Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos

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Poppy Thaxter
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Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos

Georgia Harizani is an independent Greek designer working with brands and corporations worldwide to apply strategic design solutions in the physical and digital realm. For Harizani, finding a studio environment fit for her wasn’t the easiest – so, after 10 years of industry experience working alongside prominent design agencies, she decided to go her own way and establish her own creative practice. Combining experience in the fields of architecture, product design and visual communication she produces work across a diverse number of fields. We caught up with her to reflect on her creative evolution and identity as a designer, alongside her rich abundance of aesthetic and design-led influences.  

PT Hi Georgia, how’s your week going so far? 

GH Busy as always but I can’t complain. Living in Greece and having the beach an hour’s drive away is really a blessing. The weather has been great lately and I already have a little tan going on.

PT Could you tell us a bit about yourself and how you got into graphic design? 

GH My grandfather, who was a lawyer, used to paint in his free time. Unfortunately, I didn’t get to meet him as he passed away while my mom was pregnant but I grew up surrounded by his paintings and that was my first introduction to the art world. I was creative from a young age, and had a lot of energy that I put into making things. I wouldn’t say I was particularly good at sketching or painting but I always found ways to express myself, especially through crafting with my hands. 

Growing up I hadn’t really considered studying art or graphic design. I think graphic design wasn’t in my realm of possibilities at all, not till later. I studied painting and later graduated with a Bachelors in Interior Architecture. I can say with certainty that I got into graphic design by chance. I found myself working at a prestigious graphic design agency in Greece, having had some experience in architecture and digital manufacturing. I was an outsider at first, having to fill a lot of gaps in education and understand but I quickly caught up and was fascinated with typography. Haven’t looked back since.

Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos

I do believe good design is as little design as possible.

PT What led you to establish your own practice? 

GH Honestly, I had my fair share of experience in studios and didn’t manage to find an environment that fit me. I considered relocating but it wasn’t really worth it so I thought I’d give it a shot. I was in my late 20s with about 10 years of experience working in the design field so it seemed like the right time to try and see where it would lead. And it led me to set up my very own practice that beats to the drum of my own style and ethos: No boss, No employees, No Studio! I am lucky enough to have some amazing designers with whom I can collaborate and exchange ideas on numerous projects but in reality, it’s just me.

PT How do you think your work, process and views on design have evolved since you first entered the industry? 

GH I think they are still evolving! I like to believe that I have a much better grasp of who I am as a designer and in a sense look at everything in life in conjunction to that – ‘designer’ for me is not a job position but who I am as a person. It’s important to my creative approach to have a set of reference points that is both particular and ever-evolving. I do believe good design is as little design as possible and I try to live and work by that. I have a process in place when taking on a new project but of course, that’s adapted to an extent depending on the type and needs of the project. Finding what those are and how to communicate them in a clear and effective way is something that I can now judge better and at an earlier point. It’s a learning curve and it’s something that every designer has to figure out on their own – it’s part of the journey. 

Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos

PT Who do you consider to be your creative influences?

GH A lot of fashion, architecture, product design and art. I love 90-00s catwalks and the simplicity the outfits conveyed at the time. For me those garments are timeless. I don’t like trends at all, I try to experience them but I’ll always go for a timeless design from the clothes I wear to the things I design. Mies Van der Rohe, Dieter Rams and Virgil Abloh are also in my spectrum of major influences – and in a way, I see them as forming almost an order of succession in terms of their vision and design. I must say I’ve learned a lot from fashion designers as well, especially current ones like Rick Owens, Heliot Emil, Ann Demeulemeester, Peter Do. Design (whether fashion or graphic) that is stripped down to the bare minimum to focus on the essence, patterns, textures and feelings of a piece is what inspires me and what I seek to achieve and frame in my own work. 

PT When working on a project, what stage is your favourite? And least favourite? 

GH When I’ve ‘solved’ it. Whether it’s an identity, a packaging concept, a system for print etc. there’s always a point where I go “okay, we got something here.” There’s a lot of research, experimentation and hours of design before it comes but when I get there it’s really a lovely feeling. I know us creatives doubt ourselves a lot, every project is a new challenge and no two projects are ever the same so there’s an uncertainty surrounding what will come off it when faced with the blank canvas. I’ve learned that diving into facing it without fear always leads to a positive outcome. 

Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos

I’m always so fascinated by what comes next.

PT When working on a project, what stage is your favourite? And least favourite? 

GH When I’ve ‘solved’ it. Whether it’s an identity, a packaging concept, a system for print etc. there’s always a point where I go “okay, we got something here.” There’s a lot of research, experimentation and hours of design before it comes but when I get there it’s really a lovely feeling. I know us creatives doubt ourselves a lot, every project is a new challenge and no two projects are ever the same so there’s an uncertainty surrounding what will come off it when faced with the blank canvas. I’ve learned that diving into facing it without fear always leads to a positive outcome. 

PT What project are you most proud of? 

GH The one that comes next haha. No, but seriously I’ve enjoyed most of the work I’ve done, for different reasons but I’m always so fascinated by what comes next. Meeting new clients and discussing their ideas is always refreshing and gets me excited about the outcome.

PT Do you manage to find a good balance between work and life?

GH I’ll say yes, my friends and family will definitely say no haha. There’s this joke going on in my friend group that I’ll randomly text them at 11pm saying I’ll skip drinks to go to the studio. And I do. I don’t consider myself a workaholic. I just appreciate being able to work whenever I want to/feel the need to/or actually need to (for tough deadlines). Also, as I mentioned before, I don’t think being a designer is something that stops once you hop out of the office. My mind still makes connections, rethinks ideas, discusses with friends etc. Some of my best designs started as ideas jotted down in my iPhone notes while AFK.

PT Do you have a usual Monday morning routine?

GH Nope. I usually work on Sundays to catch up on Monday’s tasks and have a relaxing start to the week. I used to hate Mondays as an employee and there’s this culture of everyone hating Mondays so for me, I had to change my mentality towards the day. That being said, I usually ride my bike to the studio, grab a fresh juice and get into emails and communications. I also always make a list of what I look to accomplish/finish in the week. I don’t take it day by day as weeks give me a better structure and help me split my time accordingly.

Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos
Georgia Harizani on starting a creative practice that ‘beats to the drum’ of her own style and ethos

The Greek design scene, in general, is interesting.

PT What’s the creative culture like in Thessaloniki?

GH The Greek design scene, in general, is interesting, there are definitely some great studios and very talented designers but the culture is very different to what I’ve experienced abroad. It’s difficult for creatives to cope with high-pressure and stressful working environments when compensation is low. On the bright side, I see more and more designers and artists, especially younger ones, using their digital presence in a way that’s helping them bring attention to their work. Thessaloniki is a small town with big city vibes and vice versa so the creative scene can take on many meanings. It’s important to seek out a hive of like-minded designers and creatives, and to carve out a space for yourself there – whether it’s in design, music, art, or photography, it does exist. Inspiration can and should be found wherever you live and work but travelling, and gaining new experiences, references and stimuli is absolutely vital for me and my work as a designer.

Graphic Design

Georgia Harizani

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