Mina Maazi

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Mina Maazi ("MM") 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?

MM : Certainly. My journey into design started in Iran, where I earned a Bachelor's degree in Architecture followed by a Master's in Urban Design. After graduation, I began working professionally and spent over five years in the digital product design field, focusing on UX/UI and interaction design. During this time, I collaborated with fintech and AI startups, gaining hands-on experience in solving complex user problems and designing human-centered solutions. Wanting to deepen my strategic thinking and leadership in design, I later moved to the UK to pursue a second Master's degree in Design Management at Birmingham City University. This helped me bridge my creative skills with business and innovation, and further shaped my multidisciplinary approach to design.

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

MM : What truly motivates me to design is a deep love for creating. Since childhood, I’ve been fascinated by the way design shapes our lives—how even the smallest detail in a product or space can influence our emotions, behavior, and decisions. That love for crafting meaningful experiences, paired with a strong sense of purpose, led me to become a designer. Design, for me, is not just a profession—it’s a way to connect with people, solve problems, and leave the world a little better than I found it. I see every project as a chance to combine empathy, creativity, and logic to create something valuable, whether it’s improving someone’s daily interaction with an app or rethinking how we use space in a city.

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

MM : I often wonder if I chose design, or if design chose me. It wasn’t a straightforward decision. I grew up surrounded by creativity—performing classical music on stage from the age of five, playing violin and flute at Iran’s iconic Vahdat Hall. Music taught me rhythm, patience, and expression. As I grew older, that same urge to express and connect didn’t disappear—it just evolved. I found myself drawn to the way cities were built, how people interacted with their environment, and later on, how digital products could improve daily life. Without realizing it, I transitioned from composing sounds to composing user experiences. So no, I wasn’t forced. And maybe I didn’t "choose" design in the conventional sense. But it was the most natural path my creative curiosity could take.

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

MM : I design digital experiences that make everyday life easier, more accessible, and more meaningful. My focus has been on UX/UI and product design, often for fintech and AI-driven platforms—but beyond the field, my motivation is to solve real human problems with thoughtful, elegant solutions. In the future, I’d love to design more for social impact and accessibility. Projects that empower people with disabilities, support mental health, or promote sustainability deeply resonate with me. I believe design has the power to not just improve interfaces, but to reshape how we experience the world—and I want to be part of that transformation.

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

MM : To become a design legend, don’t chase fame—chase impact. Design isn’t about perfection; it’s about solving the right problems with empathy and curiosity. My biggest advice? Observe deeply. The world is your greatest teacher—notice how people behave, struggle, adapt. Stay visually curious. Feed your visual literacy by constantly exploring art, architecture, nature, and even films. Learn to take feedback. Critique is not rejection—it’s direction. Get a mentor. Or more than one. Surround yourself with people who challenge and encourage you. Keep learning. Tools change. Trends evolve. But your mindset, your ability to adapt—that’s what defines your path. And above all, love what you create. Because when you love your design, others start to love it too.

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

MM : I don’t really believe in “great” design as a final destination—there’s always room to do better, always a next version waiting to be imagined. What truly matters is how much you love your design, how much confidence and pride it gives you. A “good” designer might complete a project. But a designer who creates with conviction—who stands behind their work with clarity and belief—that’s someone who inspires others too. In the end, it’s not about being perfect. It’s about being authentic and designing something that resonates—with users and with yourself.

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

MM : A good design becomes really good when it goes beyond solving a problem — when it quietly becomes part of someone's daily life without shouting for attention. I evaluate a design by how naturally it integrates into a user’s experience. Does it make someone smile without them noticing why? Does it reduce friction or create delight? But I also believe there's no absolute "perfect" design. Context matters. A design that's brilliant in one scenario might not work elsewhere. What really matters is how much listening went into it — to people, to behavior, to the environment — and whether the outcome respects that. It's about empathy and clarity, not just aesthetics.

