople of color People of color

57%44%

37%54%

GRADUATED WITH A CREATIVE MAJOR (% selecting “Yes”)

BARRIERS TO PURSUING A CREATIVE EDUCATION“Difficulty getting accepted into the program or classes I wanted” (Top 2 box)


A steeper climbBias and exclusion stall women and people of color in their career progression

CREATIVITY’S DIVERSITY DISCONNECT, PART FOUR

“The sink-or-swim nature of the business is what’s maddening to me, because no amount of training as an intern can really even prepare you for what you’re walking into. And if you add in race, gender, sexuality, religion, the climb just becomes even steeper.”SHAMEKA BROWN BARBOSA, CREATIVE DIRECTOR/WRITER AND ENTREPRENEUR, THE BROWN SCRIBE

20

I heard it as a kid and definitely heard from my mom that as a minority, especially as a minority woman, I would have to work twice as hard to get noticed. For me, that was just how life is. So I always tried to work really hard, and figured hard work would compensate for everything.”ASH HUANG, UX DESIGNER, ADOBE

“CREATIVITY’S DIVERSITY DISCONNECT4. A STEEPER CLIMB 21

Creatives of color are more likely to report experiencing career barriers than white creatives

BARRIERS TO ACHIEVING CAREER GOALS (Top 2 Box)

Q13: To what extent would you consider each of the following to be a barrier to achieving your career goals over the next two years?Base sizes: White = 494, People of Color = 254

66%75%

53%65%


51%63%

49%

62%

Finding new opportunities

Lack of sponsorship from a senior-level advocate

Lack of support from my management

Pressure to speak up or behave in ways that are uncomfortable

ACROSS ALL RESPONDENTSWomen and men perceive similar career barriers.

Those who did not graduate with a creative major are more likely to experience career barriers than those who did graduate with a creative major.

CREATIVITY’S DIVERSITY DISCONNECT4. A STEEPER CLIMB 22

…and are less likely to feel valued at workSTATEMENT AGREEMENT (% selecting “Strongly agree”)

*Note: difference between audiences is statistically significant at the 90% confidence level Q10: How much do you agree or disagree with the following statements?Base sizes: White = 494, People of Color = 254

I can be myself at work* People I work with value my contributions

70% 63%


63%55%


Women notice a lack of female creatives at work and in leadership

*Both genders are equally likely to seek more senior roles. - Q12: What are your career ambitions over the next two years? % selecting yes: 42% men vs. 43% womenQ18: How much do you agree or disagree with the following statements? Base sizes: Men = 362, Women = 385

There are many other people like me in my industry

There are many other people like me at my company / the companies I freelance for

There are many people like me in leadership roles at my company / the companies I do freelance work for*

83%74% 74%

65%

Men

Women

73%62%



Even in my first job, there was one black man in the creative department of about 120 people. Soon after I arrived, he was promoted to the digital side and moved to another floor. I was like, ‘My god, I’m literally by myself.’ There was no one in front of me to model or watch.”SHAMEKA BROWN BARBOSA, CREATIVE DIRECTOR/WRITER AND ENTREPRENEUR, THE BROWN SCRIBE

“If you’re in an organization and you don’t see people like you at the top, it’s intimidating, it’s very hard to navigate that.”“ GINA GRILLO, CEO, PRESIDENT, THE ADVERTISING CLUB OF NEW YORK


Women are more likely to feel gender will negatively impact future success

Q25: When you think about your future career success, how do you view the role of your gender?Base sizes: Men = 362, Women = 385

I believe my gender will help my future success

I believe my gender will hamper my future success

29%20% 14%

23%

Men

Women

ROLE OF GENDER IN FUTURE CAREER SUCCESS (% selecting)

“As a black woman, I am very confident that I do not have an equal opportunity to reach my goals.”JACINDA WALKER, AIGA DIVERSITY TASK FORCE CHAIR“I think it is an advantage to

be a man in this industry. There are certain cases where you’re like, ‘Wow, he’s listening harder to the guy.’”RICK ALBANO, EXECUTIVE CREATIVE DIRECTOR, SWIFT


Time for actionRecommendations from our experts

CREATIVITY’S DIVERSITY DISCONNECT, PART FIVE

“ “The future is about creativity. It starts with valuing creativity in education, building the creativity of young people and harnessing that from the youngest age all the way through.”IAN SPALTER, HEAD OF DESIGN, INSTAGRAM

Teaching people ways that they can look at the world as an opportunity for change, and for design to be a method or a force for that change—it’s a better way to change the world.”LIZ DANZICO, CHAIR, MFA INTERACTION DESIGN, SVA

VALUE CREATIVE EDUCATION FOR DIVERSE STUDENTS RETHINK HOW STUDENTS LEARN AND APPLY CREATIVE SKILLS

I’d like the public education system to rethink their approach to the different ways that students learn.”JON HINOJOSA, ARTISTIC/EXECUTIVE DIRECTOR, SAY Sí

Exposure is great but if you can’t follow it with access to creative classes, what do you have? Nothing. And vice versa.”JACINDA WALKER, AIGA DIVERSITY TASK FORCE CHAIR

“

“CREATIVITY’S DIVERSITY DISCONNECT5. TIME FOR ACTION 27

“ We have something called a passive candidate pipeline. Even if the roles aren’t open, we try to have diverse people coming in because we believe in unexpected destinations.”RICK ALBANO, EXECUTIVE CREATIVE DIRECTOR, SWIFT

