On My Radar: Kayleigh Dugdale

What’s the most creative advertising idea you’ve seen recently? 

I loved adidas’ Original Forever campaign with Oasis. It’s such a brilliant example of understanding the emotional currency of a brand and then letting culture do the heavy lifting. Bringing Liam and Noel back together for the first time in years, using Live Forever, and taking us through decades of Oasis fandom was a very simple idea executed with enormous craft. It felt less like an advert and more like a cultural moment — which, for me, is always the sweet spot.

What website(s) do you use most regularly?

Probably a slightly unhealthy combination of trade press, Vimeo and Instagram. Industry publications keep me plugged into what’s happening creatively and who is doing what, and Instagram is basically the industry’s water cooler. I also love seeing what people are making outside of advertising. Sometimes the best reference for a commercial isn’t another commercial.

What’s the most recent piece of tech that you’ve bought? 

I’m ashamed to say I’m probably on my sixth pair of AirPods. One day I’ll be grown-up enough not to leave them on a train or in the back of an Uber. Until then, I’m apparently keeping Apple in business. 

What product could you not live without?

My phone, unfortunately. It’s my office, diary, camera, map, banking app, reference library and emergency Peppa Pig device. I’d love to give a more glamorous answer, but modern life has won.

What’s the best film you’ve seen over the last year? 

Sinners. I thought it was an incredible combination of filmmaking, music, design, performance and visual ambition. It has proper cinematic scale but still feels incredibly authored. It reminded me why the best VFX and production design should support a world rather than announce themselves. And it’s just a bloody good film. 

What film do you think everyone should have seen?

Children of Men. Apart from being an incredible film, it’s a masterclass in world-building, cinematography and invisible visual effects. It’s a great reminder that the best VFX is often the stuff you don't notice because you’re too busy believing the world you’re in. It’s also one of those films that somehow feels more relevant every time you watch it.

What’s your favourite TV show? 

I feel like I should say something cool like The Bear, but actually it’s got to be Friends. I know, I know… not very cutting edge. It’s funny, familiar and requires zero concentration — which is basically luxury these days.

What’s your favourite podcast?

The Rest Is Entertainment. I love the combination of genuinely interesting cultural insight and complete nonsense. It’s clever without feeling worthy, and funny without trying too hard. I think that’s something I value generally — people who know their stuff but don’t take themselves too seriously. 

What have you been most inspired by recently?

The speed at which technology is changing what’s possible, creatively. AI is obviously the huge one, but I’m actually more interested in what happens when artists stop thinking of these tools as shortcuts and start treating them as new creative mediums. The interesting bit isn’t, “look what AI can do” anymore. It’s, “what can we make now that simply wasn’t possible before?”

If you could only listen to one music artist from now on, who would it be? 

David Bowie. He’d give me enough range to survive anything — glam, electronic, rock, pop, experimental, beautiful, weird. He was constantly reinventing himself without ever losing his identity, which is something I really admire, creatively. Also, I suspect I’d last about four days with just one artist before becoming unbearable. 

If there was one thing you could change about the advertising industry, what would it be? 

I’d like us to make a little more room for making things properly. There’s, understandably, enormous pressure on budgets, timelines and efficiency, but sometimes the best creative work needs a bit of breathing space. I’d also love us to stop treating 'fast' and 'good' as if they’re always opposites. The really exciting challenge is figuring out how to achieve both without compromising the idea. 

Who or what has most influenced your career? 

The people I’ve worked with. I’ve been lucky enough to work alongside some exceptionally talented directors, artists, producers and creatives, and you learn something from every one of them — including, occasionally, exactly what not to do. I’ve always been drawn to people who are brilliant at their craft but remain curious, generous and excited by other people’s ideas. That combination is much rarer — and much more valuable — than pure talent.