Chapter stories

Tythe Works

Press + Audience Engagement | Brand Awareness | Content Creation + Dissemination | Re-Design | A Shift in Business Objectives

The Tythe Barn, a beautiful 14th century barn in Oxfordshire, was hit hard by the year of Covid. Traditionally a wedding and events venue, providing the most striking backdrop for epic parties and exciting product launches alike, the venue was left having to postpone countless events whilst being faced with an empty venue and a hole in its finances. Chapter, having worked with The Tythe Barn for two years, found a way for the venue to remain open and commercially viable, whilst playing to the needs of Oxfordshire locals. The answer was Tythe Works; an exciting new co-working concept combining dedicated workspaces in a jaw-dropping setting with a wellness approach putting a healthy mind and body at the centre. And if ever was a year we needed that…

With a full brand and website review already underway at the start of 2020, the team at Chapter Studio worked closely with the client to pivot the messaging towards Tythe Works, with the redesign outlining the offering whilst ensuring the magic of The Tythe Barn’s events operation was not lost. Different membership levels were created to ensure flexibility, and social media channels were created to tease the opening.

Chapter’s PR team catapulted the launch of Tythe Works to relevant media including local, business and national to ensure consistent messaging shared, brand awareness and engagement with media was present.

Results to date include; 14 pieces of high-value coverage including Capital FM interview with Tythe Works owner Emma Deeley and features in Oxford Mail, Bicester Advertiser and Conference News with a total reach of over 3 million. Not only that, but Chapter’s work with The Tythe Barn has given the business an additional revenue stream that may well be here for the long term.



Chapter stories

Chapter’s Four C’s of Communications

With a vaccine now finally available, dare we be cautiously optimistic about the future? It’s been such a turbulent year – and continues to be crushingly frustrating for many service providers facing ongoing restrictions. In the face of continued uncertainty, however, we must not only see the wood for the trees but understand what we need to do to be ready. And we need to be ready right now. Here we explore the Four C’s of ensuring your communications are in check for a post-pandemic world.



For good or bad, 2020 has changed us all. We shop differently, communicate differently and behave differently. Life feels more fragile and things we took for granted seem so much more important. And for many of us, purpose is now seen as equal to profit in the world of business. It’s fanciful to think that when the world reopens, we can just simply pick up where we left off because if not much else is the same, why should you be?

Start by asking your customers what’s changed for them and analyse whether the role you play in their life or business is still relevant and necessary. Some will take far longer to recover from this year than others so give people the time they need to dust themselves off and get going again.

Now look at your own brand and messaging. What seemed luxurious and aspirational in 2019 might now seem vulgar and out of touch. Focus on your tone of voice as a business, from phone manner to social media captions to emails, and ensure everyone in the team understands what you stand for as a company and perhaps more importantly, what you don’t stand for.



So you and your team have adapted to working remotely and, by and large, you’re impressed (perhaps even surprised) at how well everyone has coped. It may not be for all of us long term – some of us simply can’t work remotely – however there has been a major shift in your company culture whether you realise it or not. This year has humanised employees and clients alike and given us a new level of empathy for those in our circle. But what about those lofty plans scribbled on the now dusty office whiteboard?

Now is the time to assess your company culture – do your values as a business still chime with reality? What are the goals, short and long term, and is everyone aware of them? What is the business trying to achieve and do you all know how you’ll get there? Running a business right now is littered with concern, confusion and anxiety but that doesn’t stop you having a goal. There is no shame in taking a different route or shifting the goal posts to align with market conditions, but you must remove any ambiguity from the common and overarching goal of the business. Hint: it’s not the same as it was in January 2020.



Yes, the good old days were fun. Yes, we all did some brilliant work and yes, we were successful at it. However, the good old days are sadly just that – old. It’s highly unlikely you’ll be replicating 2019 in 2021 so don’t continue to pump out content that is now irrelevant. There is no problem with reminiscing *occasionally* but your content should focus on what you ‘can’ do now, not what you ‘could’ do. How often do you see Amazon marketing (on social media or otherwise) about a fantastic kettle it sold in 2019? Never. They tell you about the best kettle for 2021 and why you should buy if from them and no-one else.


Chapter stories

Redefining your voice during a crisis

Words matter. Your words (what you say) and your tone (how you say it) are fundamental to the perception of your brand, yet they are so often undervalued.

Covid-19 has been a masterclass in relevance and reputation. At a time when emotions are intensified and problems are magnified, brands, celebrities and Government ministers have been frantically fighting for relevancy. A spotlight has been shone on those who have diplomatically navigated their way through the crisis, saying the right thing at the right time – and those that haven’t.

