What approach and design process do you follow at Design Studio when tackling a new project?

I believe there’s no one way to do things. We don’t have a specific formula. There are no written rules on how to approach new projects. If anything, our approach is to define the right approach for each project individually. It’s key to keep things flexible and be adaptive. Every client, every brief is different and the best way to kick things off is by learning from the clients themselves. Ask questions. Be open. Do interviews with the shareholders. Run workshops. Understand the business, its needs, and, most importantly, its ambition and vision for the future. That’s the only way to create something relevant that can have positive impact with clients and their audiences.

Is there a particular project that has marked your professional growth and/or has been especially significant for your experience as a designer?

There are many projects I’m attached to but I think my top 2 must be Borussia Dortmund and Rugby Sevens, now called SVNS. They were incredible experiences that shaped me as a designer and a director. They’ve both been challenging projects in their own ways and they helped me develop massively.

How do you rebrand a football club that’s got a strong legacy and incredibly huge following and push them into the modern era of football without losing their soul and character? How do you transform a struggling sport like rugby into an electrifying festival experience that people actively want to be part of?

These challenges helped me push myself into new and unexpected territories that led to something we were all incredibly proud of.

In a complex and structured environment like Design Studio, how do you balance financial requirements with the creative output of your projects?

Once the budget is approved, our focus shifts entirely to delivering the best creative outcome possible, without unnecessary constraints. The idea is to try and push for the best work we can do, challenge the client when needed and be able to have honest conversations with them to make sure we both match our ambitions. There is no better combination than the client and creative partner being happy and satisfied with the work and final output.

What emerging trends do you see in the design world? And how does London’s cultural and urban context influence your projects, if at all, considering that you are an international agency?

There are always new trends out there. Some may last longer than others but you can see your Pinterest boards changing throughout the year. That’s my biggest watch-out: if what you create looks like a Pinterest board, you've missed the mark.

The most influencing aspects on projects are the categories we operate in and the people we need to communicate to, their habits and culture. We need to speak their language in order to land our message.

More importantly, if you want to stand out, you need to take the road less traveled. Try something different and you might get something different.

How do you cultivate the internal culture of the studio and the people working at Design Studio?4o

There are two sides of the internal culture we try to establish. The studio needs to be a space where to have fun, be lighthearted, have a good time and get involved. We have lunches together, we hang out after work, we have parties and team dinners and lots of other activities. Nothing is forced though. Everyone is free to do what they want and get involved as much as they want.

On the other hand, we foster a healthy sense of competition, where everyone pushes each other to improve and explore new ideas. That’s the side that I personally enjoy the most. Seeing the design team challenging each other and observe how those interactions bring something new to the table is incredibly rewarding.

How do you see the world of design education in Italy?

I’ve been away for so long so I’m not really up to speed with what’s been happening back in Italy. One thing I know for sure is that I received an education I'm truly proud of. I studied in Rome at IED and some of my professors are still dearly in my heart! They really helped me build a strong foundation to then build on.

How do you see the role of young graphic designers in Italy?

Now more than ever, we need to think globally. And I think the role of the designer in the global scene is to really push the businesses to get out of their comfort zone. Stop looking at the competition. Be brave and unexpected. Be flexible and agile. The old school branding where a brand communicates in the same way for years and years is not relevant anymore.

What advice would you give to a young graphic designer entering the job market today in Italy?

Stay humble, but build confidence. The one thing I can see with designers I work with is that the best ones and the ones you want to work with are the ones with the right attitude. Down to earth and up for the challenge.