The Different Folk, formerly known as a boutique illustration representation agency, has officially relaunched as a full-scale animation and illustration production company. Executive Producer and Managing Director Subby Noleen announced the transformation, explaining that the company had been quietly producing large-scale projects for years, from colorful installations for NOW Gallery's Diwali celebrations to immersive window displays for John Lewis.

The relaunch reflects both the scope of work already underway and the company's ambitious future plans. "We'd actually been producing work quietly for years. However, because many of those projects won't be released until 2027 and beyond, a strange gap emerged where the work we were most proud of wasn't being seen or discussed," Noleen said. "We're still seen as illustration reps when we also look after incredible animation directors and produce animation in equal amounts."

Noleen emphasized that the shift represents clarity as much as creativity. "Evolving into a full production company was about owning that identity and shining a light on what we were already doing," she explained. "Commercially, it'll allow our clients to see the full breadth of what we can do for them. Creatively, it's allowed us to bring on more diverse craft-based artists as we now have the right home for them."

Marking this new chapter is a refreshed brand identity centered around a playful three-headed mascot. The slightly mischievous creature reflects what The Different Folk has always represented: plurality. "For us, the three-headed creature represents plurality of artist voices, perspectives, and ways of making," Noleen said. "It's a reminder that creativity is rarely singular. Personally, it speaks to the responsibility and privilege we feel in looking after artists: nurturing their work, their practice, and their vision."

This philosophy extends to how the studio approaches technology and the future of creativity. "If AI really is going to take away the boring, repetitive jobs, then surely what's left for us as humans is this – authentic creation, experimentation, and the joy of evolving ideas together," Noleen continued. The creature, with its roots in tribal figures and collective creativity, has become both a symbol and a rallying point for the team.

One of The Different Folk's strongest assets is its truly international roster of artists spanning from Cameroon to Cairo. These artists bring different traditions, aesthetics, and cultural perspectives into the mix – something brands are increasingly seeking. "Our roster gives us perspective. It forces us to think beyond a Western lens and to ask, 'whose story are we telling, and why?' and 'who gets to tell them?'" Noleen explained. "It means our work is rooted in real diversity, not just surface-level representation or some random DEI statement plastered onto our site."

A recent campaign with Buchanan's, created with Cuban-born artist Magdiel Lopez, demonstrated this approach by tapping into Latin heritage through bold typography and cultural nuance. The project was shortlisted for a Cannes Lion, serving as proof for Noleen of how cultural authenticity can become a strategic advantage.

Operating as a female-led independent company presents unique challenges, with visibility being a primary concern. Without the budgets of larger agencies, the team cannot rely on sponsorships or flashy campaigns to gain notice. Instead, they invest their energy into building intimate, lasting relationships with both artists and clients. "Independence allows us to be nimble and try things fast – we wouldn't be able to do that with stakeholders," Noleen said. "We're not chasing artists who look commercial. We're drawn to amazing artists who can make commercial work feel exciting."

This philosophy carries through to how they handle representation. Noleen noted that some briefs arrive with stereotypes already embedded, from assumptions about skin tone to clichéd depictions of gender. "We tend to try to educate in situations like this, the importance of representation, but we're also okay with not working with brands that are insistent on changing an artist's signature style. We're okay to say no," she stated.

With the relaunch, The Different Folk is setting its sights on projects that blur the line between art and commerce. "We don't want you to see an ad and instantly know it's an ad," Noleen explained. "Illustration and animation at their best are beautiful and hopefully spark joy – we love the work where it takes you a minute to realize it's a sponsored project."

The studio is already developing ambitious plans, including reimagining inclusive playgrounds that combine artistry, accessibility, and tactile design. This direction signals the kind of risk-taking, boundary-pushing work Noleen hopes will come to define the company. "We want to be known for honoring and protecting human craft, creating space for artists to thrive and make a living from their practice," she concluded. "We want people to experience it and instantly feel: that was blatantly The Different Folk."