Tiago Russo

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Tiago Russo ("TR") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

TR : I come from a multidisciplinary design background shaped by industrial design, luxury product development, and sensorial storytelling. I studied Product Design in Lisbon, where my academic research focused on experience, functionality, and one of my earliest passions - automotive design. That foundation shaped everything I’ve done since: combining precision and purpose with emotion, to create objects that don’t just function well, but resonate deeply with people.

DL: What motivates you to design in general, why did you become a designer?

TR : What drives me is the ability to tell stories through form - to create something that communicates before it’s even used. I became a designer because I wanted to give meaning to the everyday, to transform interaction into memory, and to make experiences more intimate, immersive, and lasting - all while introducing something new and truly innovative to the market.

DL: Did you choose to become a designer, or you were forced to become one?

TR : Design chose me long before I fully understood it. As a child, I was always curious about how things were made and how they could be further improved. That pursuit of functional perfectionism grew into a natural path toward design. Nothing about it was forced - it was always a calling.

DL: What do you design, what type of designs do you wish to design more of?

TR : I design industrial product, packaging, and all the plethora of accessories and elements that can further elevate the user interaction through design, primarily within luxury, spirits, and lifestyle markets. But what I truly design are experiences, through material, context, and detail. I would love to design more in the automotive and transportation markets, as it's a personal passion, or even within the motorsport field.

DL: What should young designers do to become a design legend like you?

TR : Listen more than you speak. Observe the world with depth. Don’t chase trends - chase purpose. Focus on timeless quality, not instant attention. And above all, never stop questioning how your work impacts the user. Good designers solve; great designers connect.

DL: What distinguishes between a good designer and a great designer?

TR : A good designer knows how to make something function and look appealing. A great designer knows how to make someone feel something through the experience of that design. It’s about emotional maturity, material integrity, and a willingness to go deeper than what’s expected.

DL: What makes a good design a really good design, how do you evaluate good design?

TR : A really good design tells a story without needing to explain itself. It resonates. I evaluate good design based on clarity of purpose, honesty in materials, sensorial richness, and how deeply it understands the user it was made for.

DL: What is the value of good design? Why should everyone invest in good design?

TR : Good design improves lives—quietly and powerfully. It adds emotional value, cultural weight, and makes the ordinary extraordinary. Investing in good design isn’t about luxury - it’s about building objects and experiences that last, matter, and feel personal.

DL: What would you design and who would you design for if you had the time?

TR : I would focus on reinventing the automotive field—not just in terms of form or branding, but by redefining the driving experience itself. There’s immense potential in combining new technologies, sensorial engagement, and sustainability to create vehicles that are not only functional but truly engaging with their users, elevating transportation into an immersive journey. I would love to design for a brand that’s willing to push those boundaries and truly rethink how we connect with motion, speed, and control.

DL: What is the dream project you haven’t yet had time to realize?

TR : To design a hypercar focused not on sheer speed, but on the emotional depth of driving. A car where every material, sound, and interface is designed to create a sensorial, immersive experience - from the weight of the steering wheel to the tactility of the cabin. I’m deeply inspired by brands like Pagani, where craft, soul, and engineering meet. I’d love to explore how design can turn the act of driving into a personal journey, rich with detail, memory, and connection.

DL: What is your secret recipe of success in design, what is your secret ingredient?

TR : An absolutely obsessive attention to detail. Every project I take on must have a reason to exist - beyond trends or aesthetics. The secret, if there is one, is in creating work that is honest, immersive, and truly relevant. That comes from deeply understanding the user, and shaping every element - form, material, interaction - to enhance that relationship. My process is grounded in empathy and immersion through every single detail of my designs.

DL: Who are some other design masters and legends you get inspired from?

TR : I draw inspiration from designers who brought clarity, emotion, and poetry into their disciplines. Dieter Rams for his rational purity and timeless clarity. Horacio Pagani for his obsessive storytelling and the fusion of art and engineering. Arne Jacobsen, whose modernist works feel as fresh today as they were decades ago. And Shiro Kuramata, for his surreal material use and boundary-breaking vision. Each of them taught me that great design doesn’t follow - it redefines.

DL: What are your favorite designs by other designers, why do you like them?

