Kaer Studio is a multidisciplinary design practice founded by Natalia Karczewska, specialising in branding and visual identity. Guided by curiosity and craft, the studio takes an explorative approach to building visual worlds that foster meaningful connections. Before establishing Kaer Studio, Natalia worked as Art Director at Vanessa Bruno; previous clients include Clarins, ba&sh, and Longchamp. Her background spans both design and photography, shaped by a strong foundation in the fashion industry. This dual perspective informs her work today, where the studio focuses on branding, visual identity, and creative direction for lifestyle, fashion, and beauty brands.
You began your career in fashion. How has that influenced the way you now collaborate with clients as a studio founder?
Working inside brands early on helped me understand what design really means in a broader sense, it’s not just about making things look good, it’s about translating ideas into something people can connect with. Seeing the process from the inside—the strategy, the communication between teams, the way a visual identity grows and changes—taught me how to think long-term. It also helped me understand how creative work actually lives within a business. Now, when I collaborate with clients, I think like a partner, not an external designer. I care about the brand’s rhythm, the people behind it, and how the identity can support them in the long run.
Your practice spans both design and photography. How does this dual perspective shape the way you approach branding and visual identity?
Photography taught me how powerful simplicity can be, how much a single image can hold if you let it. It made me more sensitive to composition, light, and emotion—things that now shape the way I design. I think visually before anything else. For me, imagery and design speak the same language, they need to feel connected, not competing for attention. I like giving both space to breathe, so that one doesn’t overpower the other.
Could you walk us through your recent project with blōme—what was the starting point, and how did the concept evolve?
When Hannah reached out, blōme (formerly Blooming Dreamer) was at a point of transition—the brand had matured, and she wanted that evolution to be reflected in new branding. From the start, it was clear the new identity needed to carry the same depth and tactility as the pieces she creates, rooted in craftsmanship and nature, but elevated with a sense of refinement.
The name blōme captures that balance between organic growth and the craft of metalwork, the meeting of nature and the human hand, where raw materials are shaped into something lasting and full of character. That duality became the foundation of the design. We began with a lot of exploration, playing with textures and forms, and gradually stripped things back to what felt essential. The identity was built to feel natural and sensory, giving space for the photography and materials to speak.
Your work often draws inspiration from fashion. How do you translate that influence into branding projects without leaning into trends?
Working in fashion taught me a lot about balance and attitude—how something can feel strong without trying too hard. For a long time, I thought my designs had to be loud or complex to stand out or prove my skills. With time I realised that subtlety can say more, that clarity and restraint often make a deeper impression than noise. And that shift changed the way I work. I start by exploring freely, but I always come back to intention—what feels real, what actually adds something valuable, what can be left out. I think that’s what keeps my work from feeling trend-driven. It’s not about being minimal, it’s about finding what’s essential and letting it breathe.
When you begin a new project, do you first think of it visually, conceptually, or experientially? How do you balance exploration with structure?
It’s usually a mix, but I often begin with a feeling, a sense of how the brand should make you feel the first time you see it. From there, I explore how to translate that emotion into a visual language. That part can be tricky, because design also needs structure and clarity. The challenge is to give myself time to experiment, to make mistakes, to let things unfold before locking everything into a system.
Looking ahead, what kinds of collaborations or brand stories are you most excited to take on at Kaer Studio?
I’m really drawn to collaborations that blur the line between digital and tactile, where design can still feel human, sensory, and connected to the offline world. I love finding ways to bring that sense of materiality and craft into digital spaces, to make the experience feel tangible, even through a screen. I’m very inspired by working with people who care about how things are made, who value craftsmanship, intention, and detail. That’s where the work feels the most genuine to me.
