Interviews mit Kištra by Vavra

I am a product and industrial designer based in Zagreb, Croatia. I studied design at the Faculty of Architecture, University of Zagreb, and founded my own one-person studio, Kištra, shortly after graduating.

My work has mainly focused on product and toy design, particularly handmade textile and didactic toys. I am especially interested in designing objects that are useful, tactile and meaningful, and in exploring connections between contemporary design and Croatian craft and cultural heritage.

One of the projects I am most proud of is Gumbeki, a modular didactic plush toy that began as my master's thesis and later became a finished product. It received a Bronze A' Design Award in Toys, Games and Hobby Products Design.

I think I was heading in that direction long before I knew what the profession was called. I grew up in a family of architects, so design and making things were always around me. I was also always taking things apart to see how they worked and then trying to put them back together. I was constantly drawing or making something with my hands.

My grandmother also had a major influence on me. She, Ružica Vavra, ran a toy production business and shop in Zagreb, so there was already a family history of making toys.

After high school I studied design at the Faculty of Architecture in Zagreb. During my studies I became particularly interested in product and industrial design, and after graduating I started Kištra. Over time, toys became the main focus of my work because they combine so many things I enjoy: problem-solving, physical making, materials, interaction and imagination.

My three main priorities are functionality, understanding the problem and actually making the thing.

I want to understand what is needed before I start designing. That usually means research, observation and asking questions rather than immediately jumping into a visual solution. Once I have a direction, I sketch, design and prototype, and I prefer to get something physical into my hands as early as possible.

I use digital tools extensively, but they are tools rather than the design itself. I use software such as AutoCAD, Rhinoceros, KeyShot and Adobe programs, but I also sketch by hand, sew and build physical prototypes.

My visual style is fairly playful and intuitive. I don't consciously try to create a particular “style”; I think it develops naturally from my interests, materials and personal taste.

The beginning of a project is usually a mixture of curiosity and uncertainty. I like the moment when there is a problem but no solution yet, because that is when I can start exploring different possibilities.

The most exciting part for me is probably when an idea becomes something physical. A sketch is still just an idea, but once I make a prototype, I can see what actually works and what doesn't.

There is also a very satisfying feeling when everything finally comes together. I enjoy the combination of thinking and making, and I especially like knowing that something I created might make another person's experience easier, more enjoyable or simply happier.

Growing up around architects definitely shaped the way I think, but so did growing up around making things. My grandmother's toy-making business gave me an early connection to toys and production, while my education gave me a more structured way of approaching design.

Some of the most useful skills I have developed are curiosity, persistence, practical problem-solving and patience. I also think being willing to learn how to actually make things is extremely valuable. Learning to sew, prototype and work with different materials has made me much more aware of what is realistically possible.

My design journey has been a combination of education, experimentation, making things, running my own studio and learning through all the problems that come with doing everything yourself.

I would like to continue developing my collection of didactic toys while also exploring areas outside toy design. I am particularly interested in products connected to everyday life, materials, craft and Croatian cultural heritage.

My dream design project would probably be to work on designing a car. That has always been an interesting challenge to me because of the complexity of the product and the number of different disciplines involved.

In the longer term, I would like Kištra to grow while still maintaining the personal and hands-on character that is important to me. I would also like my work to contribute to continuing the family tradition of toy making in a contemporary way.

Stay curious. Do your research. Learn how things are actually made. And don't expect to know everything immediately.

I would especially warn young designers against becoming too focused on looking like a designer instead of actually designing. It is easy to become distracted by trends, presentation and the image of the profession. The actual work is much less glamorous: researching, testing, changing things, making mistakes and doing it again.

There will also be periods of uncertainty, especially when you are trying to build your own career. That does not necessarily mean you are doing something wrong. Be patient and keep learning.

I still find the description “truly successful” slightly uncomfortable, but there are a few principles I trust.

First, don't start designing before you understand the problem. Second, don't become too attached to the first solution you come up with. Third, make things whenever possible. Physical prototypes reveal problems that can remain invisible on a computer screen.

I would also say: don't confuse novelty with quality. A design does not need to be complicated or technologically impressive to be good. Sometimes the best solution is the simplest one.

And finally, don't follow a trend just because everyone else is following it. If a trend happens to support the design, fine. If it doesn't, leave it alone.