TR : The Egg Chair by Arne Jacobsen - for its sculptural elegance and timeless silhouette that still feels relevant decades later. The Pagani Huayra by Horacio Pagani - because it represents an obsessive fusion of art, engineering, and storytelling. And the Braun SK4/1 - for being a modernist icon far ahead of its time. These designs resonate with me because they balance form, narrative, and emotion - each detail crafted with intention and meaning.

DL: What is your greatest design, which aspects of that design makes you think it is great?

TR : The luxury whiskey tasting glass I developed and patented in 2022 alongside Katia Martins stands as one of my proudest achievements. It wasn’t just a glass - it was a redefinition of how people experience ultra-premium spirits. It reshaped the entire whiskey industry’s approach to ritual, sensorial engagement, and storytelling. What makes it truly great is how it elevated the functional into something memorable and emotional, setting a new standard for how design can transform perception in a deeply traditional market.

DL: How could people improve themselves to be better designers, what did you do?

TR : Listen more. Observe deeply. Improve your technical fluency, but don’t neglect emotional intelligence. Great design comes from understanding people - not just processes. I’ve always refined not only my concepts but also how I communicate, test, and bring them to life. Growth happens through humility, iteration, and a constant pursuit of perfection.

DL: If you hadn’t become a designer, what would you have done?

TR : Most likely automotive engineering - I’ve always been fascinated by mechanics, form, and motion. But there’s also a part of me that would’ve pursued becoming a racing driver. The thrill of control, speed, and precision has always appealed to me. That dream isn’t entirely off the table - I might still pick up on it one day.

DL: How do you define design, what is design for you?

TR : Design is, at its core, about providing a solution to a problem. But great design goes further - it provides a solution for a problem the user hasn’t even realised exists. For me, design is the relentless pursuit of precision, emotion, and balance. It’s about refining every element until form, function, and detail speak with absolute clarity. Design is never just aesthetic - it’s about anticipation, control, and crafting something that feels inevitable, yet completely unseen until it’s revealed.

DL: Who helped you to reach these heights, who was your biggest supporter?

TR : My wife and creative partner, Katia Martins, has been fundamental. She’s a brilliant designer in her own right, and we’ve built both a family and a creative vision together. Her belief, collaboration, and clarity have pushed me forward through every challenge and milestone.

DL: What helped you to become a great designer?

TR : A relentless commitment to purpose and detail. I approach each project with curiosity, empathy, and a respect for the emotional layer of design. I also listen - to users, collaborators, and even criticism. Growth comes when you’re willing to refine what you believe and never settle for “good enough”.

DL: What were the obstacles you faced before becoming a design master?

TR : The biggest obstacle was being seen and understood as a designer in Portugal during the 2010s. It was - and still is - a country where design isn’t fully valued or embedded into cultural or commercial thinking. That lack of structure and recognition made it impossible to grow. It’s what led Katia and me to leave everything behind and move to London - starting from nothing, without support or resources. It was a leap of faith, but also the moment we chose to build the future we believed in.

DL: How do you think designers should present their work?

TR : With clarity, honesty, and restraint. The design should speak for itself through form, material, and function. Presentation should enhance the idea, not disguise it. I always encourage designers to explain the why before the what. A clear process, emotional intent, and honest documentation matter far more than visual theatrics.

DL: What’s your next design project, what should we expect from you in future?

TR : At Craft Design, we’re developing a new series of designs that are even more immersive and sensorially layered - exploring how emotion and materiality can redefine everyday experiences. While the luxury spirits world remains a strong foundation, we’re now also beginning to expand into high-end lifestyle and jewellery sectors. The goal remains the same - to design with purpose, precision, and emotional clarity, wherever the opportunity for storytelling exists.

DL: What’s your ultimate goal as a designer?

TR : To create work that outlives trend, noise, and novelty—designs that become part of someone's story. I want to continue pushing the boundaries of how design can elevate emotion, precision, and function, and to mentor younger designers to do the same. My goal is not just to be remembered, but to have created something that mattered.

DL: What people expect from an esteemed designer such as yourself?

TR : People expect clarity, consistency, and a standard of excellence - not just in the outcome, but in the process. They expect you to lead with vision, to question convention, and to deliver more than what’s asked. Being in this position comes with a responsibility - to uphold the value of design, to elevate others, and to keep pushing the boundaries of what meaningful design can be.

DL: How does design help create a better society?