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

MM : Good design isn’t just a luxury — it’s a silent partner in our everyday lives. Its value lies in how it makes things feel effortless, how it solves problems we didn’t know we had, and how it brings dignity, clarity, and even joy into routine experiences. Investing in good design means investing in people. It saves time, reduces frustration, and builds trust. Whether it’s a physical product, a digital interface, or a public service — good design is what turns ideas into experiences that truly work. It’s the difference between using something and loving it.

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

MM : If I had the time, I would design for those whose voices often go unheard — people with disabilities, refugees, the elderly. I believe design should be a tool for empathy and equity. I'd love to create inclusive digital products that make everyday tasks more accessible and dignified for them. And beyond that, I’d design for children — playful, educational experiences that nurture creativity and emotional intelligence. Because if we plant the right seeds early, we grow generations that value empathy, imagination, and design.

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

MM : My dream project is to design a wearable AI-powered product — like smart glasses — that helps people with visual or hearing impairments navigate the world more confidently. A product that reads city signs out loud, filters overwhelming lights, or converts speech into on-screen captions in real-time. Something poetic yet practical — a design that blends empathy, technology, and aesthetics seamlessly. It’s a concept I’ve carried with me for a while, and one day, when the timing is right and I have the right team around me, I know I’ll bring it to life.

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

MM : Well, if I tell you, then it wouldn’t be a secret anymore, would it? But honestly, I think my “secret ingredient” is deep observation — really paying attention to how people live, struggle, smile, and interact with the world. I also never stop learning. Curiosity is my fuel. And maybe another secret is that I fall in love with every design I work on — even the ones no one else sees. That connection pushes me to go deeper, not just in terms of visuals or features, but in designing experiences that actually matter.

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

MM : There are so many brilliant minds in the world of design, but a few names have stayed with me throughout my journey. Dieter Rams taught us that “less, but better” isn’t just a style — it’s a mindset. His philosophy around clarity, order, and restraint has deeply influenced the way I think about design. Don Norman showed the world — and me — that design is not just about aesthetics but about usability, empathy, and real-world impact. His work laid the foundation for my understanding of human-centered design. And more recently, Samira Rahimi, the Design Director at Uber, has been a source of inspiration — not just because of her leadership in one of the world’s most influential tech companies, but because of her strong point of view, her ability to guide teams toward vision, and the way she represents thoughtful design at scale. I also find daily inspiration in traditional Persian design, unexpected details in everyday objects, and emerging digital interfaces. For me, design inspiration is everywhere — it just depends on how curious you are.

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

MM : One of my all-time favorite designs is the Dyson Airblade hand dryer. It’s a perfect example of how rethinking an ordinary, everyday object can lead to extraordinary innovation. The way it blends engineering precision with user-centered functionality is truly admirable. Another favorite is the Uber app redesign under Samira Rahimi’s leadership. It’s not just about a sleek interface — it’s about creating clarity in chaos, making the experience seamless for millions of users across the globe. I also love the MUJI CD player designed by Naoto Fukasawa. It’s so minimal, so intuitive, and yet so poetic — you pull a string and music plays. It reminds me that the best designs don’t shout; they whisper gently and stay with you. What ties all of these together is that they solve a real problem in a surprisingly elegant way. They’re not just beautiful — they’re smart, human, and purposeful.

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

MM : I think my greatest design so far is Alma, an adaptive learning platform I created to personalize education using AI. What makes it special isn’t just the technology behind it — it’s the intention. Alma was designed to give people from different backgrounds an equal chance to learn, regardless of language, age, or learning style. What I love most about this project is how it balances functionality with empathy. The design adapts to the user’s needs instead of forcing users to adapt to the system. We used behavior-driven learning paths, real-time insights, and visual simplicity — but all of that came from listening deeply to people. To me, it’s great not because it won an award, but because it proved that design can remove barriers. That’s the kind of work I want to keep doing.