My day to day consists mostly of working. I have a 9-5 job as a designer in a small company so I spend most of my day designing retail solutions and making 3D renderings. When I come home, I work on my projects for Kištra. That is usually a mixture of designing, researching, making the toys or dealing with production and all the less exciting administrative parts of running a small business like answering emails or ordering new materials.

I like having a productive day where I can see that something has moved forward, even if it is a small step. And the best part of the day is usually in the evening when I hang out with my husband, my dogs and cat (most of the time with a sewing kit simultaniously working on a plush toy).

I don't really follow design trends, and I don't particularly want my work to reflect whatever happens to be fashionable at the moment.

Trends can be interesting to observe, but they are not a good enough reason to design something. I would rather develop a product based on its purpose, users, materials and context.

My inspiration comes much more from everyday life: observing people, children, objects and routines, and noticing things that could work differently or better.

For me, good design should work before it tries to impress you.

It should fulfil its purpose, be understandable and usable, and solve a problem or make an experience better. Aesthetics are important too, but I don't think something becomes good design simply because it looks beautiful.

I tend to ask whether the design makes sense as a whole. Does the appearance support the function? Are the materials appropriate? Is it easy to use? Does it create unnecessary complications or waste?

A design is ready when further changes stop producing meaningful improvements.

There is probably always something that could technically be changed or improved, so at some point you have to decide that the design has reached the level it needs to reach. Testing and prototyping help with that decision because they show whether the remaining problems are actually important or just things I personally want to keep adjusting.

Perfectionism can make it difficult to stop, so sometimes “ready” also means accepting that the product is functioning well and moving on.

Gumbeki is probably my biggest and most personally significant design project.

It began as my master's thesis, based on research into play, children's development and the role of toys. I was particularly interested in the fact that many didactic toys are made from hard materials, while I wanted to create something that had the emotional and tactile qualities of a soft toy.

Gumbeki consists of modular plush parts that can be connected and rearranged in different ways. This gives children freedom to invent their own combinations while also developing fine motor skills.

The project required extensive research, sketching, prototyping and development, but what makes it special to me is that it came from a question I genuinely wanted to answer. It wasn't simply an exercise in making something attractive; I wanted to solve a particular problem.

I don't really have one.

I know that is probably not the expected answer to this question, but I don't follow designers closely enough to have a favourite.

The people who have influenced me most personally are actually my mother and my grandmother, rather than famous designers.

I live and work in Zagreb, Croatia. My cultural background definitely influences my work, particularly my interest in Croatian craft, heritage and the history of toy making.

My grandmother's toy business is an important part of that. I see my own work partly as a continuation of that tradition, although approached from a contemporary design perspective.

My everyday life is fairly calm and routine-oriented. A lot of my time is spent working. I also enjoy colourful objects and places, and I have always been interested in things that are tactile and pleasant to interact with.

I work mostly independently, so my work culture is basically me negotiating with myself.

When I collaborate with someone, I prefer people whose skills complement mine. Ideally, they know how to do something really well that I don't. I value people who are reliable, competent and open to discussion, but who also understand that collaboration doesn't mean everyone has to have the same role or approach.

One of the biggest challenges of my profession is that a designer working independently often has to be responsible for much more than design: production, communication, finances, logistics, presentation and everything in between.

I think a good designer needs curiosity, patience, persistence, problem-solving skills and the willingness to keep learning.

I don't have a long list of philanthropic design projects to present, so I would rather not exaggerate that part of my work.

I do believe designers have a responsibility towards society and the environment through the decisions they make every day. That includes considering materials, production methods, durability, waste and the actual needs of users.

In my own work, I am particularly interested in children's development and preserving aspects of Croatian cultural heritage. I also believe designers can contribute by sharing knowledge, participating in exhibitions and events, and helping people understand the value of thoughtful design.

Receiving recognition for Gumbeki was a very positive experience, especially because it was a project that was deeply personal to me and had taken a lot of work to develop.

For me, the three main benefits of participating in design awards are recognition, feedback and visibility. Recognition can confirm that a project has achieved something beyond your own expectations. Competitions can also encourage you to look at your own work more critically and present it properly. And, of course, they can help introduce your work to people who would otherwise never encounter it.

Awards are not what motivates me to design, but it is genuinely rewarding when something you have spent so much time making is recognised by people outside your immediate circle.