As we get closer to shutting the door to 2020, now is the time to be giving careful consideration to the stories you want to tell and how you plan to share them. Keep front of mind the following principles and your brand is much more likely to be heard and listened to.


01 | Redefining your relevance

One of the biggest challenges for brands during Covid has been defining their relevance, particularly so for sectors such as hospitality. With many businesses unable to operate and struggling to make ends meet, maintaining presence with little or no content to share is no mean feat. The best way to ensure you stay relevant is to shift to a ‘servicing’ mindset; now is not the time for hard selling. Give careful thought to what your customers need and how you can help them, whether it’s offering a new service or providing some much-needed, light entertainment. Actively follow through on your word with positive, non-profiteering actions and once the crisis is over, you’ll be remembered for the right reasons.


02 | Messaging with meaning

Constant news reports, daily briefings and continuous changes to the rules and restrictions has resulted information fatigue. Consumers are re-evaluating which brands they still need in their lives and those that they can survive without. If there’s one thing we can guarantee, it’s that nobody wants to hear anything more about the ‘uncertain times’. Think about every message you want to communicate and then consider if it’s genuinely interesting, informative or necessary. If it is, it’s worth doing. Otherwise it’s just littering the world with additional content clutter.


03 | Reshaping your tone of voice

Every brand has its own tone of voice which reflects its brand values and is instantly recognisable. Alongside the brand aesthetic, the tone of voice plays a huge part in creating a brand personality. During a crisis, the tone of voice should stay consistent with the values but needs to be re-purposed to reflect the world around us and the mood of the public. The brand voice and technical bits (grammar, language and syntax) can stay the same to ensure the brand personality is maintained, but the tone needs to be adjusted. A tone that was appropriate tone in 2019 is likely to miss the mark now, particular in response to a shift in people’s thoughts, behaviours and opinions. The key to reshaping your tone of voice and ensuring authenticity is to put yourself in the shoes of your customers and connect with how they are feeling. Do they need empathy and peace-of-mind reassurance, or perhaps they’re in need of uplifting optimism as we look to the future? Either way, if it’s not said with sensitivity it’s likely you’ll be perceived as ‘tone deaf’.


There’s no denying that Covid-19 has presented huge challenges across the world and businesses are fighting for survival. However, as we approach a new year and an imminent vaccine providing much-needed light at the end of the tunnel, now is an ideal opportunity to be redefining your voice. By giving some careful thought as to how you can add value to your customers and reshaping your messaging to reflect this, you’ll be remembered in a positive light for years to come.


Chapter stories

Chapter, communicating out of a pandemic.

At times of crisis, businesses wonder what to say and how to say it. How to demonstrate genuine empathy and concern while surviving financial turmoil. How to communicate honestly and openly to their stakeholders while protecting their own reputation.

We’ve helped many clients weather storms over the past three decades but never has a challenge been as widespread, all-consuming and commercially devastating as this one. Yet despite the size of the mountain, the steps to the summit are conquerable. The fundamental principles of communicating in uncertain times and, more pertinently, communicating out of it can be achieved by following a formula that ensures your brand remains on message, is always authentic and maintains an identity that others want to associate with.

In this white paper we explore the six pillars of successfully communicating out of a pandemic, with step-by-step guidance and example case studies.

For access to the white paper, please email [email protected].


Chapter stories

The Tythe Barn


Chapter stories

Alrewas Hayes

Brand Strategy + Development | Key Messaging | Logo Design | Font, Colours + Textures | Image Library | Brand Toolkit | Website Design + Development | Print Suite | Retained PR and Social Media Campaign


The Alrewas Hayes story was a lovely one, they just needed our help to bring it to life. We worked with the team to develop their brand story, and curate a visual narrative that reflected the feel of their estate; a place that fuses historical charm with a contemporary style, for a brand aesthetic that’s elegant yet inviting.



Chapter stories

Bubble Food for London’s Food Banks

Bubble Food responded to the Covid-19 pandemic by repurposing their London facility to support struggling food banks. Overwhelmed by a sharp increase in demand coupled with a drop in donations, food banks found themselves in greater need than ever. Bubble Food committed to donating their commercial kitchens, packaging, chefs and administrative staff to keep local food banks operational and ensure the most vulnerable in society and still able to receive a nutritious meal.


Chapter stories

Country & Townhouse

The Country and Townhouse annual Party Guide benefits from the wisdom of Johnny Roxburgh as he tells readers how to really make a party swing.


Chapter stories

Chelsea Barracks Kitchen by Ollie Dabbous

PR Strategy | Press + Influencer Engagement | Press Previews | Launch Events | Content Creation + Dissemination

Ollie Dabbous is one of a kind. So when Chapter was appointed to launch Chelsea Barracks Kitchen – an initiative by London’s most anticipated new development Chelsea Barracks in Belgravia in partnership with the chef wunderkind – it was a mouth-watering proposition.

