Ignacio Martínez Todeschini

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Ignacio Martínez Todeschini ("IMT") 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?

IMT : My story as a designer begins when I was very young, drawing and painting experimentally from the age of 3 until about 10. Between 15 and 20, I drew and painted a lot. I made drawings, paintings, using different techniques, and I created art pieces. Additionally, I have always liked sculpture and crafts. Over the course of those 10 years, I made a series of experimental objects with my father, using motors, flashlights, and simple circuits, but that was like a first step towards industrial design. Later on, I also got very involved in music; I played the cello for 5 years in a philharmonic orchestra, from age 8 to 12. I specialized in industrial design during my technical studies, and then I started my professional career studying industrial design at the University of Buenos Aires.

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

IMT : What motivates me most about designing is that I can, in some way, shape people’s everyday lives and improve their quality of life. I think design has something very human and very direct toward addressing a concrete need. So, I find it very interesting because it’s a middle ground between artistic expression and what people need, and what the market demands. In art, I found that balance a bit harder to find. I feel that, personally, design makes more sense for me. Although I love and deeply appreciate art—looking at it, feeling it—design is an area that fits me better professionally. Additionally, I believe it has the capacity to shape the future by relying on technologies and industry.

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

IMT : I think it’s a bit of both at the same time. The truth is, I’ve always leaned toward art and music on one side, and on the other, I’ve always had this more technical, scientific side. As a child, I was very attracted to mathematics, astronomy, and the exact sciences. At the same time, the entire artistic world fascinated me, and I wanted to express myself and create new things. When I first encountered industrial design in high school, where it was an optional specialization, I honestly had no idea what it was. I had heard the word “design,” but if you don’t get into design, you never really know what design is. So, yes, it was somewhat inevitable, but when the opportunity arose, I chose it consciously.

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

IMT : In recent years, I have mainly focused on designing lighting fixtures. The truth is, I have always been particularly interested in this product because I believe that the lighting fixture, as an object within interior design, is like the object that allows you to play more artistically and sculpturally compared to other products such as a chair, an armchair, or a table. I think the lighting fixture is like the crown jewel in an interior design proposal—I always say that. And well, I never close myself off; the reality is that I have designed other types of things, more technical ones, machines, really a bit of everything. But I liked specializing in one area, and for now, I feel there is still much to explore in this field. And probably in a few months or maybe years, I will end up diving into another sector or another product typology, but for now, I want to continue fully involved in lighting fixtures.

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

IMT : First, I don’t know if I consider myself a design legend yet; I think that title is a bit too big. Maybe in a few years, perhaps. Nowadays, I simply see myself as a designer who has made a journey and achieved very significant results in a short time. But I don’t know if I can say it’s just creativity and talent or some natural inclination to be a designer. I believe there is a lot of effort involved, believing in your own vision, and knowing that what you create is good even before the public sees it and decides whether they like it or not. I think that decision to know if something is good or not before showing it to someone is very important to be a designer. And I believe the rest is very hard work — always looking for opportunities, opening doors, contacting people, understanding that you can’t get anywhere alone, that you always have to work in teams and form alliances that amplify what you do. And I think being a designer today is very much about that. It’s not just sitting at a computer or with a notebook making sketches and waiting for someone to come and see them, but going out to show them, going out to look for clients, companies, people who will empower and validate the ideas you have.

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

IMT : I believe there are several things that differentiate a good designer from an excellent one. But primarily, I would say two. On one hand, the ability to understand what you want to do and what your own vision is, to know how to differentiate yourself and to be able to impose your own perspective on design. And also to know how to read the audience, the market, and trends. Having a sense of where things are going, having that reading is important. Because you can have a great idea, but if at the moment you present it the world is going in another direction, perhaps that idea will reach far but maybe it should have been presented 30 years later. So, knowing how to read what is happening is also interesting. Then, I also think there is an issue of resources. There are designers who perhaps have great talent and creativity, but they lack the possibilities, the time, simply don’t have the chance to present themselves and their vision. And that’s a bit sad, but it’s reality. I don’t believe great designers are made only by talent or hard work. It’s also a matter of opportunity. And well, in all of that, I also believe hard work is very important. I mean, whoever is an excellent designer, whoever they are, I can assure you they had to sacrifice a lot to get where they are.