I grew up in a family of architects, so design and architecture were part of everyday life from an early age. There was also a strong family connection to toy making: my grandmother, Ružica Vavra, ran one of the earliest toy-production businesses and shops in Zagreb. After high school I studied design at the Faculty of Architecture, University of Zagreb, where I became particularly interested in product and industrial design. After graduating, I founded my own studio, Kištra, and over time my work became increasingly focused on toys and products for children.

I like solving problems and I like making things with my hands, so design combines two things I naturally enjoy. I also like the idea that something I create can make someone's life a little easier or simply make them happy. I enjoy looking at an existing object or situation and thinking about how it could work better, be more practical, or make an everyday experience more pleasant.

I definitely chose it, even though my mother was initially against it. For me, however, it felt like the only logical choice. As a child I was always taking things apart to see how they worked and then trying to put them back together. I was constantly drawing, building or making something with my hands, so becoming a designer didn't exactly come as a surprise.

My main focus is toys, particularly children's and didactic toys, but I also enjoy designing everyday objects. I am especially interested in products that are useful, tactile and connected in some way to Croatian heritage or traditional craft. I would like to explore more of those areas alongside my work with toys.

I wouldn't consider myself as a design legend, but thank you. First, don't try too hard to become a design legend. It usually shows.

I think it is much more useful to stay curious, do proper research before starting a project, and not be afraid to question your first idea. Design is not about pretending to know everything. It is about understanding the problem and being willing to keep learning.

I don't really have a list of designers I would classify as “great,” but I think the difference is in how deeply they understand the problem. A good designer can make something attractive and functional. A great designer considers all the different problems surrounding an object or project and finds a simple way to solve them without creating new ones. Appearance is important, but it shouldn't be used to hide poor functionality. For me, the best design is where the practical and visual aspects support each other.

For me, a good design is functional, useful and visually pleasing. It should solve a problem, fulfil a need, or make something easier or better in some way.

I usually ask fairly simple questions: Does it work? Is it easy to understand and use? Does it do what it is supposed to do? And does it have a reason to look the way it does?

Good design can make things easier to use, help products last longer and reduce unnecessary waste. It can also prevent problems before they become problems.

I don't think good design is necessarily about making something more expensive or more complicated. Sometimes it is simply about thinking carefully enough beforehand so that the final product works properly.

If I had unlimited time, I would probably start with my own home. I would design furniture, storage and other things around the way I actually live and the things I actually need. I have a lot of ideas for DIY projects, so having unlimited time would be dangerous for everyone around me.

I've always been interested in designing a car. It is such a complex product because it combines engineering, ergonomics, safety, technology, functionality and aesthetics all in one object. I would like to experience that design process someday.

I'm not sure I consider myself successful enough to have a secret recipe.

If I had to choose something, it would probably be curiosity and persistence, together with the ability to become completely immersed in a project. Once something interests me, I tend to go very deeply into it and keep working until I feel I understand it properly.

I have to admit that I don't really follow famous designers or have a list of design legends I admire. I have always found the idea that I am supposed to admire particular people simply because they are famous a little strange.

I am inspired much more by people close to me. My mother is an architect and someone I admire greatly. My grandmother was not a formally trained designer, but she created and developed an entire toy business and the products it produced. That is much more meaningful to me than a list of famous names.

I don't really have a particular list of favourite designs by other designers either. What usually catches my attention is a product that is beautifully simple and makes me think, “Why didn't I think of that?”

I especially appreciate designs where the solution feels obvious after you see it, even though it probably wasn't obvious at all when the designer started.

Gumbeki is probably the design I am most proud of, not just because it won the A'Design Award. It started as my master's thesis and eventually became a fully developed product.

What I like most about it is the combination of softness and didactic play. The different parts can be connected and rearranged in many ways, so the child isn't given only one predetermined way to use the toy. It encourages imagination and creativity while also developing fine motor skills. It was also the project that really defined the direction I wanted to take as a toy designer.

I think a lot of it comes from practice. Creativity, problem-solving and persistence can all be developed by actually making things and trying to solve real problems.

Personally, I have tried to keep expanding my skills by learning new ways of prototyping, working with different materials, learning new software and, most importantly, continuing to make things with my hands.

Possibly something related to landscape design or architecture, although I don't know whether I am technically allowed to count those as the same thing.

Otherwise, probably something involving animals. Being a dog trainer sounds like a reasonable alternative.

For me, design is the process of turning a need or an idea into something tangible that improves someone's experience.

