Creator Economy Companies in Edinburgh: 208 Active Firms (2026)
Creator economy companies in Edinburgh produce, monetise and distribute digital media, influencer campaigns and branded online content.
Buying decisions tend to sit with marketing, communications and commercial teams rather than IT, with demand coming from consumer brands, cultural bodies, tourism operators, education providers, games publishers and media buyers. The Edinburgh cohort appears to skew towards agencies, studios, talent-led media businesses and content-commerce operators, so engagements are usually scoped around campaigns, publishing calendars, community management, creator representation, affiliate activity or branded-content production. Buyers tend to want evidence of audience fit, disclosure controls and repeatable delivery, not just content volume. Typical work therefore looks closer to retainer and project-led services than enterprise platform procurement, although some operators package audience monetisation into more repeatable commercial products.
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Edinburgh has 208 creator-economy companies actively trading, making it a compact local market rather than a national-scale cluster. Reported headcount across the cohort is 165, which points to a labour footprint made up largely of owner-managed studios, account-led agencies and small production teams. That shape also matters for buyers: procurement is less likely to resemble large outsourced media frameworks and more likely to involve direct relationships with founders, producers, campaign managers and audience specialists. The city’s cultural, tourism and education buyer base gives the sector a plausible local demand pool, but turnover scale appears limited, with no firms reported above £5M.
Commercial disclosure, rather than a sector licence, is the main compliance hinge for this Edinburgh cohort. CMA guidance published on gov.uk treats hidden advertising and misleading online endorsements as consumer-protection issues, with gifts, commissions, affiliate links, sponsorships and own-brand promotions needing to be identifiable as advertising. ASA/CAP guidance takes a similar line through the CAP Code: influencer advertorials, affiliate posts and brand-owned promotional content should be labelled clearly and prominently, commonly with “Ad”. Enforcement can involve the CMA, Trading Standards Services and the Advertising Standards Authority, so operational risk sits in briefing, contract wording, approval workflows and post-publication monitoring rather than licensing.
Scale-up scarcity appears likely to shape the Edinburgh market more than demand shortage. The cohort is weighted towards small studios and agency-style operators, so growth tends to depend on repeat buyer access, production capacity and the ability to document commercial disclosure without slowing publication cycles. As media buyers ask for clearer attribution and as consumer-protection expectations harden, firms with disciplined contracting, labelling and approval practices may find it easier to win repeat campaign work. Consolidation, where it happens, is more likely to involve service businesses combining production, representation and audience monetisation than the emergence of a local platform category.
What’s in the file
One row per company, 50+ columns — everything below plus each company’s verified directors, from Companies House filings.
Company data
Verified directors — included
208
Active firms
2026
52
Since 2022
recent incorporations
0
Above £5M
disclosed turnover
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Key facts
25% of the cohort was incorporated since 2022 (52 firms), so a sizeable share is in its first few filing cycles.
Creator and influencer-marketing firms usually operate under consumer-protection and advertising rules rather than a sector licence.
CMA guidance says gifts, commissions, affiliate links, sponsorships and own-brand promotions must be clearly identifiable as ads.
Section 2 of the CAP Code requires marketing communications to be obviously identifiable, with clear labelling such as “Ad” expected for influencer advertorials, affiliate marketing and own-brand posts.
DCMS provisional 2024 estimates put DCMS-sector GVA at £247.6 billion, or 9.4% of UK GVA.
DCMS reported that DCMS-sector GVA grew 2.6% from 2023 to 2024, with creative industries at +4.6%.
Top Edinburgh Creator Economy companies
Financial sub-scores
Computed from 2 filingsOperates an online platform and mobile app that connects consumer brands with social media users, rewarding individuals with cash payments for posting about purchased products or experiences on…
Serves consumer brands in sectors such as fashion, beauty, health and fitness, travel, dining and pet products, alongside everyday Instagram and TikTok users who buy from brands and want posting…
Financial Health
StrongStrong · Hiring · 50% CAGR over 1y
Location
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Financial sub-scores
Computed from 5 filingsProvides video production services including TV commercial production, corporate films, social media videos, animation and motion graphics. Also offers drone filming, VR and 360° video, event live…
Serves brands, marketing teams and organisations, including corporate clients, tourism bodies, sports organisations, campaign groups and event organisers.
