Gina Guasch Studio's designs are a vibrant, bold, and unapologetic statement of their core values. The studio's work is a testament to the power of authenticity and a genuine point of view in the design world. Founded in Barcelona in 2019, GGS is a small but mighty studio with a unique vision. With a team drawn from the queer community and a feminist, ethical approach, they create work that is inclusive, empathetic, and full of life. This is evident in their diverse client list, which includes Nike, The New York Times, Sony Music, Boiler Room, and The Face, as well as a rich roster of cultural, music, and activist projects. But what truly sets GGS apart is their commitment to going beyond trends and surface aesthetics. They strive for something more activist, critical, and identity-driven, as reflected in their work for MARCIAS, a queer electronic music collective, and SAPPHI, a queer dating app.
Gina's background in graphic design and her creative upbringing in Barcelona have shaped her approach. She describes her work as "closer to art, club culture, and social contexts than to traditional commercial design." Her use of an analogue, experimental, and naive aesthetic, full of color and life, is a key part of her design philosophy. This is particularly evident in the flyers, which are among the most alive elements in the portfolio. Each flyer is a unique expression, capturing the raw energy of ISAbella parties, the bold graphic density of CCCB club nights, and the expressive language of the Bershka Music x DICE visual system. These designs are not just about aesthetics; they are a response to the music and context, avoiding hegemonic or stereotypical solutions.
Gina's work also extends to branding projects, where she applies the same conviction and creativity. SAPPHI, for example, uses fluid, movement-based forms to explore closeness and reciprocity between equals. OXI, a nightclub identity, is built around the idea of plurality, combining digital and analogue references with bold evolving color and custom typography. Good Girl Snacks, a Gen Z snack brand, gets a character-driven universe built around friendship and community. And MIRO, a guide for a Miró Foundation exhibition, uses sketchy, naive illustration and hand-drawn lettering to make the work feel like a playful invitation.
Running a studio independently has its challenges, but Gina finds it very rewarding. She acknowledges the emotional reward and the satisfaction of reaching or exceeding goals every year. However, she also notes the difficulty in being financially stable and competing with larger studios or agencies. Being an openly queer studio has its benefits, attracting like-minded clients, but it also presents challenges in entering certain markets or working with clients who may see them as too radical.
Looking ahead, Gina sees design becoming more polarised. She predicts a shift towards either more automatic and generic designs due to social media and short attention spans, or more author-driven, critical, and context-rooted designs as a response to the political moment. Gina is clear about her stance, stating that she stands with the second path, and GGS's work reflects this commitment to authenticity and critical thinking. As the studio continues to evolve, it will undoubtedly remain a beacon of creativity and a force for positive change in the design world.
