Five minutes with Ross Mawdsley
Transform editor Jack Cousins caught up with Skyscanner’s director and global head of visual design, Ross Mawdsley, at Paradigms brand summit in Marrakesh. The pair discussed Skyscanner’s internal creative revolution and why going in-house is now more of an attractive proposition.
What’s the ultimate aim for Skyscanner’s in-house studio?
I’d say it’s two-fold. First, to make the brand feel more authentic. We’re positioning ourselves as travellers’ helpful ally, but historically we’ve relied heavily on stock imagery. To really live the brand, we need to create our own imagery and storytelling that feels genuine to who we are.
Second, it’s about consistency. Right now, the brand and the product can feel like two separate things. Our ultimate goal is to bring them together so that every touchpoint feels like one seamless, consistent Skyscanner experience. We’re not quite there yet, but we’re getting close.
What’s been the biggest challenge you’ve faced at Skyscanner?
I've spent my entire career in creative agencies where 100% of the people are creative. Whether it's a producer or an account manager, they are coming at things from a creative perspective. Whereas here, I would say 95% of the company are the other side. They’re more scientific and engineering-based and generally believe there's a right way and there's a wrong way. It's been hard to get the rest of the company to understand there isn't necessarily a correct way to do what we do – I think creative is based more around feelings. So that's been difficult because, like I said, coming from creative agencies, it's the norm. Whereas here, you're now different.
How have you helped evolve the brand operations at Skyscanner over the years?
Our operations in the past were really fragmented. We originally had three teams, and what would happen was one team would get a shiny project while another team was doing banners. That setup caused frustration, with people wondering, “Why can’t I work on that?” We decided to scrap the entire structure, and since then it’s been brilliant.
Have you found it difficult to attract high quality design talent to come and work in-house, or do you feel perceptions around that are changing?
It was definitely tough at first. Honestly, Skyscanner wasn’t somewhere I would have chosen to work initially – it was more circumstance. I spoke with Andre Le Masurier, our senior director and global head of brand and creative, and he really sold me on the vision. Once I joined, I realised the team wasn’t quite fit for purpose, so my focus became attracting the right people.
The turning point came when we used a recruiter with deep connections in the industry. We managed to bring in one exceptional hire, which set off a ripple effect, allowing us to bring in freelancers and then build out the team. Now, we’re seeing incredible talent applying because the work we’re doing is strong, and perceptions around in-house roles have shifted.
People used to think that going in-house was the “death of creativity,” but the reality is the opposite. Agencies are tough, with long hours and constant pitching, whereas at Skyscanner, we maintain an incredible work-life balance. Our team delivers brilliant work, but people leave at 5:30pm, not midnight. That balance has made in-house roles much more attractive.
Also, we find people want to come and join us now because there's nowhere else that you're shaping a billion-dollar brand in-house from scratch. It's quite an easy sell nowadays!