Financial Health
DistressedDistressed · -71% CAGR over 4y
Location
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Financial sub-scores
Computed from 5 filingsProvides podcast production services including concept development, recording, editing and distribution support for brands, organisations and broadcasters. Also delivers podcast training and…
Serves B2B and institutional clients creating podcasts, including brands, broadcasters, universities, research organisations, charities, government bodies and NGOs, plus teams and individuals seeking…
Financial Health
StableStable · Hiring · 50% CAGR over 4y
Location
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Financial sub-scores
Computed from 3 filingsDevelops a web-based publishing platform for creating interactive visual stories, feature articles, digital magazines, reports and internal communications. Provides drag-and-drop editing, templates,…
Sells to marketing, editorial, communications and creative teams at brands, publishers, media companies, government bodies and regulated enterprises needing web-based visual content publishing.
Financial Health
HealthyHealthy · 0% CAGR over 2y
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · 0% CAGR over 4y
Location
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Financial sub-scores
Computed from 2 filingsFinancial Health
WeakWeak · 0% CAGR over 1y
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
Location
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Computed from 3 filingsFinancial Health
DistressedDistressed
Location
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Produces television programmes, films, short‑form content and branded entertainment for broadcasters and commercial brands, and represents a roster of directors creating scripted, comedy and…
Serves broadcasters, streaming platforms, film and TV commissioners, plus brands and creative agencies seeking branded entertainment, with separate UK and US market-facing teams.
Location
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Financial sub-scores
Computed from 5 filingsProvides measurement and analytics tools for influencer marketing campaigns. Offers a SaaS platform and managed services that run brand lift studies, collect survey responses from exposed and control…
Sells to brands and marketing agencies running influencer marketing campaigns across multiple social platforms, especially teams responsible for campaign measurement, optimisation and budget…
Financial Health
StrongStrong · Growing, Hiring · 40% CAGR over 4y
Location
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Financial sub-scores
Computed from 4 filingsProvides software tools and SDKs that enable developers to integrate short‑form stories and vertical video feeds into mobile apps and websites. Platform includes content publishing tools, user…
Sells to B2B digital product teams, app publishers and consumer brands with iOS, Android, React Native or web platforms serving large user bases.
Financial Health
HealthyHealthy
Location
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Financial sub-scores
Computed from 2 filingsFinancial Health
StrongStrong
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · -68% CAGR over 4y
Location
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Financial sub-scores
Computed from 4 filingsFinancial Health
StableStable
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · 0% CAGR over 4y
Location
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Computed from 5 filingsFinancial Health
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Financial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed · 0% CAGR over 1y
Location
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Computed from 3 filingsFinancial Health
StableStable · 0% CAGR over 2y
Location
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Financial sub-scores
Computed from 3 filingsFinancial Health
StableStable · -50% CAGR over 1y
Location
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Computed from 4 filingsFinancial Health
HealthyHealthy · 0% CAGR over 3y
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
StrongStrong
Location
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Financial Health
N/AN/A
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Computed from 5 filingsDevelops and operates online platforms and digital tools for science communication, including websites such as BitesizeBio and Bioshowcase, providing articles, resources, and community networks for…
Serves researchers, science communicators and life science organisations, plus public audiences interested in science, with a focus on bioscience, microscopy and life science marketing communities.
Financial Health
WeakWeak · Hiring · 15% CAGR over 4y
Location
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Computed from 5 filingsDesigns and publishes knitting patterns and related publications, and sells digital and printed patterns, yarn, and knitting kits through an online shop. Also provides knitting tutorials, workshops,…
Sells to individual knitters, craft hobbyists and textile enthusiasts seeking knitting-related publications, patterns, yarn, tutorials and workshops, with an emphasis on Scottish design and textile…
Financial Health
WeakWeak · 0% CAGR over 4y
Location
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Financial sub-scores
Computed from 4 filingsFinancial Health
DistressedDistressed
Location
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Computed from 3 filingsFinancial Health
HealthyHealthy
Location
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Financial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak · -5% CAGR over 4y
Location
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Computed from 2 filingsFinancial Health
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Computed from 4 filingsFinancial Health
DistressedDistressed · 0% CAGR over 3y
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Computed from 4 filingsFinancial Health
StableStable
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Computed from 3 filingsFinancial Health
StableStable · Hiring · 63% CAGR over 2y
Location
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Computed from 5 filingsCreates and sells artworks including paintings, digital pieces and NFT-based works. Develops hybrid art projects combining physical art, augmented reality, animation, games and blockchain, and…
Sells to individual art collectors, NFT and cryptocurrency buyers, and fans of technology-led contemporary art, with additional engagement from exhibition visitors and event attendees.