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

MM : Honestly, I think the key to becoming a better designer is to stay curious and observant. I’ve always tried to watch closely — how people behave, what they need, what frustrates them. Design begins when you start seeing those patterns. I also believe in never stopping the learning process. I constantly explore new tools, test out new ideas, and even mentor others — because teaching is one of the best ways to learn. And of course, I surround myself with design — from movies to museum visits, to looking at everyday objects more critically. I try to keep my visual vocabulary fresh and rich. Lastly, I’ve learned to be comfortable with feedback. Not every idea is a hit, and that’s okay. Listening, iterating, and growing from it — that’s where real improvement happens.

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

MM : If I hadn’t become a designer, I think I would have still found a way to express creativity — maybe through music or writing. I actually started my creative journey through music as a child. I performed group violin and flute concerts on stage at Vahdat Hall in Tehran, and later studied Tar, a traditional Persian instrument. Even now, I think creativity would’ve found me one way or another. Whether through teaching, storytelling, or curating experiences, I’ve always been drawn to ideas that connect people and evoke emotion. So, even in another life, I’d probably still be building something meaningful — just in a different medium.

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

MM : For me, design is the invisible bridge between problems and possibilities. It’s not just about creating something beautiful — it’s about shaping experiences, solving real-life challenges, and improving how we live, work, and connect with each other. Design is a conversation between empathy and functionality. It’s where emotion meets logic. When I design, I’m not just thinking about the interface — I’m thinking about the people behind the screen, their needs, their limitations, their joys. In short, design is intention made visible — every color, space, word, and interaction has a purpose.

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

MM : Without a doubt, my biggest supporter has been my husband. He believed in me during the most uncertain moments — from late-night brainstorming sessions to the emotional roller coasters of competitions and career changes. His calm presence and constant encouragement gave me the strength to keep going when I doubted myself. Beyond him, my family, mentors, and even my students have all played a role. Every conversation, every challenge, and every bit of feedback shaped me into the designer I am today. I genuinely believe no one gets anywhere alone — we rise with the people who walk beside us.

DL: What helped you to become a great designer?

MM : What helped me the most was a combination of curiosity, empathy, and resilience. I’ve always been curious — constantly asking “Why does this work like that?” or “How could this be better?”. That curiosity drove me to explore different fields: from resin art and traditional carpet weaving to urban planning and digital UX design. But curiosity alone isn’t enough. Empathy — the ability to understand how others think, feel, and experience the world — helped me design with meaning and relevance. And then there’s resilience: the quiet force that pushed me through rejections, hard feedback, and self-doubt. Also, being open to learning from other disciplines, cultures, and even my own mistakes has made my design process deeper and more human. That openness, I think, is what turns a good designer into a lasting one.

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

MM : One of the biggest obstacles I faced was being underestimated — not just as a designer, but as a woman from the Middle East working in tech. I often had to prove my value twice as hard, especially in environments where my background wasn’t fully understood or appreciated. Another challenge was navigating between creativity and practicality. Early in my career, I sometimes let ideas get too artistic or conceptual, forgetting that design is also about solving real problems. It took time to learn how to balance innovation with functionality. And of course, there were personal sacrifices: long hours, job rejections, visa stress, and moments of burnout. But each of these taught me something — about patience, persistence, and the importance of protecting my creative energy.

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

MM : Designers should present their work with clarity, context, and confidence. A strong portfolio is essential — not just a gallery of pretty screens, but a storytelling tool that explains the problem, the process, and the impact of each project. Participating in design competitions like A’ Design or Red Dot also adds credibility and exposure, especially for those who may not have big-name clients. It shows initiative and a commitment to pushing boundaries. Having an online presence is crucial. Platforms like Dribbble, Behance, LinkedIn, and even personal websites help designers build visibility. But it’s not about being everywhere — it’s about being intentional and showing the kind of designer you are, through both your visuals and your voice.

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

MM : My next project is still under wraps, but I can share that it's deeply personal and meaningful — it focuses on improving accessibility for people with disabilities. It blends technology, empathy, and design in a way that I hope will truly make a difference. You can expect something that's human-centered, inclusive, and innovative, pushing the boundaries of what assistive digital products can be. I'm excited — and a little nervous — but mostly grateful to be working on something that matters this much.