It doesn't have to be complicated. At its core, I think design is about understanding something and finding a better way for it to exist or work.

My husband and my family (mother, father and brother) have been my biggest supporters. Having people around you who understand what you are trying to do and continue to support you through the less glamorous parts of running a creative business makes a huge difference.

I still consider myself a designer who is learning rather than someone who has reached the point of being a “great designer.”

My education gave me a foundation, but a lot of what I have learned has come from research, practice, making mistakes, solving production problems and simply staying curious.

The biggest challenges have been financial insecurity and the difficulty of building a creative business in Croatia. There are limited resources and manufacturing possibilities, and finding customers for locally designed and produced products can be difficult.

There is also the less visible side of the job: self-doubt, perfectionism and exhaustion. Being responsible for the entire process yourself means that sometimes the creative part is only one small part of the actual work.

Clearly and honestly. The presentation should communicate what the product is, why it exists, what problem it solves and how it works.

The internet is obviously an important place to present design today, but exhibitions are valuable too because people can actually see and experience the physical object. Especially with products and toys, photographs can only tell you so much.

I would like to continue expanding the collection of didactic toys and exploring some areas outside toy design as well.

I don't think everything has to be announced as a “next big project.” Sometimes the next thing is simply the next thing that turns out to be worth making.

I would like to create things that are useful and meaningful and that bring something positive into people's lives.

On a more personal level, I would also like to expand the toy business and continue the family tradition of toy making that started with my grandmother.

Probably good taste.

Beyond that, I think people expect designers to have answers. In reality, a good designer should also be comfortable asking questions, especially at the beginning of a project.

Design can influence how responsibly things are produced, how much waste they create, how long they last and how people interact with them.

In my own work, I am particularly interested in children's development, responsible production, natural materials where possible, reducing waste and preserving cultural heritage. These things may seem small on the scale of society, but design is made up of many small decisions.

At the moment, I don't have a special secret project that I am dying to announce.

I am continuing to think about the future of the collection and where I would like to take my work next, particularly in the area of didactic toys.

Gumbeki gave me the most satisfaction because it was something I developed from the beginning: I researched the subject, identified a problem, designed the concept, made prototypes, tested it and continued improving it until it became a finished product.

There is something particularly satisfying about seeing an idea that originally existed only in your head become a physical object that another person can actually use. Especially when it comes to toys and children, their smile is the greatest satisfaction.

I would like to see less emphasis on trends and disposable design, and more emphasis on research, durability and responsible production.

I would also like people to have a better understanding of what industrial and product designers actually do. The profession is still not particularly well understood by the general public, even though design affects almost every object people use every day.

I think design will become increasingly socially aware and responsible, with greater attention to sustainability and the consequences of production.

At the same time, technology will continue to change the field. AI, digital manufacturing, smart products and increasingly online design processes will become more integrated into everyday practice. The interesting part will be deciding when those technologies are genuinely useful rather than simply using them because they exist.

It depends entirely on the project. Some can take days, while others can take months.

My usual process involves research, developing a concept, sketching, designing, prototyping, testing and then making improvements based on what I learn. The time is usually determined by how complicated the problem is and how many times the prototype needs to be changed.

I start with the problem or need.

Then I research it, observe how people currently deal with it, collect information and develop ideas. After that come sketches and prototypes. I prefer to get something physical into my hands relatively early because sometimes you can think about an idea for hours and then discover immediately that it doesn't work once you actually make it.

I don't really have a designer motto.

There is a Croatian saying which roughly translates to “Good preparation is half the work.” I wouldn't necessarily call it my personal motto, but it is pretty applicable to design. The more carefully you understand a problem before jumping into the solution, the fewer unnecessary problems you create later.

I think design sets the trends.

Technology is a tool, not the purpose.

I use technology when it helps me understand, develop, prototype or produce something better. But the existence of a new technology doesn't automatically mean that it needs to be included in a design.

I use AutoCAD, Rhinoceros and KeyShot, as well as Adobe Illustrator, InDesign and Photoshop. For physical development I use a sewing machine and various tools (like air brushes or electric cutters) and materials for prototyping. For me, digital and physical tools complement each other. I can draw something on a screen, but eventually I usually want to make it and hold it in my hands.

They can completely change how a person experiences an object. This is particularly important in toy design.

