Sunrise Entertainment

Blind shoppers, brands, and publishers use Sunrise Entertainment's Lucy Edwards-led consulting, content, and product launches to make packaging, campaigns, and books legible before production starts.

ENABLE Model location

• Builder-side Interventions → Set Requirements that Include Accessibility
• Builder-side Interventions → Create Accessible Content
• Builder-side Interventions → Test for Accessibility
• Navigator-side Compensations → Submit Feedback to Creators

What it is

Sunrise Entertainment uses Lucy Edwards's platform as a broadcaster, creator, author, and founder to push accessibility into the requirement-setting stage instead of waiting for disabled people to explain problems after launch. Companies House lists SUNRISE ENTERTAINMENT LTD as an active UK video-production company incorporated on May 7, 2021, with Lucy Mae Edwards-Cave as a director, and SXSW listed Edwards in 2024 under "Sunrise Entertainment & 84 World."¹²³ Her site says she has more than 2.8 million followers and more than one billion content views, and it lists work for BBC, Pantene, Procter & Gamble, Apple, and the Estée Lauder-supported Etia London launch.¹⁴⁵ Her consulting page says she advises brands on accessibility, inclusivity, reasonable adjustments, and inclusive hiring, while her speaking page says she helps teams think through accessible products and communications.⁴⁶

Edwards also uses content as an access tool. Her site says she hosted Apple's first accessibility panel at SXSW in March 2024, and it says her 2024 book Blind Not Broken and her 2025 children's books carry braille and NaviLens codes.⁴ Scholastic's pages for Ella Jones vs The Sun Stealer and Ella Jones vs The Battle Noise confirm that the books center a blind hero and carry Edwards's name as author.⁷⁸ Etia London, which Edwards founded after winning Estée Lauder x TikTok Catalysts funding, says it builds accessible makeup with modular packaging, braille, NaviLens, and accessible tutorials.⁵

Why it matters

Beauty, retail, and broadcast work grew around sighted handling long before blind users had a seat in the room, so product labels, campaign briefs, and social videos defaulted to visual navigation.⁵⁹ RNIB says more than two million people live with sight loss in the UK, and more than one million blind and partially sighted people live with long-term irreversible eye conditions.⁹ Edwards enters that inherited arrangement at the point where brands decide whether to build access into the product or ask the customer to compensate after purchase.

Edwards's consulting model moves disabled expertise from the publicity layer to the design room. Her own site says brands hire her for consulting, speaking, and accessibility work, and her Pantene partnership puts accessibility work into packaging, tutorial standards, and brand guidance instead of leaving it at an inclusion photo call.⁴¹⁰ P&G's 2022 Equality and Inclusion report says Head & Shoulders and Olay counted among the most accessible brands in beauty for website accessibility, and it includes a Pantene bottle with a NaviLens code, which confirms that accessibility can sit inside a mainstream consumer portfolio instead of outside it as a special project.¹¹ That shift reduces the need for blind customers to give feedback after the fact and raises the cost of tokenism for brands that want representation without redesign.

Edwards's work shows how disabled people get asked to validate systems that excluded them in the first place. She told BBC listeners in 2017 that she vlogged because she wanted disabled friends and community, and her current site keeps that same line of travel by tying her public work to advocacy, role modeling, and brand consultation.¹²¹ Brands that once treated blindness as a media hook now hire a blind expert to define the product brief, and that changes who gets to decide what counts as a finished campaign.⁴⁵

Pantene's collaboration with Edwards and the RNIB put NaviLens on packaging and helped the brand sell accessible beauty as a business advantage, while Etia London now frames accessible makeup as a commercial line with a waitlist, funding, and a product roadmap.¹⁰⁵ Brands fund access when access helps them reach more buyers, which leaves everyone outside those campaigns waiting for the next brand that decides to spend.⁵¹¹

Edwards's work also names the ordinary dependence that inaccessible packaging creates. She describes beauty as something that should not require sighted help, and Etia says Lucy first lost her eyesight and then realized that not everyone had a sister to guide them through the beauty aisle.⁵ Blind users do not just miss information. They have to recruit family, friends, or store staff to handle products that sighted shoppers can identify alone, which puts the daily compensation work of asking for human help onto the buyer rather than the seller.⁵⁹ Georgina Kleege argues in Sight Unseen and More Than Meets the Eye that sighted culture treats blindness as the loss of a faculty rather than as a different way of moving through the world, and that this treatment forces blind people to perform their access needs in front of sighted audiences who read the same performance as either tragedy or extraordinary skill.¹³ M. Leona Godin extends that argument in There Plant Eyes by tracing how literature and cinema have built sighted assumption into the cultural record, and by insisting that blind self-representation belongs at the start of cultural production rather than at the end of it.¹⁴ Edwards's books, broadcast work, and consulting place a blind author and consultant inside that start, which is the structural position those community traditions name as the precondition for changing the cultural record at scale.

RNIB's 2024 reports on the emotional impact of sight loss and the wider outcome gap show that sight loss reaches mental wellbeing, social participation, and health outcomes, not only navigation.¹⁵¹⁶ Edwards's own descriptions of hearing audio description for the first time in years point to that same emotional load, where access can arrive as relief rather than convenience.¹² The biosocial cost sits in the accumulation of missed confidence, delayed independence, and the need to keep asking for help in places that could have built access in from the start.¹⁵¹⁶

Brands, publishers, and broadcasters still treat accessible design as a campaign choice instead of a baseline obligation. Edwards proves that blind expertise can shape packaging, books, and media before production, and her current work with Etia London turns accessible products into products rather than exceptions.⁴⁵ The wider beauty and media industries still need to decide whether they will adopt that standard or keep relying on disabled creators to prove demand one brand at a time.¹⁰¹¹

Real-world examples

In the news

Lucy Edwards: Blind British Presenter & YouTuber (current site)
-- Lucy Edwards

• Edwards's own site documents her consulting, presenting, book launches, and Etia London work. It shows how she moves access into requirement-setting before campaigns and products reach the public.

