Lisa Fessl is an art director and graphic designer based in Berlin. She is the founder of Studio Lisa Fessl, an independent practice focused on design, creative direction, and strategic consulting. With a conceptual approach the studio works across identity, communication, and digital environments, collaborating with brands and cultural institutions to elevate and shape visual language and cohesive visual systems. Clients include, Nike Running, Icon Magazine and Universal Music Group.

Your work spans identity design, editorial projects, and art direction. What draws you to moving between these different formats rather than focusing on a single discipline?

Beyond craft, design to me is about shaping a narrative. Visually, strategically, and culturally. To do that well, I almost have to look at the bigger picture and pay attention to what’s happening beyond my own work. I really admire designers who do one thing exceptionally well and devote their entire practice to a specific discipline. My own path hasn’t been that linear, and neither is the way my mind works. That being said, whether I’m doing editorial, digital, or identity work, I don’t think the underlying process is all that different. Technically, of course, each discipline comes with its own expertise and there’s a lot of value in mastering those specifics. But ultimately, it’s about cultivating a designer’s mind, your own way of seeing, thinking, and approaching a task.

Many of your projects rely on strong typographic structures. How do you approach typography as both a functional tool and a distinct visual voice within a project?

Typography is often the backbone. It sets the tone in a subtle yet effective way and provides a strong structural foundation. A certain timeless quality or sustainability  is what I aim for while still considering how a project can adapt over time. Rigid identity systems often lock brands into a narrow moment in time. That said, a flexible approach still requires a clear framework. For me, that element is typography.

When starting a new identity or publication, which stage of the process excites you the most — research, concept development, experimentation, or refinement?

Each phase holds something exciting. Concept development and research are moments of optimism and curiosity, they form the foundation on which a project is built. For my work, it’s crucial to really understand the context, which makes this part of the process particularly rich. Narrowing down ideas and seeing a vision begin to take shape is equally exciting. Experimentation is rarely a conscious step in my process. It manifests more as a constant search for the right feeling. There comes a point when all the pixels finally fall into place after hours of visual detours. It’s not something I’m consciously creating, nor is it as fun as ‘experimentation’ suggests. It feels more like a little battle you have with your work, gently guiding it toward what it wants to become. What I’ve found, though, is that when the research is done well, a unique solution almost seems to unfold on its own.

Several projects in your portfolio combine structured layouts with more expressive visual gestures. How do you balance order and experimentation in your work?

It’s interesting to think about that balance and to find the right spot between a strong system and experimentation. It’s where this idea of variability and sustainability comes into play. I want to create a playbook that feels systematic in order to allow for more expressive, sometimes softer or spontaneous gestures.

You’ve worked across commercial brands, cultural institutions and independent clients. Are there differences in the kinds of conversations you find yourself having with people who understand design primarily as communication versus those who see it as part of culture?

I think the visual culture we’re experiencing right now has helped design in the sense that it has made its value very clear. I don’t come across many voices that would argue otherwise. What has changed, though, is this constant and sometimes excessive ambition around aesthetics. But you can’t build culture with a new look alone. It takes much more than that. So sometimes I wish design weren’t the first thing we talked about, even though a designer’s mindset can be incredibly helpful in imagining what isn’t visible yet. Where I want to play devil’s advocate a little is in resisting the urge to chase the next trendy thing. For me, it’s much more about building a solid foundation that feels truthful and knows what it wants to be and what the unique standpoint is. Although visual trends infuse us all together, I want to create more out of that genuine sentiment.

You’ve worked with clients such as Nike Running and Universal Music. How does designing for globally recognised brands differ from working with smaller cultural institutions or independent clients?

There are many similarities, but just as many differences. When working for corporations or established institutions, you need to be aware that you’re entering a larger structure, where your work supports a bigger goal and serves a brand that is already perceived in a certain way. Hierarchy therefore naturally plays a significant role. In these structures it’s about finding the space in which you can act. With smaller, independent clients, communication tends to be shorter and more direct. In any case, a  great project thrives on a clear brief, transparency, and openness, principles that ultimately apply to every type of client.

Universal Music Group brings together an enormous range of artists, audiences and visual identities. How do you approach creating communication within a world where the content and personalities are constantly changing?

I really enjoy thinking about these variables. It’s not just a visual challenge; it’s a strategic one. You can probably see where this is going, it’s an integral part of my work. I think this becomes especially important when your core product - say, an artist repertoire - is constantly changing. You need to establish a unique tone without overwhelming everything with your own message. When we talk about design, it’s about creating a strong structure that is distinctly yours, but flexible enough to work with whatever artists, actors, or musicians bring into the mix.

Looking at your portfolio, are there particular projects that mark a turning point in how you approach design or think about visual communication?

I think each project reflects a moment in my journey, and overall it has been a steady, linear progression. One truth  that has established itself quite firmly over the years is that design does far more for a project than clients often realise. People tend to expect a service to be executed, but what actually happens is that they are confronted with open questions and unresolved strategic decisions. Issues they often intend to address “another time.” When a design process begins - whether for a website, a publication, or an identity system - it quickly shows where the grey areas are. You can feel it. That’s why I find what design does so remarkable. Over time, you develop a deeper understanding of design as a form of strategy.

What kinds of challenges tend to produce the most interesting design outcomes for you — tight constraints, open experimentation, or something in between?

I find that a balance of both is needed. The ideal combination is when there is a climate of openness, trust, and curiosity. In that setting, constraints don’t necessarily feel limiting. What matters most at the beginning is having a shared understanding of what those constraints are, whether financial, visual, or strategic. That clarity makes it possible to work effectively within them and often great work happens precisely because of these boundaries. I’ve actually become a little wary when a project has no boundaries or constraints at all. In my experience, that rarely happens and often it’s an indication that what we’re trying to achieve is still too vague for meaningful parameters to be defined.

Looking ahead, are there particular formats, collaborations, or industries you’re interested in exploring further as your practice evolves?

I admire individuals who have the vision to create something new, daring, and meaningful despite the current economic and global climate. Rather than focusing on a specific industry, I’m interested in helping shape those ideas and communicating them in the best possible way. I’m continually inspired by how the interplay between a strong idea and a compelling visual identity can create something powerful - something that generates genuine cultural pull. At this stage, it’s becoming clear that I want to be involved in projects that place design at their core and truly understand its value as a strategic tool.