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

IMT : I believe a good design solves a problem in a different way, with a new approach, with an idea that breaks with what we have seen before. And then there are many requirements that we already know, such as quality, the ability to understand its user, the market, the processes, the costs, and all the things we already know about good design that were established in the 20th century. I think all those requirements that are talked about so much are real and apply to good design. But mainly, it’s about solving a problem for a user, for a society, in a new, different way that brings something new, whether culturally, economically, socially, or even at an industrial level.

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

IMT : I think I’m going to answer this one from the end backwards. I believe that not everyone necessarily should invest in good design. The investment in good design depends on who the end client is, and whether that client is willing to invest in good design. The reality is that you shouldn’t impose that everyone must invest in good design. But I do think that good design, particularly for a company, is a strategy — and it has to be seen as such. A strategy to offer better solutions, to provide more sustainable solutions, in line with laws or institutional issues that support the company, not just society. I also believe it works as an excellent marketing strategy, offering a differential, understanding what the company’s values are, and translating them into the design. Enhancing brand image. And, well, even reducing costs, amplifying profitability, the company’s profitability. So, I’m not sure if everyone should invest in good design, but I do think that all companies — or practically all companies — should invest in good design.

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

IMT : It’s a somewhat difficult question since I would love to design many things. First, I really enjoy designing for myself and my own company. It’s something that I have a lot of fun with and do all the time. But if I had to choose one company today that I would love to design for, it would be the Italian company Flos Lighting. I would create an innovative, distinct collection for them, one that has its own unique approach and brings something new to the company, something commercially viable, aligned with their history and in harmony with the great designers who have worked for that company. Honestly, if that company contacted me today, I would find the time no matter what — time would not be an issue.

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

IMT : I don’t have a specific dream project, but I do have the desire at some point in my life to start a new company—one where design permeates every aspect. It would be a company that is not only focused on exclusive or signature design but truly operates as a B2B, technology-driven business that adds value to the design industry as a whole. A company that brings value both to the end user and to other businesses, and that perhaps changes the course of design history a bit and opens new opportunities for others. It’s a bit abstract, perhaps, but it’s something I would like to do someday. A very ambitious project, and right now it’s not that I don’t have time, but rather that I don’t have the means or a concrete idea yet. It’s something I will need to develop over the years.

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

IMT : Nowadays, I believe my success in design is based on three main aspects. First, the personal quest to be able to express my perspective, my vision, in every design I create. I think it’s a challenge to achieve that. Then, secondly, inspiration from nature as a very powerful source, which almost always ends up aesthetically pleasing the end user if it’s done well, properly bio-inspired. In that same category, I would include the use of regional materials or craftsmanship. I think it’s a super key tool to differentiate oneself in the world. And lastly, I believe another part of the formula is the use of technology and the latest industry trends to create new morphologies that have never been seen before. Achieving that balance between traditional and contemporary technological approaches. I would also like to add a fourth aspect, which I find very important when working with a company. It’s always about trying to establish partnerships with companies because it’s a sign that if the company sees value in what you are designing, it’s probably because there is commercial and economic value, and also value for the user. I believe that having a business vision is crucial for a design to be successful. Sometimes designers tend to only create beautiful, nice objects and seem to forget a very important part that I think the company can complement very well. From there, I believe that understanding what a company needs or wants, and ensuring it’s aligned with its objectives, potential, and differentiators, is key. Being able to grasp all of that, bring it down to earth, and translate it into a design, I think even before you create the design, you have already added value to the company because you did the research, gave them an idea, provided value that no one else had given before. And if on top of that you materialize it in a design, I think that’s an outright success. I believe that’s very important.

