Tell us about where you studied and some of your highlights and favourite lecturers.
I studied at Pratt Institute, New York, where I explored the intersection of branding, strategy, and sustainability. Some of my highlights included developing complex identity systems, engaging in hands-on prototyping, and tackling real-world design challenges that emphasized both function and storytelling. The program pushed me to think critically about a designer’s role in culture and commerce.
Two of my favorite lecturers, Eugene Kim and Alisa Zamir, played a huge role in shaping my perspective, offering invaluable insights and mentorship that continue to influence my work today.
What weird and wonderful things are you obsessed with right now that inspires your creative work?
I'm currently obsessed with the idea of objects as art—taking my designs beyond traditional formats and turning them into functional, everyday objects. I love exploring how branding and packaging can live beyond their intended use, whether it's a design that transforms into a collectible piece or packaging that feels like an art object in itself.
Lately, I’ve been thinking about how my work could translate into household objects, textiles, or even furniture—blurring the line between design and utility.
There’s something exciting about creating pieces that people interact with daily, where design becomes an experience rather than just a visual.
Favourite travel destinations that inspire you?
Asia, in general, is a huge source of inspiration for me, especially India, China, and Japan. Each has a distinct design language, rich in history, craftsmanship, and cultural storytelling.
India draws me in with its bold use of color, layered textures, and intricate handcraft traditions. There’s an energy in the imperfections—whether in hand-painted signage or woven textiles—that makes everything feel raw, expressive, and alive.
In China, I’m fascinated by the balance between minimalism and intricate detailing. The elegance of calligraphy, the precision of ceramics, and the way traditional design coexists with cutting-edge modernism always spark new ideas.
Though I haven’t been to Japan yet, I’m deeply inspired by its approach to design—where simplicity meets deep intentionality. From the philosophy of wabi-sabi to the precision of packaging and product design, Japanese aesthetics show how restraint and detail can create something timeless.
Tell us about your tools / what tech, programs, equipment and environment do you do your best work in?
I do my best work at my desk in my room—it’s where I can really focus and get into the flow. My go-to tools are Photoshop, Illustrator, Dimension, and Figma, depending on what I’m working on.
Which 3 creatives do you look up to and why?
There are so many creatives I admire, but these three have really stuck with me: Gustaf Westman, Nothing (the brand), and Carla Palette.
Gustaf Westman makes everyday objects look so fun—it’s like he brings a sense of play into design. His use of vibrant colors and unexpected forms makes me rethink how objects can exist in a space. I love that his work doesn’t just sit there; it makes you feel something.
Nothing is a tech company that’s doing something super cool—blending retro and modern in a way that feels effortless. I love how their products have this stripped-down, futuristic feel while still carrying a sense of nostalgia. It’s tech, but with personality, which is rare.
And then there’s Carla Palette. She’s the one who picked me as a winner, which is wild because I’ve been obsessed with her work forever. Almost every mood board I make has some of her designs in it. Her way of playing with composition, typography, and concept is just on another level.
What are your biggest hopes and dreams for 2025, both for the world and your career?
In 2025, I want to take my work beyond graphic design and bring my digital ideas to life—turning designs into real, tangible objects. I’d love to explore product design more deeply, creating things that people can see, touch, and interact with in meaningful ways. Collaborating with inspiring people and pushing my creativity beyond screens is something I’m really excited about.
On a bigger scale, I hope for a shift toward more intentional design—products that aren’t just beautiful but also functional, sustainable, and built to last. Design shapes how we experience the world, and I want to be part of creating things that make everyday life better. And beyond design, I just hope for more creativity, kindness, and space for people to express themselves fully.
_
