Lee Hoddy is creative partner at Conran Design Group. The global brand and design agency works with clients like Reckitt, Sofitel and Peugeot.
Design
What would your monograph be called?
Brand EVangelist: How EV sparked a new era in experience design.
We’re seeing the EV revolution redefine the automotive sector – brands like Tesla, Polestar and Rivian are showing up with innovative, immersive brand ecosystems and demonstrating a really progressive use of film and digital. And experience design is playing a leading role.
What recent design work made you a bit jealous?
The recent Heinz work by JKR and Wieden+Kennedy, with Studio DRAMA’s typographic refresh. They called it a “quiet evolution” – it’s anything but. They’ve modernised a classic without losing its iconic edge.
The latest It has to be… campaign is pure class: restrained, confident, and unmistakably Heinz. It’s such a joy to see iconic, crafted creativity in play – stripping things back to bold ideas and beautifully executed brand assets.
Distinctive, memorable and totally ownable – a welcome standout in a sea of inauthentic, AI-infused noise.
Studio DRAMA’s type work for Heinz
What’s an unusual place you get inspiration from?
It’s not really a place – it’s more of a balance between two opposing states. On one side, there’s sociability – the buzz of a good chat in the studio, ideas bouncing around and growing into something bigger. A democratic, energising atmosphere where everyone’s in it together. Feels electric. I love that.
Then there’s solitude. Not so much a physical space, more a headspace. It usually shows up in the in-between moments – on the Tube, during a quiet 15 outside the office, in the middle of a mindless chore.
It’s when the day’s noise fades, and the background distractions become oddly welcome. It’s a different kind of clarity.
Both are inspiring in their own way. One’s loud and collaborative, the other quiet and personal. And somewhere between the two is where the good stuff lives.
Name something that is brilliantly designed but overlooked.
Automotive infotainment UX is a bit of a masterclass in clarity and utility. At its best, it’s invisible. The design isn’t shouting for attention – it’s whispering just loudly enough.
An elegantly designed map, intuitive iconography, minimal design distractions. It balances real-time data with calm, intuitive, thoughtful design – always adapting, never overwhelming.
It’s a good reminder that simplicity isn’t about taking everything away – it’s about making sure that what’s there actually matters.
What object in your studio best sums up your taste?
Michael Sodeau’s Bob stool, an elegant little perch made from wine cork waste. It’s a reminder that good design balances function, personality and responsibility.
I also love our own brand’s playful illustrations, dotted around the studio. They’re a visual reminder that design doesn’t always have to take itself too seriously, and that sometimes a bit of wit can go a long way.
The Bob Stool. Photo courtesy Modus Furniture. Photo by Jake Curtis.
Leadership
What feedback felt brutal at the time, but turned out to be useful?
Back in the days of Apple Macs, I remember showing some early concepts to my creative director. I was deep into that David Carson, rule-breaking, West Coast design anarchy phase.
He looked at my work, took a drag on his Marlboro Red, and said, “Style over substance. Get back to making ideas.”
At the time, it felt harsh. But it was exactly what I needed to hear. He wasn’t knocking the energy or the experimentation – he was reminding me that it only matters if it’s in service of the idea. That style without substance is just noise. And that good design starts with the idea – you can’t post-rationalise after the fact.
It stuck with me. Still does. Creativity should always be rooted in the brief, shaped by the problem, and driven by the desire to make something that connects.
That moment taught me to strip it back and keep it simple. And it’s something I’ve carried with me – stay curious, embrace the new – but always come back to the central idea.
What’s an underappreciated skill that design leaders need?
For me, it’s the ability to balance confidence with humility – and to recognise that both are needed, often at the same time.
It’s a delicate balance, and it’s easy to tip too far in either direction.
As leaders, we’re expected to provide clarity, make the tough calls and navigate uncertainty. That kind of confidence can be incredibly reassuring for a team. But it can harden into overconfidence, and lead to rigidity, blind spots, and a resistance to change.
The truth is, we don’t always have the answers. We make mistakes. And that’s ok. What matters is being open about those moments, sharing what we’ve learned and creating space for others to do the same.
In a nutshell, lead with confidence but keep your ego in check…
What keeps you up at night?
The shape of the future studio – not in a “recurring nightmare” kind of way, but in a way that keeps me alert, engaged, and creatively restless.
We all know that traditional agency models and structures are under the spotlight. And with that comes a healthy dose of self-reflection.
What do clients actually need? What will facilitate, accelerate and inspire the best possible creative work in the future?
Curiosity, collaboration and beautifully crafted ideas are still everything. But the way we create, connect and bring those ideas to life has definitely evolved.
What trait is non-negotiable in new hires?
Genuine curiosity and the energy needed to chase down an idea.
Skills evolve, and tools change, but that hunger is non-negotiable – it’s the metronome of a creative career. It’s what leads to the best work, builds trust with clients, and keeps the job exciting.
Complete this sentence, “I wish more clients…”
… appreciated the power of bespoke typography – and more face-to-face time with their agencies!
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