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

IMT : First, I want to mention a 20th-century designer from the Nordic countries named Tappio Wirkkala. He was a very important reference when I started my brand Bilu because what really caught my attention was his approach to creating objects that are not only inspired by nature, but this inspiration is not so direct—it's simply understood, perceived, but not something overtly literal. Secondly, what he did by working in favor of the materials and the physical properties of the materials, shaping the form and aesthetics of an object based on the physical properties of the material, is a concept that really impressed me when I read and learned about it. I always remember this about Tapio Wirkkala, so for me, he is a great master. Then, perhaps another great master who is contemporary and current, whom I have crossed paths with at some events but never personally interacted with, is Cristian, the Argentine industrial designer Cristian Mohaded. I think he was able to see something particular about Argentina and bring it into design, showing it to the world, and the world appreciates and values it. I believe what Cristian Mohaded has done and is doing today will change the course of design history and craftsmanship in Argentina, as well as the world’s vision of Argentina in this regard. I think what he is doing today is very important and that he is opening paths for other designers like me, perhaps without even realizing it, and paving the way for the future of Argentine design worldwide.

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

IMT : Actually, the biggest design I have done so far is the Orbita luminaire, designed in partnership with the Argentine company iWish Deco and its founder Ignacio Noel. I believe the Orbita luminaire was ambitious from the beginning and managed to capture many of the things I’ve been discussing in this interview. It understood the attributes of the Fénix material in a very particular way and successfully translated them into an object. It recognized the material’s difficulties and took them as attributes rather than barriers. It was also very ambitious in terms of technology. Even with the technical and industrial challenges in Argentina, we decided to push it to the limit and do things that would have been impossible to do naturally, and that suppliers would have told us were impossible from the start. Honestly, it was well thought out from every angle — from the storytelling, the product conceptualization, usability, materiality, partnerships with companies, the plan to showcase it internationally, the extensive technical development, and the number of prototypes we made. I believe it is an example of a truly well-executed design project.

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

IMT : I believe becoming a better designer requires a combination of several factors. First, it is essential to trust and impose your own vision, learning to differentiate yourself and have a clear and personal perspective on design. It is also very important to understand the audience, the market, and the trends, because a great idea presented at the wrong time may not reach its full potential. Another key aspect is forming alliances with companies and collaborators, as this shows that your work has commercial value and is valuable to users. I always worked hard, seized opportunities, and sought collaboration, knowing that no one gets anywhere alone. Constant effort and perseverance are fundamental.

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

IMT : I have always been attracted to both artistic and technical fields. I was passionate about music and art, but also had a great interest in mathematics, astronomy, and sciences. If I weren’t a designer, I might have pursued something related to science or music professionally, given my experience with the cello and my technical inclination in my youth.

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

IMT : For me, design is understanding what people need and translating it into your own language that offers a solution. It is a blend of personal vision and artistic expression, while also being environmentally, socially, and economically sustainable. Good design solves problems in a new and innovative way without harming the ecosystem.

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

IMT : Without a doubt, my greatest supporters have been my parents. They supported me from the beginning, giving me the freedom to choose my path and encouraging me to pursue my interests. Their support was key in my growth.

DL: What helped you to become a great designer?

IMT : I believe three main aspects contributed: a personal quest to express my vision in every design, strong inspiration from nature and regional craftsmanship as a tool to differentiate myself, and the use of technology and trends to create new forms. Additionally, forming alliances with companies was fundamental to boost my ideas.

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

IMT : One of the biggest challenges was making design a profitable business. Achieving design as a sustainable company without me having to be involved in every detail was and still is difficult. Formal design education often has little focus on business, so I had to learn entrepreneurship on my own.

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

IMT : They should present their work so that the idea, value, and differentiation are immediately clear. It must be visually attractive, minimalist, and concise: synthetic but powerful, to quickly communicate the concept and impact.

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

IMT : I am currently launching a collection of lighting fixtures made of natural stone in partnership with a marble and stone distributor in Argentina. It has been a challenging project to learn how to work with a new material. I will soon present it at Paris Design Week and locally in Argentina. I am also coordinating the Argentine pavilion for the next Milan Design Week, intending to showcase the best of Argentine design internationally.

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

IMT : I would like to create a company where design is the core of everything, not just exclusive design, but a B2B tech company that adds value to the design industry, end users, and businesses, and that changes the course of design history by opening new opportunities.

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

IMT : They expect a clear vision, innovation, high-quality design, and relevance to the user and market. They seek originality that fits the context and trends, as well as sustainability and real value.

