Creative Industries Leadership Group minutes: November 2025

Attendees and apologies

• Brian Coane, Chair, Leith Agency

• Jackie Donachie, Artist
• Alex Smith, XpoNorth Digital
• Dougal Perman, Inner Ear UK
• Colin Anderson, Reforged Studios
• Sueann Rochester, Wild Child Animation
• Janice Kirkpatrick, Graven
• Ciorstaidh Monk, Fashion Interrupted
• Stephano Faiella, Threesixty Architecture
• Jenny Todd, The Literary Office
• Rachael Arnold, Creative Entrepreneurs' Club
• Carol Sinclair, Sinclair Wilson
• Isabel Davis, Screen Scotland
• David Smith, Screen Scotland
• Morgan Petrie, Creative Scotland

Apologies:

• Jane Muirhead – Raise the Roof productions

Items and actions

Welcome and Introductions

The Chair opened the meeting by welcoming attendees, including guests and new members. The Chair emphasised the importance of ensuring that the group continues to reflect the full spectrum of the creative industries sector.

Representatives from the sectors of animation, screen and broader creative industries joined this Group as members.

The Chair reiterated the agenda and noted that the first update would focus on Creative Industries and Artificial Intelligence (AI). The Chair highlighted advocacy for the creative industries as a consistent theme across the work of the group.

The group reviewed the Terms of Reference and agreed that they should be updated to clarify that self‑employed members will be remunerated for time and travel expenses.

The Chair noted that the group has historically included both industry members and observers. The Chair emphasised a desire for public body representatives to be positioned positively as contributors and collaborators.

Presentation: Scottish Technology Council and AI Strategy

A short presentation was delivered providing an overview of the development of the Scottish Government’s new AI Strategy.

It was noted that work is underway until March 2026 to deliver against a Programme for Government (PfG) commitment announced in April 2025.

A new AI Strategy is being developed, in partnership with AI and data experts. The programme brings together academia, business, and government.

The Scottish AI Alliance, established under the previous strategy, will conclude in 2026, with the new Strategy becoming active thereafter.

The strategic model being used is a technology‑centred view of AI and its interactions with people and the economy. External factors include internationalisation, global regulation, and the divergence between UK and EU regulatory approaches. The key focus areas are AI literacy and adoption, with data described as the fuel underpinning AI.

The most important considerations are end‑users, noting that a lot of people have AI in their pocket. Innovation occurs both at organisational and individual levels with AI skills development and upskilling remaining central priorities.

A timeline for the coming months has already seen the launch of the SME AI Adoption Programme in September 2025. In January and February of 2026 consultation on the new AI Strategy will take place before publication in March.

Discussion and Q&A

It was noted that elements of the Green Data Centre Vision and Action Plan (2021) will inform the new AI Strategy.

It was noted that at this stage there is no definitive view on the full consortium of delivery partners. As decisions will depend on identified needs and will be finalised once the Strategy is produced. A member noted Scottish Enterprise is predominantly focused on areas such as energy and does not routinely engage with creative industry sectors.

Members also noted concerns surrounding impact of AI on the creative workforce and creators’ rights and fair value.

The discussion highlighted a shared need to strengthen AI‑related skills and training across the creative sectors, with a particular focus on SMEs, freelancers and leadership. Members highlighted the importance of human‑centred training models to support reskilling and fair employment practices, and clearer identification of urgent skills gaps. Concerns were raised about significant leadership‑level knowledge gaps in publishing and ongoing copyright issues. Whilst the advertising sector was reported to face similar challenges that would benefit from a stronger government emphasis on digital literacy. The group also stressed the importance of investing in design thinking to preserve creative quality in AI‑enabled work, and noted the rapid change in skills requirements within screen production.

Scottish Government colleagues working on AI Strategy welcomed further discussion with interested members.

Discussion on advocacy for the Creative Industries

The Chair tasked members with sharing two highlights from 2025 for their respective sector and one aspiration for 2026.