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

MM : My ultimate goal as a designer is to create work that truly improves people's lives — not just in terms of functionality, but emotionally as well. I want to design with empathy, build products that feel intuitive and human, and leave behind a body of work that speaks for itself. More than awards or recognition, I want to be remembered as someone who used design to bridge gaps, amplify unheard voices, and make technology feel a little more human.

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

MM : People often expect an esteemed designer to bring clarity to complexity, to make things not just usable but meaningful. They look for someone who can balance creativity with practicality, and lead with both vision and empathy. I think there's also an unspoken expectation to inspire — whether it's mentoring others, sharing knowledge, or simply setting an example through thoughtful work. And that’s a responsibility I take seriously. Design isn't just about what we create — it's also about the conversations we spark, the values we uphold, and the legacy we leave behind.

DL: How does design help create a better society?

MM : Design shapes how we live, interact, learn, heal, and connect — sometimes in subtle ways, sometimes in transformative ones. When done responsibly, it can amplify voices, bridge accessibility gaps, and bring dignity and beauty into everyday experiences. Good design simplifies complexity, reduces waste, and creates systems that are more human-centered and inclusive. Whether it's a digital tool that empowers people with disabilities, or a public service that respects every citizen’s time and needs, design becomes a silent partner in building a better world. I truly believe that design — at its core — is an act of care.

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

MM : Right now, I’m especially excited about my role as a mentor on platforms like ADPList and the Moonshot program at UC Berkeley. Guiding emerging designers and career changers is incredibly fulfilling — not just because I get to share what I’ve learned, but because I continuously learn from their fresh perspectives and questions. It’s a space where creativity meets empathy, and where I feel I can make a lasting impact beyond my own projects — by helping shape the next generation of thoughtful, responsible designers.

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

MM : One of the most satisfying projects I’ve worked on is Alma, an adaptive learning platform that personalizes the training journey using AI and behavioral models. It wasn’t just about designing a beautiful interface — it was about creating meaningful access to learning, especially for users who might otherwise be left behind in traditional systems. What made it truly rewarding was how deeply it connected to real needs: educational equity, personalized learning, and empowerment. Seeing how design can simplify complexity and open doors for others — that’s what gives me the deepest sense of fulfillment.

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

MM : I’d love to see the design industry become more inclusive — not just in terms of race, gender, or geography, but in mindset. I want to see more recognition for designers from underrepresented regions, more room for culturally diverse design languages, and more value placed on accessibility and ethical impact rather than just aesthetics or trends. Also, I’d like to see a shift from ego-driven design toward user-led design. Less focus on “signature styles” and more on solving real problems in honest, respectful, and sustainable ways.

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

MM : I believe the design field is heading toward deeper integration with emerging technologies — especially AI, AR/VR, and spatial computing. But beyond the tools, I think the real shift will be in how we define the designer’s role: we’ll no longer just shape interfaces, we’ll be shaping entire experiences, behaviors, and ethical systems. Design is becoming more cross-disciplinary, more human-centered, and more responsible. The future belongs to designers who can think systemically, collaborate across fields, and balance innovation with empathy.

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

MM : It really depends on the complexity and scope of the project. Some can take a few intense days — especially concept explorations or visual polish — while others stretch over several months due to research, testing, iterations, and collaboration. But truthfully, I don’t think design is ever truly final. There’s always room to revisit and refine, especially as user needs evolve. The moment I feel the design is solving the right problem in the right context — and users respond positively — that’s when I’m ready to ship.

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

MM : I always start with listening — to users, stakeholders, and the context around the problem. I immerse myself in the product's purpose, study behaviors, ask a lot of "why"s, and try to uncover the root challenge rather than jumping into solutions. Then comes mapping the experience: I sketch flows, align with business goals, and only after that move into ideation and visual design. For me, understanding people is the real foundation of every design.

DL: What is your life motto as a designer?

MM : "Design with empathy, deliver with clarity." This motto reminds me that good design isn’t just about looking polished — it’s about understanding human needs and turning that insight into clear, functional, and meaningful experiences.