DL: How does design help create a better society?

IMT : Design improves quality of life by addressing concrete needs with innovative solutions. It combines artistic expression with practical functionality, promoting sustainability and social responsibility, which leads to more conscious consumption and better products.

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

IMT : Besides the natural stone lighting fixtures, I am excited to explore projects that balance aesthetics inspired by nature with advanced technology, exploring new morphologies and materials not previously used in lighting.

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

IMT : The Órbita luminaire stands out for being ambitious and complete, combining innovation in materials, technology, storytelling, and technical development. Also, the Bilu collection, with over 30 products developed with attention to detail to bring something new to the Argentine lighting industry, has been very satisfying, especially due to the international recognition it received.

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

IMT : I would like to see more collaboration among designers and for design to be seen not only as creating beautiful objects but as a strategic and cultural tool. Better integration of sustainable practices and technologies is also fundamental.

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

IMT : Design is moving toward a balance between traditional craftsmanship and contemporary technology. It will increasingly focus on sustainability, user-centered innovation, and interdisciplinary collaboration.

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

IMT : It varies, but complex projects like Órbita can take almost three years of development until they officially reach the market, including prototypes and refinement. I believe careful exploration and testing are key to successful design.

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

IMT : I start with research: understanding the material, user needs, company requirements, market trends, and technical possibilities. Then I explore concepts that reflect my vision and goals.

DL: What is your life motto as a designer?

IMT : Collaborative work and creating impactful alliances. Working in teams and collaboration always enriches the result and generates more value.

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

IMT : A bit of both. Designers create ideas that sometimes anticipate trends, but they also need to be attentive to market directions to remain relevant.

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

IMT : Technology is a key enabler that expands the possibilities of form, function, and production. It helps break boundaries and create innovative solutions that would be impossible without it.

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

IMT : I use industry-standard CAD software, rendering tools, and prototyping equipment, but I also value manual work with materials and artisans.

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

IMT : They define the experience and perception of the design piece. Color, materiality, and environment shape the mood and emotional connection the user has with the object. They give intention and originality to the project.

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

IMT : I hope they ask about the story behind the design, the materials used, and the designer’s point of view.

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

IMT : I think about the concept, the material, how the design solves a problem, and how it connects emotionally and functionally with users. At the same time, I might feel a bit jealous wondering, "How did they come up with something so good?" But in the end, it’s always a pleasure to know that if someone else had a great idea, I can too.

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

IMT : My ideal partner is someone who shares the vision, complements my skills, and brings new perspectives. Ideally, someone with a business orientation to complement my more creative vision. Yes, co-design is fundamental: it fosters creativity and better results.

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

IMT : I didn’t focus heavily on specific design books, though I read a lot during university. I learned much from technical literature, business books related to entrepreneurship and innovation, and even some spiritual literature.

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

IMT : Through continuous learning, experimentation, collaboration, and always pushing myself to face challenges.

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

IMT : I would love to meet designers or artists who successfully combined craft and innovation, like some great 20th-century pioneers. If I could, it would be very interesting to have a conversation with Leonardo Da Vinci.

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

IMT : Awards are gratifying but also a reminder of responsibility. Fame brings attention and pressure. It’s important to stay grounded and focused on creating good design.

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

IMT : I appreciate natural and neutral tones, places strongly connected to nature, simple and authentic foods, and I am inspired by Italian fashion brands.

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

IMT : During the early prototypes, materials sometimes behaved unpredictably, causing funny situations where lamps wouldn’t turn on or broke spectacularly. Those experiences taught me resilience and humor.

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

IMT : Seeing an idea come to life, collaborating with passionate people, and learning something new every day keeps me motivated.

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

IMT : It wasn’t obvious, but my early interest in drawing, experimenting with objects, and curiosity about how things work paved the way. Also, from a very young age, I always wanted to go far in whatever I decided to do.

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

IMT : I believe design will be deeply integrated with technology and ecology, creating harmonious solutions that respect nature and human needs.

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

IMT : I want them to know that my work is a balance between passion, effort, and collaboration—that it’s not just talent or luck but a lot of work, which is not always visible on the surface but I promise: it was and continues to be very intense.