Design

The launch of Wilson’s Foundry, developed in partnership with Glasgow City Innovation District and led by three established GCID-based creative businesses—Graven, Threesixty Architecture and Spreng Thomson. The initiative provided a studio-based residency model in which SMEs receive coaching, tailored mentoring, access to networks, investors and practical support drawn from the partners’ combined decades of expertise. Over a four‑month residency, participants benefited from access to studio facilities and collaboration opportunities with innovators across the district. A showcase event was held for the six graduating businesses, attended by seventy invited guests including a representatives from the Governor of the Bank of England. All six businesses continue to progress well, and efforts are underway to secure funding to scale the programme.

It was noted that robust data collection is essential for securing funding, and welcomed Glasgow Economic Leadership’s recognition that the Glasgow City Region must develop comprehensive data on its Creative Economy to demonstrate the sector’s potential and access Government support. Discussions are underway within Glasgow City Innovation District to progress this work at pace.

An ambition for the future is that creative industries are reframed by the Scottish Government as ‘innovative’.

Gaming

In terms of the Gaming sector, it was noted that the UK Government’s June 2025 announcement of a £30 million Games Growth Package under its Industrial Strategy represents important national recognition of video games as a priority growth sector. It was noted that this level of prioritisation has not yet been reflected in Scotland despite longstanding calls for greater acknowledgement. The sector continues to experience post‑pandemic challenges, including employment pressures following earlier over‑expansion and the impact of AI on recruitment and decision‑making. However, insights from TIGA indicate that overall headcount remains broadly stable, and the sector continues to make a strong contribution to UK Gross Value Added, underscoring its ongoing economic importance.

Looking ahead to 2026, it was noted that there would be support for the Scottish Government to designate the games industry as a growth sector, enabling more targeted support and stronger sector development. Northern Ireland’s collaboration with the UK Games Fund was cited as an effective model of government–industry partnership that Scotland could emulate to enhance innovation and competitiveness.

Publishing

An example of performance from Scottish publishing included the immediate bestseller success of Len Pennie’s Poyums, which was considered a significant achievement for a work in Scots, and increased international visibility. It was noted that Miranda July’s latest novel was published by a Scottish publisher. Smaller presses such as Scotland Street Press were recognised for contributing to Scotland’s global literary presence.

There were two Scottish books longlisted for the Women’s Prize for Fiction.

It was emphasised that stronger engagement between Government agencies and sector leaders is needed to support innovation and growth. The predominance of micro‑businesses, often operating on funding‑driven rather than commercial models, was identified as a constraint on sustainability. This was highlighted by recent closures of several award‑winning publishers. In light of technological change, including AI, it was noted that there is a need to review funding mechanisms to prioritise innovation, commercial viability and the development of new publishing models.

Visual Art

It was noted that the Fruitmarket Gallery reached an important milestone by commissioning new work for the first time in five years, presenting an exhibition by internationally recognised artist and Hayward Award recipient Mike Nelson, accompanied by a successful publication.

At the 2025 Folkestone Triennial, one of the leading public art events in the UK,  four of the six major commissions were awarded to Scottish artists. These artists were: Katie Paterson, now based in New York, recently completed a commission for Apple in California; Hannah Tuulikki, a mid-career artist who studied in Scotland, continues to gain international recognition; Mi Yi Song, educated at Edinburgh College of Art, explores Chinese heritage in a major exhibition at Tramway; and Cooking Sections, an artist duo from Skye, were nominated for the Turner Prize, reflecting Scotland’s strong presence in contemporary art.

Scotland successfully delivered its Venice Biennale programme, with preparations already underway for its 2026 participation.

The discussion emphasised the need for policies that enable artists to live and work in urban centres. Rising studio rents, often influenced by local authority decisions, were identified as a growing challenge. Improved coordination between the Scottish Government and local authorities was considered essential to safeguard affordable creative spaces and support the long‑term sustainability of Scotland’s visual arts infrastructure.

Screen

It was noted that 2025 saw the launch of the Film Curriculum, which was the first new educational subject introduced in a decade. Screen Scotland published a third report on screen value to the economy.

In 2026, the BBC Charter renewal will take place and there will be a need to make sure it delivers for Scotland.

Fashion

A specialist in dye-weave techniques using natural dyes, supported by the Scotland Re:Designed (SR:D) programme, premiered their work at the prestigious Maison d’Exceptions presentation. This business exemplifies a micro-economy model which is focused on creative excellence rather than scaling and therefore would require a tailored funding approach. It was noted that this specialist dye-weaver has established relationships with luxury brand Hermès which demonstrates the global relevance of Scottish craftsmanship.

