Designer
Elizabeth Goodspeed’s essay explores how designers have increasingly become public-facing influencers, blending their personal identities with their professional output. Tracing the shift from modernist anonymity to performative self-branding, she critiques how social media and visibility culture have turned design into a form of ongoing performance. The piece situates this trend within a historical lineage from figures like Sagmeister and Walsh to today’s content-driven creative economy.
The article profiles New York-based designer Jean Pierre Consuegra, whose poster work draws inspiration from the mechanical and anti-design aesthetics of surveillance interfaces. His experimental approach blends found imagery, neon color palettes, and Y2K influences to create visually striking event posters for music and nightlife scenes. The piece also traces his journey from founding a record label to developing a distinctive visual language rooted in curiosity and playfulness.
The article profiles Hungary-born, Montreal-based visual artist Ilka Gilvesy, whose work bridges illustration and graphic design. Known for her tactile, imperfect aesthetic, she blends digital and analogue methods using tools like pastels, risograph printing, and Adobe software. The feature explores her creative philosophy, influences, and early collaborations, including a wine label designed for her father’s winery.
The Brand Identity interviews Matthew Roop and Dylan Chan, founders of Singapore-based YEYE Design Studio, about their journey from working at &Walsh and in startups to running their own idea-led practice. The couple discuss their complementary roles, philosophy of designing from strong concepts, and the studio’s growth through projects like Mixoloshe, ZEBEDEE, and Dadpack. Their story highlights perseverance, collaboration, and a belief in emotionally driven design.