TR : Design shapes how people live, move, and think. At its best, it brings dignity to everyday interactions - creating more inclusive, sustainable, and emotionally intelligent systems. Whether it's a tactile product, a space, or an interface - design can guide behaviour, reduce complexity, and restore a sense of care and humanity in how we engage with the world.

DL: What are you currently working on that you are especially excited about?

TR : The further development and global expansion of Craft Design is something I’m deeply excited about. We’re focused on bringing our design language and values to new industries, markets, and cultures - offering full-service creative development for brands seeking emotional, purposeful design. It’s not just about products - it’s about creating design ecosystems that reflect storytelling, craftsmanship, and vision at every level.

DL: Which design projects gave you the most satisfaction, why?

TR : The projects that gave me the most satisfaction were those where we could design the entire experience - from concept to final user moment. The patented tasting glass, for example, redefined not just a product, but an entire ritual. Those are the moments where you feel design has truly changed something - shifted perception, created memory, or set a new standard.

DL: What would you like to see changed in design industry in the coming years?

TR : I would like to see less design driven by trend cycles and more driven by intention. There needs to be a stronger connection between concept, purpose, and execution - and a greater respect for material integrity and user experience. I also hope to see more diverse voices in design leadership - and more design education focused on practical, human-centred thinking.

DL: Where do you think the design field is headed next?

TR : Design is heading toward a deeper focus on emotional connection, environmental consciousness, and material honesty. As technology becomes more invisible, the tactile and human side of design will become more valuable. We’ll see a return to essence and intention - products and systems that are deeply considered, not just for how they look, but for how they feel and function.

DL: How long does it take you to finalize a design project?

TR : It depends on the complexity - some projects are resolved in weeks, others take over a year. But for me, a project isn’t final until every element - material, function, emotion, detail - feels fully aligned. Timelines are important, but excellence is non-negotiable. I believe in delivering when the design is not just complete - but truly right.

DL: When you have a new design project, where do you start?

TR : I always begin with extensive research - understanding the market, the user, the existing products, and the emotional or functional gap that needs to be addressed. I study rituals, behaviours, and cultural references, and explore materials, production methods, and the expectations surrounding the category. Only once I’ve mapped that full context do I move into conceptual development. For me, design starts with listening and observation, to uncover the story that’s waiting to be told through form and function.

DL: What is your life motto as a designer?

TR : There is no such thing as divine inspiration. It’s all about knowledge, it’s all about the research. You have to know everything there is in order to design something that truly doesn’t exist yet. That has always been my approach. I believe in process over myth, preparation over chance. Great design doesn’t appear from nowhere - it emerges from deep understanding, context, and constant learning. That’s where innovation begins.

DL: Do you think design sets the trends or trends set the designs?

TR : Design should set the tone, not follow it. Trends come and go - good design stays relevant because it’s based on real need, emotion, and craft. I believe when designers act with purpose, they don’t follow movements - they create meaning that outlasts them.

DL: What is the role of technology when you design?

TR : Technology is a tool - not the message. I use it to prototype, refine tolerances, and simulate experiences, but never to replace thinking. Design comes first, software second. Technology helps us get closer to the detail, but intuition and experience still lead.

DL: What kind of design software and equipment do you use in your work?

TR : I rely on a combination of SolidWorks, KeyShot, and the Adobe Creative Suite - depending on the stage. I also put great importance on physical prototyping - from sketching to full-scale mock-ups. Software refines, but the real understanding comes from holding the material in your hand.

DL: What is the role of the color, materials and ambient in design?

TR : These are the foundations of sensorial storytelling. Materials bring memory and texture - they ground the user in reality and invite touch. Raw, honest materials evoke trust, while refined finishes suggest ritual and intention. Colour carries psychological weight - it sets mood, shifts perception, and speaks before words. Ambient, especially light and shadow, sculpts the experience. It defines what is revealed and what is hidden - controlling not just how something is seen, but how it is felt. Together, they create the emotional language of design.

DL: What do you wish people to ask about your design?

TR : I wish people would ask why it feels the way it does, not just why it looks the way it looks. Design isn’t just a visual discipline - it’s experiential. When someone notices how it touches, sounds, or behaves - that’s when I know it’s connecting on a deeper level.

DL: When you see a new great design or product what comes into your mind?

TR : I ask - why does this feel right? I look for the decisions behind the simplicity. Great design always hides its complexity, so when I see something that just works, I start reverse-engineering the thinking behind it. Often, that’s where the genius lies - in what’s not immediately visible.