BROADEN RECRUITMENT BEYOND “CREATIVE HUBS”

SEEK OUT DIVERSE CANDIDATES

INVEST IN DIVERSE EMPLOYEES

Companies need to go to those places that are forgotten because not all students can afford to come to them.”RIC EDWARDS, CREATIVE DIRECTOR, NA COLLECTIVE

It can’t just be that you hire somebody and think you’ve done enough. You have people in your company who represent different groups and backgrounds. Invest in those people.”GINA GRILLO, CEO, PRESIDENT OF THE ADVERTISING CLUB OF NEW YORK

“

“

Women need to see more examples of people who look like them. That’s something that women and people of color can help with, especially if they’re in a position of power.”ASH HUANG, UX DESIGNER, ADOBE

Homogeneity is the death knell, because you need a counterpoint.”SHAMEKA BROWN BARBOSA, CREATIVE DIRECTOR/WRITER AND ENTREPRENEUR, THE BROWN SCRIBE

GROW ROLE MODELS AT WORK

MAKE EVERYONE A DIVERSITY CHAMPION

““

It’s hard to be ‘that diversity person.’ We need more people to speak out.”KATHLEEN DIAMANTAKIS, CHIEF STRATEGY DEVELOPMENT OFFICER, KBS & CO-FOUNDER, ON BEHALF ORGANIZATION

“CREATIVITY’S DIVERSITY DISCONNECT5. TIME FOR ACTION 28

AppendixSocioeconomic background and age

CREATIVITY’S DIVERSITY DISCONNECT, PART SIX

29

65%

vs. 1 in 6 from an upper socio-economic background

CREATIVE NETWORK(% selecting)

respondents from a lower socio-economic background has no one in their personal life who works or has worked in the creative industry

among those from an upper socio-economic background

among those from a lower socio-economic background

AVERAGE LEVEL OF SUPPORT FROM PEOPLE IN THEIR LIVES DURING PURSUIT OF CREATIVE PROFESSION (Average ‘Very supportive’ scores across all response options)

[ ]

Socio-economic background impacts exposure to creative industry

Q4: Which of the following people in your life, if any, work in the creative industry (or previously worked in the creative industry)? Q5: Thinking about the people in your life, how supportive were they during your pursuit of your creative profession?Base sizes: Upper socio-economic background = 422, Lower socio-economic background = 328

56%1 in 4

CREATIVITY’S DIVERSITY DISCONNECT6. APPENDIX 30

PERSONAL STRENGTHS(Top 2 box)

Q15: And how much of a strength would you say each of these are for you personally at this point in your creative career?Base sizes: Upper socio-economic background = 346, Lower socio-economic background = 263

Those with upper socio-economic backgrounds feel they have stronger networks and visibility

93%

77%88%

74%

Upper socio-economic backgroundLower socio-economic background

Network of colleagues / co-workers Industry visibility


79%73%

Millenials (18-36)Gen X (37-50)Baby Boomers (51+)

46%

79%75%

55%

77%

67%

36%

76%70%

51%

74%70%

50%

72%67%

40%

72% 69%

36%

70%

63%

31%

TYPES OF PEOPLE UNDERREPRESENTED IN THE CREATIVE INDUSTRY(Top 2 box)

Younger generations are more likely to perceive diversity gaps...

People from different cultures

People from different gender expressions

People of different races/ ethnicities

People of different genders

People of different religions

People of different sexual orientations

People with different perspectives / viewpoints

People from different socio-economic background

Q21: How much do you agree or disagree that each of the following types of people is underrepresented in the creative industry today?Base sizes: Millennials (18-36) = 436, Gen X (37-50) = 195, Baby Boomers (51+) = 119


PRIORITY OF A DIVERSE WORKFORCE(% selecting)

...and consider diversity a top priority

10% 46% 44%

9% 53% 38%

29% 39% 32%Not a prioritySomewhat of a priorityA significant priority

Millennials (18–36)

Gen X (37–50)

Baby Boomers (51+)

Q19: How much of a priority do you think a diverse workforce should be for the creative industry?Base sizes: Millennials (18-36) = 436, Gen X (37-50) = 195, Baby Boomers (51+) = 119


CATEGORY SUBCATEGORY % White only 66%

Net: People of color* 34%

White 74%

African or African descent 11%

Hispanic 11%

Asian American/Asian 10%

Native Hawaiian/Pacific Islander 2%

American Indian or Alaska Native 3%

Middle Eastern 1%

Other 2%

Wealthy 15%

Upper middle class 41%

Lower middle class 37%

Lower income 7%

DemographicsCATEGORY SUBCATEGORY %Gender Male 48%

Female 51%

Non-binary/third gender 0%

Other 0%

Age 18-24 13%

25-34 36%

35-49 34%

50-64 14%

65 or older 3%

Education Less than high school 0%

High school graduate 9%

Vocational/technical 4%

Some college 11%

College graduate 46%

Some graduate education 11%

Postgraduate degree 19%

*Note: People of Color respondents are defined as anyone who is not white only.Some total values may not add up exactly to 100% due to rounding

Family income level while growing up

Race/ethnicity(audiences reported)

Race/ethnicity(natural fallout; multiple answers allowed)


A big thanks to Adobe’s creative teams for sharing their pictures as part of our cover design.


Technology

Creativity's Diversity Disconnect