I love colourful objects and places, and I enjoy experimenting with different fabrics, textures, softness, colours and forms. For children especially, the tactile qualities of a toy can influence how they interact with it. A soft material feels different from a hard one, and a textured surface invites a different kind of interaction than a smooth one.

I don't think there is anything in particular I wish people would ask me.

But I do think it would be useful if people asked more about what designers actually do and what design actually means. There is still a lot of misunderstanding about the profession.

Usually some combination of:

“Wow.”

“Why didn't I think of that?”

“How did they make this?”

“I want to touch it.”

I usually work independently, but I think a good collaborator is someone whose skills complement mine. Ideally, they are very good at something I am not.

I also appreciate working with people who trust my creative process and don't unnecessarily override the original idea. That doesn't mean I don't want feedback; I just think collaboration works best when everyone brings something different to the project rather than trying to become the same person.

My grandmother has probably had the strongest influence because of the family history of toy making. My mother has also had a major influence through architecture and design.

Beyond that, childhood memories have influenced my work quite a lot. Many of the things that interest me today are connected to things I experienced or played with when I was younger.

I actually read more science fiction and fantasy than design books.

*The Little Prince* has been my favourite book from a very young age. One of the things I took from the book is the idea that the things that matter aren’t always the things that are immediately visible. That resonates with me as a designer because good design isn’t just about making something look good. There’s usually a deeper purpose behind it — understanding the person you’re designing for, what they need, and what you want them to feel or experience. I also really like how simple the book is while still communicating quite complex ideas. That has influenced me to value simplicity in my own work.

Mostly by doing things.

I have been making things with my hands for as long as I can remember. My education gave me important knowledge and methods, but I developed further through practice: learning to sew, making prototypes, trying new materials, figuring out production and eventually running my own studio.

You learn a lot when you are responsible for actually making the thing you designed.

Frank Lloyd Wright.

I think it would be fascinating to have a conversation with him about architecture, design, nature and how he approached the relationship between people and the spaces and objects around them.

I'm not sure “famous” is a word I would use for myself. But recognition is wonderful, especially when it confirms that something you worked on has meaning beyond your own opinion of it. Winning an A' Design Award for Gumbeki was a very exciting experience because you spend so much time working on something and then suddenly have to put it in front of a group of judges and wait to see what they think.

Awards are not what motivates me to design, but I am genuinely happy when something I have made is recognised.

My favourite color is orange, favourite place is a small town on an island in Croatia called Veli Lošinj, favourite food is a good steak, my favourite season is summer, my favourite thing would probaby be an old retro Snoopy telephone and brand maybe Nikon.

One of my favourite design failures was actually a naming problem.

I named one of my toys “DIDLEK,” which was a completely made-up word that we used in my household while I was growing up. Unfortunately, when other people saw it, they kept reading it as “DILDEK,” which sounds very much like a Croatian term of endearment for a dildo.

A productive day is a good day for me. It doesn't necessarily have to be a huge achievement; just feeling that I moved something forward is satisfying.

And then I get to go home to my dogs and cat, which is probably the most reliable motivation of all.

Wll, maybe not great, but a designer yes. We just didn't know what kind.

I was always drawing, making things, taking things apart and trying to understand how they worked.

I have absolutely no idea.

I imagine the world will look completely different, and I suspect there will be an enormous amount of technology. My less optimistic prediction is that people might become so dependent on it that we eventually forget how to do basic things without it.

But honestly, predicting what will happen in a thousand years is probably a little beyond my current design brief.

I'm not sure I have a grand final message.

I make things because I like solving problems, making things with my hands and creating objects that can be useful or bring someone some kind of positive experience. My work is also a way of continuing a family tradition that started with my grandmother and her toys.

I don't think of myself as a finished designer, and I don't particularly want to. There are still many things I don't know how to do, many things I want to learn, and plenty of things I would like to make. For me, that is probably a good reason to keep going.

I grew up in a family of architects, so architecture and design were always part of my everyday life. Studying design at the Faculty of Architecture in Zagreb felt like a natural continuation of that environment. I don’t recall a specific turning point — I was always heading in this direction, and by high school I was certain I wanted to become a designer.

I work under my own studio name, kištra, which I founded shortly after finishing university. It is a one-person studio focused on designing and producing children’s didactic plush toys, combining my design education with my family’s long tradition of toy making.

For me, design is about solving problems in a thoughtful and practical way, while also creating objects that are aesthetically pleasing and emotionally engaging.

