Dipl.Ing. (FH) Isabella Schlagintweit, MA

How did you start your agency Hazod Schlagintweit? 

I met my agency partner Anna during a joint design project – the redesign of Gusto magazine. Even back then, we were able to divide the tasks well and quickly realised that we had different skills to offer. My focus is on typography and font design, while Anna also works as an illustrator – so we complement each other perfectly. We thought that these two strengths work really well together. We also realised that we complement each other very well in terms of communication: One of us is more assertive, the other one more empathetic – a mix that often goes down very well. We started working together in 2016 and then officially founded the agency in 2020.

What is your typical working day like? 

We try to meet once a week for a regular meeting. Since we both have families, it’s often the case that one of us does more than the other – but that works very well because we take turns flexibly. Of course, it’s ideal when we can work on a project together, where we brainstorm from the outset. This is followed by a design phase, in which each of us starts working independently. Then there is a critical exchange phase, after which we continue to work on each other’s designs. This always produces really good results.

How important is the office to you? 

It’s very important to us to have a shared working place. We don’t work there every day from nine to five, but we definitely need this space – a place where things can happen and where we can also leave our work behind for a while. A space where we feel comfortable, where we can hang up our work and look at it in peace.

Back to the redesign of GUSTO magazine, which is quite a showcase project, isn’t it? 

Yes, we really did start from scratch – new typography, an art direction with a clear guiding concept: How should the appearance come across, how should the magazine be perceived? Together with the photographer, we also defined the visual style and for this purpose, we visited various photo studios. Our goal was to make the whole thing livelier and more authentic – this really worked well and was also a lot of fun. It all started with a pitch which was followed by a pilot issue, and only then did things really get going. All in all, it was a process that took three to four months until the first issue finally appeared.

How do you approach a new design project? 

Yes, of course, there’s always a research phase at the beginning. It starts with me knowing that a new project is coming up – and knowing this expands my view. I take in everything I encounter along the way. I pay attention to fonts, go into shops, or when it comes to products, I do blind shopping. Actually, this process never really stops. At some point, it transitions into design – and even then, I’m constantly thinking about the draft. We also work a lot with mood boards, so I do additional targeted research on the computer to collect visual moods and ideas.

How do you deal with criticism at work? 

I take a deep breath and count from ten to zero – that often helps me. Even though I’m used to criticism from my work partner, it’s something completely different when it comes from clients. In this case, it’s important to stay calm, wait and see, remain objective, and communicate effectively. It’s rare for someone to immediately say, “Hurray, that’s exactly what we want!” when they see the first draft. It’s important to me that we establish a good dialogue and develop something together with the client. That’s the only way to achieve a result that they can really stand behind – something one can identify with and that stands the test of time.

What skills do designers need today? 

I think it’s becoming increasingly important to think systemically, to look beyond the horizon and to address the major challenges of our time – that are ecological, societal and social. Designers should not be reduced to their tools alone but should also be understood as thinkers and co-creators of the future. This is precisely the direction in which we should be moving – with a clear stance and a broader understanding of responsibility.

Which project from your Information Design studies has stayed with you to this day? 

Founding the virtual company was certainly a formative experience. It was very exciting and challenging from a communication perspective because we not only had to carry out an assignment, but also had to present the company and its idea. It was an intense period – we worked day and night, thinking, designing, and discussing. Finally, there was the presentation, and we had to stand on stage in front of a jury and guests from the business world – it was really exciting. This experience of repeatedly presenting what we were doing came up again and again and left a lasting impression. It prepared us perfectly for our careers!

What path did you take after completing your bachelor’s degree? 

After studying information design, I realised that I was particularly interested in spatial design. I wanted to find out how graphic designs could be transferred into three-dimensional space, which I found very exciting. It was also important to me to engage intensively with the cultural sector – that was the decisive reason for me to do a Master’s degree in exhibition design. 

I wanted to deepen my knowledge in this area, and the degree programme was perfect for that. It gave us the opportunity to implement practical exhibition designs in our agency – a process that I personally find very fascinating.

What advice would you give to students? 

For me, it’s incredibly important to stay curious and always be open to learning. My other advice is to find mentors who really support and guide you. For me, that was a former lecturer at the university – we’re still in close contact today, and I often seek her advice. This means a lot to me and really helps me move forward.