Publishing today is undergoing a major transformation: on one hand, the crisis of print and the acceleration of digitalization—sped up by the pandemic—have reduced print runs and profit margins. On the other, there’s a growing vibrancy in independent publishing, which often focuses on quality and experimentation. You, with a strong inclination toward this field, how do you relate to this evolving landscape?

I try to keep up with these changes by always paying close attention to what’s around me—especially by traveling a lot, meeting authors and publishers, talking with them, and attending industry fairs like Offprint in Paris or Miss Read in Berlin, just to name a couple. Every year I buy many of the new publications that interest me and I keep regular contact with colleagues who operate in this specific field, both in Italy and abroad.

Being a freelancer in Italy is often seen as a bold—if not risky—choice. In a country historically tied to the idea of a permanent job, more and more young designers are choosing independence. In your view, what are the main advantages and challenges of freelancing? And how do you experience it on a daily basis?

I started working as a freelancer abroad, during a very challenging time—right in the middle of the Covid pandemic. It was a beginning in a completely different context, before eventually returning to Italy. Here, freelancing isn’t as easy as in other parts of Europe, but you have to be resourceful: build a network of professionals, collaborate with others, or develop personal projects during slower periods. It’s all about finding strategies to stay active.

During your studies, you attended the École cantonale d'art de Lausanne (ECAL), one of the most recognized schools in Europe. Compared to your educational experience in Italy, what are the main differences you noticed? And which aspects of that educational approach have influenced you the most as a designer?

Studying in Switzerland, at ECAL, gave me the chance to meet people from the design world that I never would have encountered otherwise. During a workshop in the final semester of my first year, I met Florian Lamm, a German graphic designer with whom I became very close. Later, I had the opportunity to gain a great professional experience in his studio in Leipzig, working alongside his partner Jakob as well. I learned a great deal from them on a professional level—something that, I must say, happens quite rarely in Italy.

ECAL is a very intense university—it's like a factory, you never stop working. That’s how it was for three years, and it’s something that still sticks with me. I always need to be doing something; I just can’t stay still.

After your experience in Switzerland, you chose to return to Italy, settling in Treviso, where you now have your studio—while continuing to collaborate with international clients, particularly in Germany. What motivated your return? And how does living and working in a more decentralized context impact your practice, especially considering your ongoing international collaborations?

I came back to Italy for family reasons, but also because Switzerland was starting to feel a bit constraining. In 2022, for a year and a half, I shared a studio in Udine—in a beautiful building designed by Gino Valle—with the studio Multi Form. They welcomed me with open arms, and we became good friends.

In 2024, I moved to Treviso, where I now share a studio just outside the city center with political scientist Paolo Feltrin and three others. Despite the relocation, I continue to work with clients abroad, so I travel frequently. This is my base, but in reality, my base could be anywhere.

Alongside your design work, you've taught at academic institutions like NABA and SPD, and you now teach at SUPSI. How does teaching nourish or influence your studio work? And conversely, what do you try to pass on to students based on your real-world experience?

For me, teaching is a precious moment—one where I truly question myself. I meet people from all walks of life and always try to understand students’ needs, listening a lot. I’m constantly inspired by their experiences, and honestly, I learn so much from them. I try to stay active and continuously update myself because, to advance my professional career, I need to learn something new every single day.

How do you view design education in Italy today?

In some cases, I think it still needs to evolve further—to look less inward, within its own “kingdom,” and more outward toward the world.

How do you see the role of young graphic designers in Italy?

More and more, the designer is becoming a hybrid figure—part manager, part visual content creator. You have to keep up with the times.

What advice would you give to a young graphic designer entering the job market in Italy today?

The best advice I can give is the one my father—also a designer, now retired—once gave me: curiosity and initiative are always the key ingredients that can truly make the difference.