5 Minutes with… Chris Hill
This creative powerhouse plays a pivotal role in shaping the creative direction of projects at London-based production company, Wonderhatch, but his vision extends far beyond traditional boundaries – today we find out why.
Chris grew up in Bournemouth and comes from “humble beginnings," with his dad having worked in IT and his mum hustling through various jobs – dinner lady, cleaner and bank clerk – “always working hard to provide,” as Chris tells us. “While I’m inspired by her work ethic, my prospects felt more like ‘Eastenders’ than ‘Sex and the City’,” he jokes.
At school, it quickly clicked for Chris that academia might not be his strong suit, having remained “distinctly ‘average’” in all classes but one – photography. Undeterred, he returned to study a programme that was more tailored to his newly found talents, centred around graphics, art, film and media. This is where Chris thrived, earning top marks and completing a foundation degree in art and design where he ended up top of the class.
“This journey taught me that everyone has a unique path and skillset. What excites me most is seeing someone excel at what they love, and the incredible things that happen when you bring the right mix of talent together. I'm fortunate to do exactly that every day in my role at Wonderhatch,” he says.
Having started to spread his wings, Chris did a degree in creative advertising at Bucks New University, where he became half of the creative duo Beard and Bender, working in the industry by the time he graduated. One “niche job” after another, Chris went from being a photography producer for Channel 5, to working on the production team for the BBC, producing and art directing their most prolific brands, before joining Wonderhatch.
However, Chris’ talents can’t be contained solely in his professional portfolio. His personal projects include endeavours such as ‘Elvis: King of Benidorm’, a collaboration with photographer Leigh Keily, capturing the vibrant world of Elvis impersonators on the Costa Blanca. Not to mention Chris’ drag persona Cun Tucky - more on that later.
LBB’s Zoe Antonov caught up with Chris about everything above, and more.
LBB> Chris, tell me about your first years in the industry. How did you get your foot through the door and what were the first career lessons that came with that?
Chris> I ended up doing a degree in creative advertising at Bucks New University. Whilst I was classically trained as an art director and copywriter, the course itself was a fabulous training ground in creative problem solving and storytelling. My creative partner and I went by the name of Beard and Bender (I’ll let you draw your own conclusion on which one I was), and luckily we were really well received by the industry. By our final year, we were working in agencies like (what was) LBI, MiniMart and Grey London.
It was all an amazing experience and I learnt so much from the creative directors there, but I was becoming increasingly more frustrated looking at layout pads and seeing ideas getting diluted through the process, so that the output was barely recognisable to me, making me realise that for me, the excitement came from being in control of the whole process – I just really loved to get shit done. I was a producer.
LBB> Now you are a producer, but your first love was photography – how do the two collide in your life? How did you come to assume a producer's role?
Chris> Well, I ended up landing in one of those weird jobs that was so niche I never really knew it existed. I became a photography producer at Channel 5 (the closest industry equivalent would have been ‘art buyer’), where I concepted, produced and art directed marketing photography to be used in the press to promote shows such as ‘Celebrity Big Brother’, ‘On Benefits’, ‘Proud’ and many more.
Of course, this role has now grown and is pivotal for streaming services to bridge the gap between audiences and the content. Whether you’re scrolling through Netflix or Spotify, you now rely on the PR imagery to help point you in the right direction.
LBB> Over the years, how has your creative vision changed, as well as your inspirations?
Chris> Over the years, there have been massive technological shifts – back in the day, I was flipping through binders of tear sheets, and now I’m working off beautifully curated Pinterest boards. But the most significant change has been in my confidence, both personally and professionally. When I was younger, I often felt the need to tone down my queerness to make myself more palatable, and that reflected in my work. I found myself holding back creatively, keeping ideas within safe limits to make them easier to sell.
With time, I’ve realised that the real magic happens when I lean into my authenticity and embrace the fun, daring parts of the creative process. Pushing boundaries has led to some of the most exciting and impactful work. I’ve learned it’s always easier to scale things back if needed, but the true potential of a project comes when you’re not afraid to go all in from the start.
LBB> Tell me more about your current position at Wonderhatch! What are your biggest challenges on the job and what are the most fun parts of it?
Chris> At Wonderhatch, I wear a couple of hats – both as a producer and a creative director across various accounts. It’s an exciting mix of roles that keeps me on my toes, and I love it because no two days are the same. For every brief, we pull together the perfect team of specialists, so we’re always working with people who are absolute experts in what they do. It means every project has a fresh perspective, and the collaboration is really what makes it fun.
The biggest challenge, though, is keeping everything balanced. As a producer, I’m responsible for making sure the logistics and execution are seamless, while also maintaining the creative vision we’ve set. It can be tricky when you’re juggling tight deadlines, budgets, and client expectations, but I thrive on that problem-solving aspect. The most fun part? Seeing all the elements come together – from the initial spark of an idea to the final product. That moment when you watch something you’ve poured so much into come to life, it’s hugely rewarding. Plus, working with a variety of creative talent ensures we’re constantly pushing boundaries, which is where the magic happens!
LBB> Tell me about your most interesting project to date and what you love about it.
