The relationship between creativity and events is an emerging concern for UK event management educators and academics. There has been some recognition that events can be creative and that leadership of creative brokering is important to success (Ensor et al., 2007). There have been notable contributions in the area of event experience design (Brown and James, 2004; Berridge, 2007, 2010, 2012; Nelson, 2009; Brown, 2014; Beard, 2014; Tattersall and Cooper, 2014; Beard and Russ, 2017) but very little on the persons or processes involved (Berridge, 2014). It has been surprising that literature mapping out the event research agenda has not included creativity in their findings and recommendations (Mair and Whitford, 2013; Van Niekerk, 2017). Whilst design was added as a domain in the Events Management Body of Knowledge in 2005 and creativity labeled as a core value in response to academic and practitioner requests (Brown, 2014), robust research on the cognitive and affective processes of creativity in the context of event design has been lacking. Brown and James (2004) acknowledge that the emergent profession of events was more likely to focus on management and planning. This is in part due to the institutions in which events management education first emerged, from academic faculties of business and management. As Bilton (2010; Bilton and Leary, 2002) has noted, when considering attitudes to creativity, context is key and Bladen and Kennell (2014) have identified that the pedagogy of events management education has followed particular routes that are shaped by the disciplines and background of those involved in its development. Whilst some aspects of management exhibit more creative approaches, such as marketing and promotion, the business school approach tends to favour empirical evidence, process, outputs and measurement over intangible value. At the UK, macro level, the events sector has been recognized as part of the Tourism policy portfolio, with the inclusion of the Business Visits and Events Partnership (BVEP) in the Tourism Industry Council (2017) and ambitions for a Visitor Economy sector deal (BVEP, 2017) but only implicitly part of the Creative Industries. In recent reports calling for a review of the Creative Industries, there has been limited reference to events (Bakhshi et al., 2013a, 2013b; Bakhshi, 2017), where they are typically identified as tools of engagement and communication and rarely the focus of creative attention. The assumption is that this is because events, at a micro-level, have not been recognised as powerful forces in their own right and that the consideration is about the content of events, whether a film festival, a games event or an award ceremony, rather than the creative nature of producing the event itself.