Claire Huss is a Paris-based art director and graphic designer with a practice defined by editorial clarity and visual nuance. From 2008 to 2017, she lived in London, working with several design studios before joining COS as Lead Graphic Designer, where she led all printed materials from packaging to publications and event campaigns. Since 2018, she’s run her own studio in Paris, collaborating with international clients across design, culture, fashion, and beauty—including Erborian, Google Fonts, Humboldt Books, Luma Westbau, Mansur Gavriel, Martin Parr Foundation and Royère She also works closely with artists and photographers on publications and exhibitions.

Your portfolio shows a real sensitivity to materials and production. Are there certain types of projects—or formats—you feel especially drawn to?

I’m particularly drawn to projects that involve photography. I love editing images, finding the right rhythm and sequence, and pairing them with papers or colours that elevate the story. I also enjoy challenging the format of the book—exploring folded pages, hidden elements, varied formats—to create something unexpected and memorable.

Collaboration seems like a thread across much of your work, especially with photographers and artists. How do you usually approach those creative partnerships?

Collaboration is fundamental to the success of these projects. I see it as a conversation—exchanging ideas, pushing boundaries, and finding that balance between the designer’s external perspective and the artist’s deep personal connection to the work. That tension is where some of the most interesting outcomes emerge.

You’ve worked across fashion, culture, beauty, and lifestyle—are there industries you naturally gravitate toward, or ones you tend to steer away from?

Lately, I’ve been working more with furniture companies, and I really value the durability and thoughtfulness in their approach to design. There’s something quite noble about it. But I’m open to working across any industry—the key is being the right fit for the client’s needs and having a shared vision for the project.

Self-promotion can be tricky for independent designers. How do you navigate visibility for your studio, especially after time in more structured roles?

Instagram is my main platform for visibility, and it’s proven to be quite effective—aside from word of mouth, it’s how most people find my work. I also invest time in self-initiated projects, which give me space to experiment and express ideas freely. In the past year, I launched two books—one with NY-based independent publisher Pharmacy Books, and another with London-based photographer Annie Collinge, which we self-published.

Looking back, are there particular lessons or shifts that have helped you evolve as a designer — maybe even things you’ve had to unlearn?

One of my earliest mentors taught me to approach every medium—whether it’s a small card or a large catalogue—with the same care and attention to detail. That’s something I still hold onto. At the same time, I’ve learned to unlearn. Design education instills a lot of rules around typography and layout, which are useful as a foundation. But with experience comes the confidence to break them—and embrace a more intuitive and free mindset.

Running your own practice comes with creative and practical demands. Are there any tools or systems that help you stay organised and engaged?

I rely heavily on my digital calendar (iCal)—it’s colour-coded and holds everything from deadlines to to-do lists. I’d be lost without it. For creative inspiration, I subscribe to Slash Paris, a weekly newsletter about exhibitions and events. Art is a huge source of inspiration—it helps me refresh my perspective and stay creatively engaged.

Do you have a dream client or project—something tactile, conceptual, or collaborative that’s sitting at the top of your wish-list?

I’d love to work on a film-related project. Cinematography really inspires me, and I’m interested in collaborating with filmmakers—whether through print pieces that accompany or present a film, or in digital formats that extend the narrative.

What’s next for you and the studio—any upcoming directions or personal projects you’re excited to explore?

I’ve just completed a collaborative book project with photographer Louis De Belle. It’s being published by Pharmacy Books and will launch during Paris Photo 2025. The project came together quite organically and had a fun, carefree energy throughout—it was a refreshing, intuitive process that allowed us to play, experiment, and not take ourselves too seriously. I’m looking forward to sharing it.