Chris> There have been so many, it’s like ‘Sophie’s Choice’. Whilst I loved the Aveeno campaign, which was a photographic led campaign, one of the most interesting projects I’ve had the pleasure to work on was a podcast marketing campaign with Spotify for ‘The Way We Are’ with Munroe Bergdorf. The campaign explored the themes of transitioning and the queer experience – subjects that are incredibly close to my heart.
What I loved most was how everybody involved brought so much authenticity and passion to the table, which really made the end result powerful. The output was visually stunning, but being able to craft something that not only looked beautiful but also told a meaningful story that represents the community in such a real way – that’s what made this project stand out for me. It was more than just a job; it was personal.
LBB> Prior to Wonderhatch, you worked at the BBC – what was that experience like and what were some memorable projects?
Chris> Working at the BBC has been a real highlight. I moved to Manchester where I was responsible for the photographic output across sports and children’s, before moving back to London to work across drama and entertainment.
The access to amazing creative projects was unparalleled – I worked across the Olympics, Comic Relief and ‘Strictly Come Dancing’, was part of the team behind the global rebrand of ‘Doctor Who’ (Jodie Whitaker’s series) and got to launch global phenomenon ‘Ru Paul’s Drag Race’ to UK audiences. Whilst I loved my time there, I left after five years because it was a very bureaucratic structure and I struggled to find the creative freedom to keep pushing myself to keep changing, evolving and growing – something which, thankfully, I feel I have in my current role!
LBB> You mention you worked on 'Drag Race', which I'm sure many of us are huge fans of. Can you tell us a bit more about it?
Chris> Well, talk about a project being so on brand for me! I was like a kid hitting the jackpot and winning an all expenses trip to Disneyland – except here, Mickey Mouse was Mama Ru, and the castle was a studio filled with wigs, sequins and fabulous drag queens. There is not much I can say without breaching NDA, but I can tell you that since working with the queens of series one and Ru, I’ve loved shooting and working with drag queens – I’ve never had so much fun on set.
LBB> Speaking of 'Drag Race', I hear that you are a drag queen yourself in your spare time! How did this come about, tell us a bit about your drag persona and what made you passionate about this art form?
Chris> Haha, who told you about that? Yes, that’s right! My drag persona is Cun Tucky (because her 'cun' is tucked and she’s always finger-lickin' good). It all started after a key art shoot for 'Drag Race UK' – the photographer and I were so inspired by the energy on set that we decided to give it a go ourselves. It was a bit of a spontaneous moment that ended up igniting a whole new passion for me.
Above: Cun Tucky
At the time, I was personally being told that I was ‘too camp’, so I decided to fully lean into it rather than hold back. Drag became a way for me to embrace every aspect of myself that I had once felt pressured to minimise. It's such a powerful art form, allowing you to explore and express different facets of identity with confidence and creativity.
Doing drag has been transformative for me, both personally and professionally. It’s given me a new sense of confidence and freedom in my everyday life and allowed me to bring more authenticity into my work. Drag is all about pushing boundaries and celebrating individuality, which aligns perfectly with the way I approach creativity in my role at Wonderhatch.
LBB> What are your favourite parts of the creative industry?
Chris> My favourite part of the creative industry is, without a doubt, the sense of community and support. There’s this incredible willingness among creatives to help each other out and it’s so inspiring to be surrounded by people who genuinely want to see others grow and succeed. The collaboration is another key element I love – when you bring together different minds and talents, amazing things happen. It’s not about one person’s vision, but about how we all contribute to something greater. I am a true believer that we are greater than the sum of our parts. Watching ideas evolve and take shape through collaboration is where the magic really happens, and it’s such a fulfilling process to be part of.
LBB> And likewise, what are your least favourite that you believe need changing? How would you like to use your position of influence to be an accelerator for this change?
Chris> One of my least favourite aspects of the creative industry is how exclusive it can sometimes feel, particularly for underrepresented groups. There’s still a lot of gatekeeping and, too often, opportunities are limited to those who already have the right connections or background. This makes it harder for fresh, diverse voices to break through. I’d love to see more openness and accessibility across the board.
In my role, I try to use my position to be an advocate for change by championing diversity in the teams I build and the projects I lead. Whether it’s working with people from different backgrounds or pushing for narratives that reflect a wider range of experiences, I believe we can use creativity to challenge the status quo. By being intentional about who we collaborate with and the stories we tell, we can help open doors for others and foster an industry that’s more inclusive and representative of the world we live in.
LBB> What is the most exciting thing in your future right now?
Chris> Right now at Wonderhatch, we’re in an incredibly exciting phase. We’re growing, taking on more diverse and ambitious projects, and really pushing the boundaries of what we can create. What excites me most is how we’re evolving as a team, constantly bringing in new talent and ideas. Every brief feels like a fresh opportunity to innovate and collaborate in new ways.
We’re also starting to explore more immersive and cutting-edge content, blending traditional storytelling with emerging tech and platforms, like our recent DCM project where we used AI to fully utilise the Screen X technology.
That intersection between creativity and technology is something I’m really passionate about, but making sure they are always grounded in authentic human experience. There’s a sense of momentum and possibility right now that’s genuinely thrilling.