With little more than a three week lead-in, Chapter’s PR team strategised a series of teaser launch events timed to coincide with the world-famous Chelsea Flower Show. The Michelin-starred chef prepared a sample of the menu which included candy-striped beetroot with marigold, toasted pistachio & Sussex slipcote, papillote of Gigha halibut, Cornish mussels & yellow courgette in a nasturtium broth, and for dessert, a heavenly orange blossom custard doughnut. An exclusive news feature was negotiated with Evening Standard.

Once the doors opened to the pop-up restaurant, situated in the 12.8 acre site that’s been out of reach for over 150 years and developed by Qatari Diar Europe, the PR campaign resulted in 63 pieces of coverage in the likes of FT How To Spend It, The Telegraph, Country & Townhouse, Esquire, Hot Dinners, Sheerluxe and Town & Country.

The pop-up was a sell-out success and Chapter has been retained to handle future openings.

PROJECT PARTNERS: Restaurant Design & Styling: LAMP | Menu Design: Ollie Dabbous and HIDE | Catering Operations: Bubble Food | Flowers: Amie Bone Flowers

Chapter stories

William Foyle X Arteviste

A Review of William Foyle: Landscapes at Asia House, London

Entering Asia House, I was immediately struck by the overflow of glittering figures adorned in all manner of extravagance; each in silent competition with the other. Air kisses were exchanged, delicately gloved hands waved at exquisitely tailored suits, crisp bubbling champagne was poured, and at the centre of this frenetic whirlpool was Scottish artist William Foyle and his eleven landscapes.

Before my arrival, I had satisfied my curiosity by exploring Foyle’s previous work and trying to absorb all that I could about his young and impressive career. From the articles I had perused and the works I had committed to memory, a vague image of the artists externally imposed persona had begun to take shape. I knew Foyle had been declared  ‘one to watch’ by Sir Timothy Clifford at only eighteen and had been heralded as the ‘Francis Bacon of tomorrow’ a few years later. These monikers of preordained greatness echoed in my mind as I descended a winding marble staircase to the exhibition itself. Were these declarations intended to colour my impending experience or were they destined to validate it? Was William Foyle’s reputation as a protégé of virtuosity deliberately romanticised or did unadulterated talent flow out of him organically and claim that mantle as its birthright?

Breathtaking. Jolting. Humbling. Upon entering the gallery rooms, my growing fear, that the myth of the man was more potent than his works, melted away. Warm, watery images of landscapes punctuated each wall like portals looking out to another world. Murky inclinations, hazy memories, enigmatic horizons all rose before me on a scale that rivalled the impact felt at Musée des Impressionnismes Giverny.

Foyle’s balmy works, Scotland II and Indian III, in particular, pulsated with glowing light – as if they were backlight by the iridescent kiss of the sun. This expert rendering of light and shadow can be partially accredited to Foyle’s use of burnt umber and burnt sienna (also known as terra rossa), pigments employed religiously by Renaissance masters like Rembrandt (1606-1669), Titian (1488-1576) and Caravaggio (1571-1610). Foyle’s illusions of luminosity created such an extreme sense of depth in each image that it was as if I were looking through frosted glass; squinting with childlike fascination in an attempt to behold the blurred landscape beyond. A wonderfully unattainable dream.

These surprisingly romantic images were so contradictory to what I had begun to associate with Foyle. His 2015 works, Holocaust Figures I-V and Showers in Lodz Ghetto I & II, had held my heart in a beautifully painful vice grip as a result of their raw desolation and pain. These latest creations, by contrast, slowly filled my heart with longing the way winking stars slowly saturate an endless night sky.

Following an unexplainable pull, I navigated my way through the throngs of fashionable collectors and admirers until I reached Easter at Borrobol, Sutherland. It stood in dignified grandeur, a mammoth wall of cerulean blue marked with inky lines of viridian which liquified into a gleaming moss-green expanse. I looked down at the catalogue image in my hands and back up at the painting itself in immediate disbelief. The photograph, I decided indignantly, was practically an insult to the shimmering, living thing that towered before me. Having already considered several of the other landscapes, I found that like them, Easter at Borrobol, Sutherland’s glassy surface was ruptured with deliberately unblended dollops of paint.

These abrupt smatterings of thick paint acted as evidence of Foyle’s manual labour, along with his broad, brazen brushstrokes that functioned like fingerprints across the canvas face. Serving as a poignant reminder that the surreal scene in front of me was the result of Foyle’s hands, the strokes were unapologetically visible and often unanimously horizontal or entirely vertical. Their decisive direction added a cutting sense of motion that undoubtedly mimicked the distortion of form often experienced when gazing out the window of a moving vehicle. You could feel the speed, the temporality, the wind, the journey.