Financial Health
HealthyHealthy
Location
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Computed from 5 filingsFinancial Health
DistressedDistressed · -71% CAGR over 4y
Location
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Computed from 5 filingsFinancial Health
HealthyHealthy · -65% CAGR over 4y
Location
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Computed from 4 filingsFinancial Health
StableStable · -78% CAGR over 3y
Location
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Computed from 5 filingsFinancial Health
StableStable · -68% CAGR over 4y
Location
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Computed from 2 filingsFinancial Health
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Computed from 5 filingsFinancial Health
DistressedDistressed · -62% CAGR over 4y
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Location
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Computed from 3 filingsFinancial Health
DistressedDistressed
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Computed from 4 filingsFinancial Health
WeakWeak · 0% CAGR over 3y
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Computed from 5 filingsFinancial Health
DistressedDistressed · 0% CAGR over 4y
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Computed from 5 filingsFinancial Health
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Computed from 4 filingsFinancial Health
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Computed from 5 filingsFinancial Health
DistressedDistressed
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Computed from 2 filingsFinancial Health
DistressedDistressed
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How Edinburgh Creator Economy companies work and how to sell to them
What they do
Revenue usually comes from monthly retainers, campaign fees, production packages and commission on creator, affiliate or commerce activity. Edinburgh creator-economy firms often sell a service wrapper around audience access: briefing, talent sourcing, content production, posting schedules, reporting and disclosure checks. A smaller set monetises owned communities or publishing assets through sponsorship, subscriptions, paid placements or product-linked revenue shares. Pricing tends to be negotiated around deliverables, usage rights, campaign duration and exclusivity, with project scopes revised when buyer approvals, creator availability or format changes affect the work. The commercial model is therefore closer to media services and representation than pure software.
Who they sell to
Typical buyers are brand managers, heads of marketing, communications directors, partnership leads and commercial teams in consumer-facing sectors. Tourism, education, retail, games, culture and media-buying organisations are plausible targets, with procurement usually handled through direct pitches, agency rosters, referrals or campaign briefs rather than long technology tenders. Sales cycles tend to be short for private-sector campaign work, but slower where public-facing institutions require formal approvals, budget sign-off or RFP-style comparison. Engagements often start as test campaigns or discrete content packages before moving into retained publishing, community or representation work if reporting, approval discipline and audience fit are proven.
What they buy
Most creator-economy firms tend to spend on tools and services that reduce coordination work across clients, creators, content assets and approvals. Relevant software categories include CRM, project management, social scheduling, analytics, attribution, affiliate tracking, audience research, contract management, finance, payroll and creator payment workflows. Security, cloud storage and access control matter where video files, campaign assets and client approvals move between freelancers, studios and external partners. Service spend often runs through legal advice on usage rights, disclosure wording, talent agreements and intellectual property, alongside bookkeeping, tax, insurance, paid media, design support and recruitment for producers, account managers and community specialists.
Why and how to sell to them
Commercial intent often appears when a studio wins repeat campaign work, adds retained clients, hires account or production staff, launches affiliate revenue, or has to formalise approval and disclosure processes. Common pain points are margin leakage on revisions, scattered content calendars, weak attribution, late client sign-off and the administrative load of keeping paid, gifted and affiliate content clearly labelled. Outbound tends to land better when it maps to buyer workflow rather than abstract scale: fewer approval loops, cleaner evidence for media buyers, faster reporting after publication, lower compliance risk under CMA and ASA/CAP expectations, and clearer visibility of which creators, channels or content formats support repeat revenue.
How this list is built
Data sources
This list is built from UK Companies House filings, XBRL accounts data, and semantic analysis of each company's public website. Revenue and headcount figures come from the most recent filed accounts; where the company has not filed, values are estimated using a model trained on filed history and peer benchmarks and are labelled as estimates.
Classification
Rather than relying solely on SIC codes, Firmbase classifies each company semantically: the company's website is crawled, an AI model reads what the company actually sells, and the company is placed into the relevant industry and subsectors. SIC codes are used as one signal but not the only one. This means a company that registered under a generic SIC code but pivoted into (for example) fintech is correctly identified as fintech, not as its original SIC category.
Freshness
The underlying company data is refreshed from Companies House continuously; filings appear in the list within days of submission. The curated list ordering is regenerated when the underlying data moves meaningfully (company count changes by more than 5%, a new company enters the top-ranked segment, or the filed-revenue numbers for the top firms change). You can see the last-updated timestamp near the top of the page.
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Frequently asked questions
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