DL: Who is your ideal design partner? Do you believe in co-design?

TR : Absolutely - I believe in co-design as a strength, not a compromise. My ideal partner is someone who brings a completely different yet complementary perspective. That’s exactly what I have in Katia Martins. Our collaboration is built on balance - I bring the technical precision, structural vision, and process discipline, while she brings the creative sensibility, emotional intelligence, and visual storytelling. Together, we create work that neither of us could achieve alone. Co-design isn’t about splitting tasks - it’s about amplifying ideas through trust and duality.

DL: Which people you interacted had the most influence on your design?

TR : Katia, without question. Our creative conversations have shaped nearly every project we’ve developed. I’ve also been lucky to collaborate with incredible craftspeople and engineers - the ones who live in the detail, who bring soul to execution. They’ve taught me that design isn’t finished until every single detail has been considered.

DL: Which books you read had the most effect on your design?

TR : I’ve always gravitated toward books that explore design as a cultural, industrial, and historical force. The works of Charlotte and Peter Fiell gave me a clear, encyclopaedic view of design’s evolution, while authors like Bernhard E. Burdek and David Raizman offered deeper insight into the social and systemic dimensions of design. These readings helped form my understanding that design is not just about objects - it’s about context, time, and the values embedded in every decision.

DL: How did you develop your skills as a master designer?

TR : Through relentless discipline and intentional practice. I obsess over details, push every iteration, and surround myself with people who challenge me. I also spend a lot of time understanding production and process - design isn’t real until it’s built. Mastery isn’t about one moment - it’s about the thousands of decisions made with precision and clarity.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

TR : Dieter Rams - for his precise thinking and the way he brought innovation into consumer electronics, turning function into timeless form. Horacio Pagani - for his obsessive attention to detail and the way he fuses art, engineering, and storytelling into every element. And Shiro Kuramata - for his radical approach to material, space, and surreal expression. Each of them redefined design not just by what they created - but by how they thought and felt through their work.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

TR : The awards are an honour, but they’re not the goal. They’re a reflection of the intention and care put into the work. I don’t design for recognition - I design to move people. Fame isn’t something I think about. What matters to me is knowing the work stands up to its purpose and creates lasting value.

DL: What is your favorite color, place, food, season, thing and brand?

TR : Colour: Purple - for its rich mysticism and depth. Place: Knysna, and all that southern area in South Africa that flows into the Tsitsikamma. A place still to visit - Tokyo, without a doubt. Food: Japanese food - namely sushi, for all the precision and purity of flavours. Season: Either late Spring or early Autumn - both prone to inspirational sunsets. Thing: Apart from my wedding ring - my Pininfarina watch, a gift from my wife. Brands: Pagani and Ferrari - for the iconic and out-of-the-box thinking they brought to the automotive world.

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

TR : One project I had a few years ago involved so many departments and people that every small adjustment - whether copy or layout - triggered a new version. It became so fragmented that we eventually reached revision 120 - still my personal record. What made it funny was that some versions were completely identical - Revision 30 would be exactly the same as 57 or 89. It was a lesson in coordination and patience - and a reminder that not every change is really a change.

DL: What makes your day great as a designer, how do you motivate yourself?

TR : The moment when an idea finally clicks - when it all aligns and the concept becomes inevitable. What motivates me daily is the pursuit of that clarity. It’s not about constant inspiration - it’s about knowing that with focus, progress always comes.

DL: When you were a little child, was it obvious that you would become a great designer?

TR : Not in a formal way. But I was always taking things apart, sketching ideas, and asking why something was the way it was. I didn’t know what design was, but I knew I wanted to improve everything I touched. In hindsight, it was obvious - I just didn’t have the vocabulary yet.

DL: What do you think about future; what do you see will happen in thousand years from now?

TR : A thousand years won’t matter if we don’t act now to preserve life and this planet. The future isn’t something we wait for - it’s something we shape through what we do today. And design plays a critical role in that change. We are in the core field of expertise to rethink systems, behaviours, materials, and solutions. If we want a future to exist at all - design needs to lead that shift.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

TR : Everything I design is driven by one core belief - purpose is greater than appearance. I want people to know that behind every line, curve, or texture lies a reason, a story, and a moment of care. I design not to impress, but to create experiences that stay with people long after the product is gone.