But whose journey was it? Surely we all go on a personal pilgrimage when we immerse ourselves in an exhibition, but we are also simultaneously attempting to slip into the artist’s skin; to see what they saw and feel what they felt. A masterclass in the art of empathy. Luckily for me, I was able to speak with the ‘man of the hour’ after he had been gushed over by the latest pair of adoring supporters who had catapulted themselves towards him the moment he had come up for air. In an endearingly comical situation, William Foyle seemed genuinely gracious and unfailingly patient.

As I told him about my infatuation with Easter at Borrobol, Sutherland, Foyle began to indulge my enthusiasm with a variety of insights into his physical process of creation and the genesis of the exhibition. When crafting his alluring compositions, Foyle described his ritual of painting primarily in the afternoon and how his landscapes frequently materialised into images that were far from his original intention. Abashedly, he smiled as he recalled often being submerged in his work for hours, only to resurface and realise with bewilderment that it was evening. Evidently, these hypnotic landscapes transfixed the artist as well as us viewers.

Foyle explained, amidst the attention of the gallery photographers and the greetings of passersby, how after his 2015 exhibition he had run towards solitude and ventured into the unknown, driving around Eastern Europe in search of fulfilment. Resembling a restless nomad, Foyle had set off through Hungary, Serbia, Bulgaria, Romania, and Slovakia, eventually extending his odyssey to Turkey, North Africa and India. The window of a train became the lens through which Foyle began to ruminate on the landscapes of these unfamiliar places and gradually this contemplative experience developed into the core concept of the exhibition.

With each landscape, Foyle submerges us in specific memories of his four-year quest for inspiration; with every piece being modelled off a single photo he’d personally taken. It was evident, by the names of the works (many of which were names of countries), the exhibition title Landscapes, and Foyle’s underscoring to me that the paintings are based on real locations, that he intends to be placed in the broader narrative of landscape painting. I would also add that, by defining the vantage point of his works as being the window of a train, Foyle is unavoidably placing himself in competition with the likes of contemporary artist Philippe Cognée. More specifically, Cognée’s latest abstracted landscapes of the Indian countryside observed from the window of a rocketing train.

Unlike Cognée, however, Foyle has elevated his landscapes to a level approaching those produced by the esteemed nineteenth-century British landscape artist J.M.W. Turner (1775-1851). Although Turner’s later landscapes only teetered on the edge of true abstraction, Foyle has managed to channel the same sense of mystery found in Turner’s Yacht Approaching the Coast (c.1840-45), and Seascape with Distant Coast (c.1840). Like Turner, Foyle illuminates his landscapes with a masterful rendering of light that charge his scenes with a tempest of emotion, distinguishing his works from the monotony commonly associated with the perennial subject matter. Moreover, Foyle mirrors Turner’s eerie ability to elicit a sense of longing from the viewer; as if the bitter-sweet yearning had poured out of the artist himself and onto the pallet in an emotional catharsis that inevitably washes over the viewer like a resolute wave.

While too indecipherable to be considered classically impressionistic, Foyle’s mighty square creations can loosely be defined as belonging to the canon of abstract expressionism and colour field painting. Foyle’s gestural brushstrokes and seemingly random paint spatters speak to the core qualities of abstract expressionism; a style often defined by ‘mark-making’ and the impression of spontaneity.

Similarly to the oeuvres of Mark Rothko (1903-1970), a pioneer of the New York abstract expressionist style, and Jules Olitski (1922-2007), one of history’s most prolific colour field painters, Foyle uses large swathes of solid colour and nebulous forms to bewitch the viewer and produce a meditative response. Like Barnett Newman (1905-1970), a contemporary of both Rothko and Olitski, Foyle has punctured his vast fields of pigment with substantial lines or ‘zips,’ as Newman referred to them, which define the spatial structure of the composition. While Newman’s ‘zips’ were characteristically harsh and executed with impassive brushwork, Foyle has stayed closer to the emotive tradition of Rothko by executing his ‘zips’ with expressive strokes.

At just twenty-six and with Landscapes being his fourth solo show, it would appear that Foyle’s prophesied fate as a consummate innovator may be coming to fruition. While artists rarely contemplate their place in Art History, we critics usually agonise over who will ultimately be worthy of ink. Who moved the needle forward? Who bravely built on the visual language chartered by the greats? It’s impossible to say for certain, but if I were a betting woman, I would wager that William Foyle’s mystifying landscapes will leave in their wake an indelible emotional and academic impact.


Read the full article here


Credits- Written by: Maya Asha | Venue: Asia House | Photography: Naomi Goggin



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