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

MM : That’s a bit of a dance, isn’t it? I think it goes both ways. Design often sets trends when it's visionary and brave enough to challenge norms — especially when it truly solves problems in a new way. But at the same time, designers live in the world, absorb its shifts, and reflect cultural, technological, and emotional trends back into their work. So while trends can inspire design, timeless design doesn't chase trends — it anticipates needs.

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

MM : Technology is both my companion and catalyst in the design process. It helps me prototype faster, test smarter, and collaborate globally. Tools like Figma, AI-powered assistants, and remote boards like Miro allow ideas to evolve quickly and inclusively. But I never let technology dictate the outcome — it's a means, not the message. At the core, I still focus on human needs, intuition, and storytelling. Technology simply helps me bring those stories to life more effectively.

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

MM : I primarily use Figma for interface design and prototyping, along with Miro for collaborative brainstorming and journey mapping. For documentation and communication, I rely on Jira, Notion, and Microsoft Office tools. I also use AI-based tools to speed up ideation, content generation, or user flow suggestions — especially when I’m exploring new directions or creating variations. While I don't use Photoshop much, I occasionally turn to Illustrator for vector-based assets. Hardware-wise, I work on a MacBook Pro, and for sketching quick ideas or flows, nothing beats pen and paper.

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

MM : Color, materials, and ambience play a powerful emotional and functional role in design. For me, color is not just decoration—it sets the tone, influences perception, and guides user behavior. For example, calming hues can reduce cognitive load in an intense dashboard, while bold accents draw attention to key actions. Materials, whether digital textures or real-world surfaces, add realism, tactility, and trust. In physical product design, the material can communicate durability or softness, while in digital design, material metaphors (like neumorphism or skeuomorphism) can impact user intuitiveness. As for ambience, it's about the overall mood. Whether through animation, sound, layout spacing, or visual hierarchy, the ambience of a design helps create a welcoming, intuitive, or emotionally resonant environment. Altogether, these three elements aren't decorative extras—they are central to creating meaningful, memorable, and user-centered experiences.

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

MM : I wish people would ask “What inspired this design?” instead of just “How does it work?” Because behind every design I create, there's always a story—sometimes an emotion, sometimes a challenge someone faced that moved me deeply. I love when people are curious about the why behind a design, not just the what. It opens the door to meaningful conversations about human needs, cultural context, and the emotional layers that shape the final product.

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

MM : When I see a great design, the first thing that comes to my mind is: "I wish I had designed that!" But right after that, curiosity kicks in—Why does it feel so right? What problems is it solving? What subtle decisions did the designer make to evoke that reaction in me? A great design makes me pause, think, and sometimes even feel a little emotional. It inspires me, challenges me, and reminds me why I love being a designer.

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

MM : Absolutely. I strongly believe in co-design. I love working within design teams because multiple perspectives always bring stronger results than working in isolation. Each voice in the room can highlight a blind spot or add a layer of depth I may not have considered on my own. I’ve learned that true innovation often emerges through collaboration — especially when designers, developers, marketers, and even users are part of the conversation. I'm always excited to co-create with curious, open-minded, and passionate people.

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

MM : People I’ve collaborated with — from developers and marketers to product owners and even end users — have deeply shaped how I think about design. But perhaps the biggest influence came from those who challenged my ideas, asked tough questions, and pushed me to defend my choices. Also, my mentees have influenced me in ways I didn’t expect — their fresh perspectives constantly remind me to stay curious and open. It’s never been just one person; it’s the collective interactions over time that helped me grow as a designer.

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

MM : One of the most influential books for me has been The Design of Everyday Things by Don Norman. Even though I read it later in my career, it reframed how I view usability, human behavior, and emotional connection in design. It felt like everything I had intuitively believed was finally articulated in words. This book reminded me that good design isn't about impressing — it's about understanding and solving. It’s a must-read for anyone serious about human-centered design.

