How has the role of studio manager changed over recent years?
As budgets have been squeezed, and employee well-being has risen in importance, the studio manager role has broadened and become more strategic.
“It’s evolved from purely operational oversight to a hybrid of studio leadership, team coordination, and project management,” says Naima Hidalgo Muñoz, who “wears many hats” at Cardiff-based Toward studio, including studio manager.
“With many teams now working remotely or in hybrid set-ups, studio managers are expected to manage distributed workflows, maintain team cohesion, and ensure deadlines are met without the benefit of in-person oversight—which is challenging!” she adds.
For Jessica Moore, studio assistant at strategy and design studio Dalziel & Pow, as the role has become more diverse, it’s also become more human.
“It’s not just about admin anymore, although yes, I still know where everything is,” she says. “These days I’m also part culture-builder, part unofficial therapist, and occasionally, snack re-stocker.”
“I’m part culture-builder, part unofficial therapist, and occasionally, snack re-stocker.”
In terms of being more strategic, the role plays a more central part in agency life.
“It’s no longer just about scheduling,” says Emily Payne, director of operations at Turner Duckworth.
“It’s about creating the right environment for great work to happen, while navigating tighter budgets, faster turnarounds, and the ongoing challenge of finding the right freelance support.”
And with clients expecting more value for money, “studio planning has had to ‘box smart’ in how we resource projects,” says Becky Drew, WMH&I’s people and planning lead. “Generally, this has meant leaner teams. Ten years ago, we might have had three or four creatives on a project; now it’s typically one or two, supported by a wider network.”
She’s also noticed a welcome shift “towards prioritising mental health, wellbeing, and recognising individual differences. “Creating an environment where people feel respected and able to thrive is key – from rethinking processes to better supporting neurodiversity, to shaping working models that help everyone do their best work.”
Moore at Dalziel & Pow echoes this, talking of “fostering a studio environment where people feel inspired, respected, and like they want to show up, even on a Monday.”
What’s the most time-consuming part of your job, and why?
“Organising creatives is no small feat!” admits SJ Howard-Parkinson, practice manager at Shepherd&.
The architecture and interior design firm has four founding directors, “each with their own unique style of working. Understanding how everyone operates and being adaptable to their approach is absolutely key,” she adds.
“With shifting timelines and sometimes limited budgets, making sure we have the right people in place, while ensuring everyone feels creatively fresh takes constant care and attention,” Payne at Turner Duckworth says.
Drew at WHM&I backs this up. “Acting as the go-between within the studio, the most time-consuming part is gathering information from across the business to stay on top of shifting project statuses.
“Without this, it’s impossible to prioritise studio traffic accurately or fairly, or ensure work is delivered on time and on budget.”
Or as Toward’s Hidalgo Muñoz puts it, “It’s like playing Tetris with people’s time, while trying to keep everyone happy, and projects on track.”
The need to be across many different things at all times can feel non-stop. “Managing the energy, morale and day-to-day flow of a creative studio takes constant attention,” says Dalziel & Pow’s Moore.
What don’t designers understand about your role?
Most of the studio managers we spoke to gave similar answers, which is how much of their work goes unnoticed.
“Many designers don’t see how much behind-the-scenes negotiation, forecasting and fire-fighting goes into making their day run smoothly,” Hidalgo Muñoz says.
“Studio managers are constantly juggling budgets, client expectations, internal politics, and team capacity. We’re not just assigning work – we’re protecting their time, managing stress levels, and creating an environment where creativity can actually happen,” she adds.
Payne has a similar take. “Behind the scenes, there’s a lot of juggling and working with our client services team to make sure projects run smoothly, deadlines are realistic, and we’re not over-promising to clients.”
Likewise, Drew sees a studio manager’s job as lifting the pressure off designers so they can focus on the creative. “We’re there to smooth the process, spot issues before they arise, and reduce stress by bridging the gap between creative and client services.”
So it’s not just about shuffling meeting rooms, as useful as that is. Moore describes herself as the Wi-Fi whisperer, snack supplier and unofficial crisis counsellor.
“No matter what’s going on, I want people to feel they can come to me for anything, even if it’s just to ask where the good biscuits are.”
Howard-Parkinson is just a year into the design industry, and feels she could do with “a design industry-specific dictionary.”
“Maybe it’s just me being fairly new to the design world, but I often find myself googling abbreviations and phrases. There’s so much to learn, and no two projects or clients are the same.”
What’s the one thing designers could do to make your life easier?
Labelling is top of Moore’s list. “You’d be amazed at how quickly a studio turns into a tile-themed escape room when samples start showing up unlabelled.
“If designers could take five seconds to label samples, it would save me time and save me from writing emails that start with, ‘Hey, anyone’s sample?’.”
Meanwhile, Howard-Parkinson, who was previously in the hospitality industry, values a convivial atmosphere.
“I genuinely believe that everything runs smoother when the vibe is good. The most important part of any workplace is how people treat each other, and mutual respect is everything. A few jokes along the way help, but kindness and a friendly environment make all the difference.”
She, Payne, Hidalgo Muñoz and Drew all highlight communication. “Just keep talking to me,” Payne says. “A quick check-in or flagging something early helps me stay ahead of issues and support the team as best I can.”
Howard-Parkinson agrees. “Clear communication and straightforward direction are crucial, even if that can be a bit of a challenge when working with creative minds, but that’s part of the fun.
Because without communication, Drew says, “everything unravels.” Hidalgo Muñoz agrees. “It’s surprises that throw everything off.”
What’s the worst thing a designer can say to a studio manager?
Naima Hidalgo Muñoz: “Can I just have more time?” That usually means a cascade of scheduling headaches, unhappy clients and resource reshuffling.”
Emily Payne: “I didn’t realise this was due today.” When timelines are tight, surprises like that can throw everything off. A quick heads-up can make all the difference.
SJ Howard-Parkinson: It’s those little requests that pop up all the time, usually when you least expect them! “Hey, remember those 50 drawings I asked you to print the other day? Any chance you could reprint them for me?”