It was highlighted that an initiative in artisanal skill-building has been delivered through an intensive programme at Dumfries House supported by the King’s Foundation, Chanel and other partners. This programme showcases Scotland talent by providing a training hub for artisanal training and textile skills.  It was noted that in 2026 fashion as a sector would welcome furthering interdisciplinary connections.

Music

It was noted the Scottish Album of the Year Award, held in Dundee and supported by the Scottish Music Industry Association, has continued to grow. The Awards were recognised for their rigorous and transparent selection process and for highlighting both artistic excellence and the commercial strength of Scotland’s contemporary music sector.

Scotland’s international musical profile was further reinforced through major events such as the World Piping Championships and Celtic Connections, which promote specialist genres to global audiences. Work to digitise these events and monetise online participation was identified as an emerging revenue opportunity with strong potential for sectoral growth.

This discussion welcomed ongoing research into the creator economy, noting the increasing importance of digital platforms in shaping creative careers. It was suggested that these insights should inform education policy, with schools encouraged to recognise content creation and related digital skills as viable entrepreneurial pathways for young people entering the creative industries.

Craft

The group observed that the craft sector, though often understated, makes a significant contribution through skilled, sustainability‑focused practice. Craft’s role in international cultural exchange was illustrated by recent commissions, including work by Fitch and McAndrew for Indigenous communities in Canada and the development of multilingual craft toolkits for the British Council, which has further training planned in Myanmar and Thailand.

The importance of strengthening craft education was emphasised, particularly its reintroduction in schools due to its value in developing creativity and problem‑solving. Organisations promoting sustainable craft practice and school‑based craft learning were recognised, alongside the positive impact of popular programmes such as The Great British Sewing Bee and The Great Pottery Throw Down in raising public awareness and appreciation of the sector.

Architecture

It was noted that collaboration between the Scottish Government and Renfrewshire Council in 2018 led to a regeneration approach for Paisley town centre which resulted in a methodology that is now used across Scotland and parts of England. It was reported that similar regeneration work is underway in East Kilbride, where the planned demolition of the shopping centre will enable a major residential redevelopment incorporating a new multi‑disciplinary building, including a library. Spreng Thomson is supporting this project, which aims to position the new building as an anchor for the town centre and to strengthen engagement with local stakeholders, building on earlier work carried out with Glasgow City Council.

The initiative has evolved from a commercial redevelopment into a wider cultural collaboration involving RSNO, Scottish Ballet and other organisations. Current efforts focus on embedding creative energy into the redevelopment of the station area and surrounding commercial environment. While much of this work is taking place within local authority spaces, it has been identified that there is a need to explore opportunities to translate these initiatives into commercially viable outcomes. The project also seeks to reintroduce design thinking into education, aligning with wider stakeholder aspirations for stronger cultural and architectural engagement.

Update from Scottish Government

An update was provided from Scottish Government to updates on activity relevant to the creative industries.

It was noted that work underway for a feasibility study on cultural export and exchange, an increasingly important area post‑Brexit due to challenges around visas and customs.

The aim of this work is to identify barriers, explore rationale and next steps, and assess whether a model should operate sector‑wide or by sub‑sector (e.g. similar to Wales Arts International). This work will map functions and international best practice. The project will engage directly with sector stakeholders and produce scoping recommendations. With findings expected to be published in summer.

The Independent Review of Creative Scotland was published on 25 November 2025. With the Culture Fair Work Task Force report due to publish shortly.

It was noted that in regards to UK budget announcement there are no specific budget measures for the culture or creative industries sectors.

 AOB

A tribute was paid to the late author of the Sceptical Scot blog, noting the role the blog played in galvanising momentum around Creative Industries issues.

The next meeting is Thursday 26 February 2026, 09:00 – 11:00, with the Cabinet Secretary.

Actions

• a small working group for those interested in discussing AI further is to be formed
• a follow‑up meeting with those interested in AI Strategy
• update Group’s Terms of Reference to confirm payment for members’ time
• members to have an opportunity to input feedback into Creative Scotland review analysis (noting recusals)