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

MM : By staying curious, constantly observing the world around me, and never thinking I know enough. I built my skills not just through formal education, but through real projects, trial and error, feedback from users, and conversations with developers, marketers, and fellow designers. I’ve always been open to mentorship — both giving and receiving it — and I believe that sharing knowledge is one of the best ways to deepen your own. Most importantly, I never stopped designing — every project taught me something new.

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

MM : I would love to meet Dieter Rams. His philosophy of “Less, but better” has always resonated with me. I’d love to hear how he balanced function with emotion, and how he feels about the evolution of digital design today. I also wish I could have a conversation with Zaha Hadid — not just for her groundbreaking forms, but to understand how she challenged norms and broke through so many boundaries as a woman in design and architecture.

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

MM : Every recognition feels like a quiet “you’re on the right path” whisper. I don’t see myself as famous — I see myself as someone who deeply cares about solving problems through design. Awards are motivating, but they also bring a sense of responsibility to keep learning, improving, and giving back. I try to stay grounded and focus on the reason I started: creating meaningful and thoughtful experiences for people.

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

MM : My favorite color is olive green — it feels natural, grounded, and timeless to me. My favorite place is Persepolis, the ancient ceremonial capital of the Persian Empire. It reminds me of where I come from — a land rich in culture, art, and power. When it comes to food, I love a perfectly cooked steak — simple, bold, and full of character. My favorite season is autumn — poetic, thoughtful, and full of change. One of my favorite objects is an old copper candleholder that belonged to my grandfather — it carries emotional depth and a sense of heritage. As for brands, Apple has always inspired me with its commitment to simplicity, innovation, and human-centered design.

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

MM : One time, I was presenting a prototype to a client, explaining how intuitive and self-explanatory the user journey was. As I handed over the tablet for them to test, they confidently tapped on the logo for five minutes straight, thinking it was a start button. We both laughed so hard — and I learned that no matter how “clear” you think your design is, the real test is always the user. Since then, I never underestimate the power of actual testing — or the creative ways users interact with things!

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

MM : A great day for me starts with a small spark — it could be discovering a clever idea, receiving kind feedback from a user, or even finding an elegant solution to a problem I’ve been stuck on. I also find joy in the little things: organizing my workspace, listening to music while sketching, or watering my avocado plant that’s grown from a seed I once casually planted. What keeps me going is the love of creating things that matter — knowing that design, no matter how small, has the power to ease someone’s day or make something more human. And when I lose motivation, I remind myself why I started: for the joy of solving puzzles and telling visual stories that connect with people.

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

MM : I’m not sure it was obvious, but the signs were definitely there. I was always creating something — drawing, making tiny books, crafting things out of anything I could find. I even used to redesign my dolls’ clothes or rearrange the furniture in my room just to make things “feel better.” What’s funny is, I started on a different path: music. From the age of five, I was on stage playing violin and later tar in classical concerts. That world taught me rhythm, emotion, and structure — things that later shaped how I approach design today. So maybe it wasn’t obvious that I’d become a designer, but I was always meant to create.

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

MM : A thousand years from now, I believe the essence of design will still be the same — solving problems, creating meaning, and connecting people — but the tools and mediums will be beyond what we can imagine today. Maybe we’ll design in fully immersive realities, or even co-create with AI that understands emotion better than we do. But I also think the more we evolve, the more we’ll long for authenticity — cultural heritage, human touch, imperfection. So perhaps the future of design will be a beautiful balance between advanced technology and timeless humanity. And I hope, wherever we are, design will still be used to make lives better — not just more efficient, but more soulful.

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

MM : I want people to know that behind every design I create, there's a deep sense of curiosity, care, and connection. I'm not designing just to impress — I design to express, to solve, and to serve. I’m not afraid of making mistakes, of starting over, or of showing the messy process behind the polished result. I believe the best designs are born from listening — to people, to context, to culture — and I always try to stay open to learning. And maybe most of all, I want people to know that I deeply love what I do. Even when it’s hard. Even when no one’s watching. Because design is not just my job — it’s my language.