Interview with Erekle Inashvili

Erekle, 18 years in the field of design, invaluable experience with leading international brands such as Sky Deutschland, DAZN, RTL Creation... Please, tell us about your first steps in design and how you evaluate this journey from today’s perspective.

Being a designer is my calling. My journey started with a deep fascination for motion design. I took my first steps in television broadcast design. My experience in Georgia led me to Film Akademie Ludwigsburg in Germany, where I was exposed to new fields of design and acquired crucial knowledge in the direction of interactive design. As technology progressed, motion and interaction were brought together. New knowledge, interesting people, and my desire to do this work contributed a lot to my career development. I delved into brand creation at RTL, where I orchestrated 360 campaigns and immersed myself in various details of the creative process. What truly captivates me about design is its perpetual evolution. Trends are revived, and new directions emerge. Now, I am drawn to Design Futuring—a strategic approach rooted in storytelling, allowing for limitless scenario development. Over the years, strategic design has become more significant to me than superficial one. Even in the age of artificial intelligence, where tools are becoming increasingly automated, success relies on creative and strategic thinking, on a profound understanding of brand experience. I think that in a hybrid world, the synergy between technology and design orthodoxy is crucial. It's through this collaboration that new realities are forged.

What does it mean to be a design leader? What role do they play in brand management and how do they contribute to the processes?

First and foremost, a design leader serves as a marketer's sparring companion. The stronger the partnership and synergy between them, the more successful the outcome. Continuous interaction, asking extensive questions, and attention to detail are all essential in the creation and development of a brand. Effective communication, expressed not just through words but also through visuals and values, is crucial throughout the journey of creating a brand. Encouraging healthy challenges, defining creative tasks, employing critical thinking, demonstrating empathy, and conducting thorough research are all vital qualities in finding optimal solutions. The design head acts as the process moderator, engaging in every stage from strategic planning to visual execution. Together with the marketer, they shape the brand and craft the overall experience.

Erekle, you have extensive experience in using digital tools. Please, share with us what this process is like. How do digital products manage to enhance productivity, and just how crucial are they for efficient work?

Methodologies are an essential foundation in design.

In interactive design, Figma is an indispensable medium. In concept - FigJam and Miro are both world standard in my observation. Adobe Illustrator is still an irreplaceable methodology in classic graphic design. As Motion design evolved, Aftereffect's monopoly strengthened. Today, Photoshop is less competitive because its core DNA mechanics have become available to everyone. Making logos, patterns, and illustrations is still possible in Illustrator at high quality, so it still maintains its position. In the theoretical part, the well-known method is Lib boarding, which helps you to construct worlds. Personally, I use mobile ethnography. After receiving a brief, I walk a lot in physical spaces and look for inspiration everywhere. At first glance, these inspirations are of a completely different content and nature. The main interest of the process is precisely this: capturing the details, connections, directions and characteristics seen in the DNA of the brand, which you constantly collect and then use at the right time. A visual person is fully involved in this process by constantly collecting, thinking and making connections in everyday life between existing details.

What's the dynamic like between designers, design leaders, and their clients? What challenges arise in this relationship, and with your 18 years of experience, what advice would you offer designers navigating client interactions?

In the early stages, especially when you lack experience, you always try to ensure that your work meets the client's expectations. However, as you gain more experience, this approach evolves as well. Today, my primary focus is on ensuring that I'm genuinely satisfied with the work I create. When a client approaches me, it means they trust my expertise and taste, indicating that they'll likely appreciate my solutions. They seek out my particular standard and style. So, every project I undertake is one I genuinely enjoy. If it doesn't resonate with me, I simply won't take it on. Some might wonder why I still take on Georgian projects despite a packed schedule. It's because I relish new experiences, especially Georgian ones, which tie into my own reality. To ensure project success, it's crucial to approach each brand, regardless of its size, with empathy and a genuine affinity. Understanding its character and embracing its unique qualities are essential. Design isn't just about creating visuals. It's about constructing a new world that aligns with your highest standards and meets your requirements. In this whole process, the designer serves as the creator of the show and the main censor. So, finding joy and passion in the project is pivotal for achieving the best possible outcome.

Erekle, you actively cooperate not only with German and international brands but also with Georgian companies. Your iconic branding is beloved by many of us. What are the differences between the international and Georgian markets, particularly in relation to customer dynamics?

Operating within both the Georgian and German markets allows me to bridge certain gaps. I balance out German precision, quality, and professionalism with Georgian spontaneity and original, free thinking. Naturally, there are numerous distinctions between the German and Georgian markets. In Germany, there's a sense of wealth in every detail. Professionalism, quality, and high standards are consistently upheld. On the other hand, the Georgian market is known for its distinctiveness and temperament. The same can be said about its clientele. Germany epitomizes a commitment to quality, while in Georgia, the fulfillment of creative potential can fluctuate depending on various factors.

You are no stranger to international acclaim with the German Design Award, German Brand Award, and Red Dot Design… How crucial do you find this kind of recognition for a designer, and what does it take for projects to reach this level of international success?

Awards have never been my primary aim. Receiving them is undeniably gratifying. They serve as markers of quality and standards. Validation and acknowledgment through various awards solidify your standing within the professional community and help you find confidence in your abilities. It's a motivational boost that drives you to continually challenge yourself and strive for excellence. Ultimately, the key is to derive enjoyment from the work, to grow and evolve through this process.

You have a strong tie to the education sector. Now, you're set to lead a course at the Design Institute. Now you also have sessions at the Design Institute. Could you tell us what attendees of individual meetings or share insights into the course's design? What are your objectives, and how do you envision its development?

As I mentioned, I don’t live in Georgia, and I only get to visit two or three times a year. I try to interact more with the Design Institute’s audience during each of these visits. A public meeting is planned for September 4th, focusing on sharing and creating design portfolios.

We also have a course Brief VS Design which is based on mine and Beki’s collective experiences. The main takeaway of the course is taking the glimpse into the creative process that unfolds in the real-world collaboration between marketers and designers. We were inspired to transform our day-to-day professional interactions into a compelling case study that would resonate with individuals in the field.

Throughout the course, participants will get to know a real side of Beki and myself as well as fully engage in the “never-ending battle” between marketers and designers. They will witness firsthand the birth of groundbreaking ideas and the vital role that each team member plays in crafting a successful project. So, there are many more interesting meetings ahead at the Design Institute.

Interview by Nini Papashvili