In the news

Etia London (current site)
-- Etia London

• Etia says it builds accessible makeup with braille, NaviLens codes, and modular packaging, which turns Edwards's consulting logic into a consumer product line.

In the news

A Q&A with Lucy Edwards (May 2025)
-- Scholastic UK

• Scholastic says Edwards wrote Ella Jones vs The Sun Stealer and later Ella Jones vs The Battle Noise, extending access into children's fiction and giving blind children a lead character who does not need sighted rescue.

What care sounds like (builder-side interventions)

Care at the requirement-setting and content stages sounds like this:

• "We brought Lucy in before the campaign brief locked, so accessibility shaped the creative instead of sitting on top of it."
• "The packaging needs braille and NaviLens from the start, not after the launch photos go out."
• "We want an accessible tutorial as the main version, not as a hidden extra."
• "The book cover should carry the access code and the braille, because the reader should not need sighted help to open the story."

What neglect sounds like (builder-side interventions)

Neglect sounds like this:

• "We already cast the campaign, so we only need Lucy in the picture."
• "We will add access notes after production if the audience asks for them."
• "The packaging team does not have time for braille."
• "The tutorial works well enough for most viewers."

What compensation sounds like (navigator-side compensations)

Compensation describes the labor blind and low-vision people carry when products and media arrive late to access:

• "I ask my sister which bottle is which because I cannot tell by touch alone."
• "I keep a list of the brands that work for me and the brands I avoid."
• "I wait for someone to read the label because the packaging gives me no other way in."
• "I miss parts of the show when audio description arrives only once or twice in a run."

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All observations occur within UK consumer beauty, retail, publishing, and broadcast media, where blind expertise enters product and content design through a small number of consultants and disabled-led companies rather than through baseline industry requirements.

Footnotes

1. Lucy Edwards. "Who is Lucy Edwards?" https://www.lucyedwards.com/about ↩ ↩² ↩³

2. Companies House. "SUNRISE ENTERTAINMENT LTD overview." Accessed April 18, 2026. https://find-and-update.company-information.service.gov.uk/company/13381148 ; Companies House. "SUNRISE ENTERTAINMENT LTD people." Accessed April 18, 2026. https://find-and-update.company-information.service.gov.uk/company/13381148/officers ↩

3. SXSW 2024 Schedule. "Lucy Edwards." Accessed April 18, 2026. https://schedule.sxsw.com/2024/speakers/2195403 ↩

4. Lucy Edwards. "Consulting." https://www.lucyedwards.com/consulting ↩ ↩² ↩³ ↩⁴ ↩⁵ ↩⁶

5. Etia London. "Etia London." https://etialondon.com/ ↩ ↩² ↩³ ↩⁴ ↩⁵ ↩⁶ ↩⁷ ↩⁸ ↩⁹

6. Lucy Edwards. "Book Lucy Edwards." https://www.lucyedwards.com/speaking ↩

7. Scholastic UK. "Braille, Guide dogs, and a new blind hero - Ella Jones and the Sun Stealer." https://www.scholastic.co.uk/ella-jones ↩

8. Scholastic Shop. "Ella Jones vs The Battle Noise." https://world-shop.scholastic.co.uk/products/Ella-Jones-vs-The-Battle-Noise-9780702337970 ↩

9. RNIB. "Key information and statistics on sight loss in the UK." https://www.rnib.org.uk/professionals/research-and-data/key-information-and-statistics-on-sight-loss-in-the-uk/ ↩ ↩² ↩³

10. Procter & Gamble. "Citizenship Report 2022 - Equality & Inclusion." https://us.pg.com/citizenship-report-2022/equality-and-inclusion/ ↩ ↩² ↩³

11. The Drum. "How Pantene put the visually impaired community at the heart of its content." June 20, 2022. https://www.thedrum.com/news/2022/06/20/how-pantene-put-the-visually-impaired-community-the-heart-its-content ↩ ↩² ↩³

12. BBC Radio 4. "Careers in Broadcasting" transcript, November 17, 2021. https://downloads.bbc.co.uk/radio4/transcripts/it_tx_211117_careers_in_broadcasting.pdf ↩ ↩²

13. Kleege, Georgina. Sight Unseen. New Haven: Yale University Press, 1999; More Than Meets the Eye: What Blindness Brings to Art. New York: Oxford University Press, 2018. ↩

14. Godin, M. Leona. There Plant Eyes: A Personal and Cultural History of Blindness. New York: Pantheon, 2021. ↩

15. RNIB. "Voice of the customer: The emotional impact of sight loss." May 13, 2024. https://www.rnib.org.uk/professionals/research-and-data/reports-and-insight/voice-of-the-customer-the-emotional-impact-of-sight-loss/ ↩ ↩²

16. RNIB. "Understanding Society: The outcome gap for blind and partially sighted people living in the UK." November 27, 2025. https://www.rnib.org.uk/professionals/research-and-data/reports-and-insight/understanding-society-the-outcome-gap-for-blind-and-partially-sighted-people-living-in-the-uk/ ↩ ↩²