Inna Efimova is a multidisciplinary creative based in Barcelona, working across branding, advertising, photography, and visual communication. With a background in Advertising and Public Relations and further training in graphic design and visual communications, Inna’s practice has been shaped by both commercial rigor and personal exploration. In this interview, she reflects on embracing multidisciplinary work as a strength, the importance of personal projects as creative fuel, and how balancing structure with freedom continues to guide her work in a rapidly changing industry.
Can you tell us a little about your first few steps in your career. Was there a moment or experience when you realised this was what you'd do as a career?
Choosing a career came quite easily for me. I had finished art school while still in high school and at first thought about applying to an art program, but academic drawing didn’t really inspire me. I always wanted something bigger and, most importantly, unconventional, so a bachelor’s degree in Advertising and Public Relations turned out to be the perfect choice for me.
My first steps in my career began with an internship at Leo Burnett (now Leo) during my third year of the bachelor’s program in Advertising and Public Relations. That’s when I discovered the world of creativity and immediately fell in love with the industry and the people who work in it. After university, I fully dived into the world of creativity.
While working, I never stopped learning and expanding my skills. At the same time, I studied at the British Higher School of Art and Design, first in Graphic Design, then in Visual Communications.
After completing my studies, I became skilled at smoothly combining advertising projects with branding tasks in my practice.
What lessons from your career have most shaped your style and approach?
Such an interesting question! Actually, two important lessons immediately come to mind.
Being multidisciplinary is my strength
. Early in my career, it was difficult for me to define what kind of specialist I was. At that time, I was already good at photography, working in advertising, and creating brand designs. But it seemed easier to choose one clear focus so that clients and employers could understand my profile. Everything else I enjoyed and did well ended up staying on the sidelines.
With experience, I finally embraced myself as a multidisciplinary professional. I realized I didn’t have to choose, I could work as a photographer, create brand identities and packaging, be an art director on commercial video shoots, run 360 campaigns, and do graphic design. Now I fully accept this multidisciplinarity and see it as my strength. I can express myself in different ways, and I get energized by a variety of tasks where I can grow and deepen my expertise with every new project.
Personal projects are the fuel for growth . I’m sure every creative person has ideas that warm their heart, yet many of them never make it past the initial spark. Over the years, I gathered a lot of those early concepts, but most of them remained unrealized. Eventually, I understood that personal projects are essential, they give you the space to express yourself fully, without limits, just you and your vision. It feels like uncovering a whole layer of creativity that’s been with you since university, but was overshadowed by commercial priorities.
Personal projects help keep my approach fresh and experimental, they remind me to stay curious, try new things, and bring that creative energy back into my commercial work. Now I strive for a healthy balance: personal projects that inspire me and remain a part of who I am, existing harmoniously alongside commercial brand work.
Tell us about the core values or philosophies that guide your creative practice.
This balance of structure and freedom helps me maintain a steady rhythm in my work. It gives me the energy and confidence to grow, explore, and take on new creative challenges.
What needs to change, so emerging and under-represented creative professionals have more opportunity, are seen and heard?
I believe there are two key factors that need to change.
The first is about taking action and being proactive. Emerging creatives often wait to be discovered, but visibility rarely happens without intentional effort. Young professionals need encouragement and guidance to speak up, put their work forward, and actively create opportunities for themselves.
The second factor is the industry infrastructure. We need more platforms, competitions, publications, and institutions, that are genuinely open to lesser-known creatives, not just established names. When these platforms focus on inclusivity, new voices can be seen and heard.
In my teaching practice, I always share resources and practical strategies that help designers build confidence, evaluate their work fairly, and understand their value. Most importantly, I guide them toward concrete actions and tailored approaches that help each designer make themselves visible in an authentic and sustainable way.
Looking ahead, what do you think are the key factors that will influence change for creative professionals?
How much does your city influence your work?
Tell us some of your favourite, creative professionals and inspiring places in your city!
Ingrid Picanyol a Catalan designer who skillfully combines variety and depth of thought in her projects. I really connect with her work. Albert Porta and Carlos Bermúdez Espinosa from their studio Principi It’s inspiring to follow their work, especially seeing how their designs contribute to the development of Barcelona as a city. Harry Nuriev. I really admire his bold projects with simple solutions, often ones that are right in front of us but overlooked. Harry has a talent for identifying striking ideas and transforming spaces into works of art that you want to be in.
I also can’t miss mentioning the work of Talia Cotton. Coding can be a lot of fun, and she uses it very effectively to bring project ideas to life. I enjoy following every single one of her projects.