I most enjoy designing toys, especially didactic toys, but I’m also interested in everyday usable objects.

My favorite project is Gumbeki, the modular didactic plush toy for which I received the A' Design Award. I started developing it as my master’s thesis and later completed it. It represents my values as a designer and confirmed my focus on toy design.

The first thing I designed for a company was a set of makeup brushes while I was still in college.

I enjoy working with textiles and soft materials, especially when they are natural. In terms of tools, I like combining hand sketching with digital design software.

I feel most creative when I come across something that sparks an idea and I can immediately start developing it.

Functionality and usability come first, especially when designing for children, followed closely by aesthetics.

I usually feel excited and deeply engaged in the process.

I’m often nervous before others see the final result, but also proud once the design is out in the world.

A design is successful if it fulfills its purpose, is easy to use, and positively impacts the user.

I first consider functionality and how intuitively the object is used, and then its visual quality.

Designers have a responsibility toward society and the environment. In my work, this means creating toys that support children’s development, using natural materials when possible, and minimizing production waste.

Design is becoming increasingly interdisciplinary and socially aware. I believe the future of design lies in responsibility, sustainability, and meaningful use.

My latest exhibition was in 2022 at the Ethnographic Museum in Zagreb, as part of the exhibition “Toys – Childhood Forever.” I would like to continue exhibiting when the right opportunity arises.

My inspiration mostly comes from everyday life — observing people, children, and daily routines. Staying curious helps feed my creativity.

I would describe my style as playful and intuitive. It is strongly influenced by personal taste and develops naturally through my process rather than through a conscious stylistic decision.

I live in Zagreb, Croatia. While I’m not always consciously aware of it, my cultural background and family tradition clearly influence my work. I’m especially interested in designs that preserve cultural heritage.

Since I'm currently focused on toy design, I usually work with companies by designing plush toys based on their mascots or visual identities.

Companies should carefully research what kind of designer they need, as designers specialize in different fields. A good match is essential for successful collaboration.

My process typically moves from idea generation and research through design guidelines, sketching, design, prototyping, iterative improvements, and finally the completed product.

I don’t specifically collect design objects, so this question is difficult for me to answer.

Most days revolve around work, balanced with spending time at home with my two dogs and my cat, which brings a nice sense of routine and calm.

Stay curious, patient, and positive, and don’t be discouraged by uncertainty early in your career.

The biggest challenge can be financial insecurity, especially in my country. However, the creative freedom and fulfillment strongly outweigh the negatives for me.

A design must be functional and helpful to people, while also being aesthetically pleasing.

Creativity, problem-solving, and persistence.

I sketch by hand and use AutoCAD, Rhinoceros, Adobe Illustrator, and InDesign, along with physical prototyping materials.

When projects become intense, I tend to fully immerse myself in them, sometimes at the expense of rest, which is something I’m still working on improving.

On average, about a month, depending on complexity.

People often ask what exactly an industrial designer actually does, because it's not a very well known field to most people.

Working on my project Gumbeki was probably the most important experience, as it defined my direction as a toy designer.

My clients are mostly parents and individuals, with occasional company collaborations.

Designing didactic toys, because they combine creativity, function, and positive impact on children.

I plan to continue expanding my collection of didactic toys, but I’m also starting to pursue my interests outside of toy design.

I mostly work independently, occasionally collaborating when needed.

At the moment, I don’t have any projects I can publicly discuss.

Via email lea@kistra.hr.

I've always had a deep love for plush toys, and when the family business closed down during my childhood, the idea of continuing that tradition stayed with me. I studied design at the Faculty of Architecture in Zagreb, where I developed a particular interest in creating multifunctional products. So when it came time to work on my master's thesis, titled Revitalisation of a Family Craft, it felt like a natural step to merge these two passions.Through my research, I discovered a growing concern: children today are using their hands less, especially with the rise of electronic toys. I wanted to address this by creating a product that not only honors my family's legacy but also encourages children to engage in hands-on play, helping them refine their motor skills. My goal was to design a plush toy that goes beyond traditional play by providing a functional, educational experience—something that could both entertain and develop important skills.

When designing the Gumbek Didactic Toy, my goal was to provide children with enough flexibility to explore different configurations without overwhelming them with too many choices. I wanted to strike a balance between structured learning and free play, so I chose to create seven segments. Too many pieces could lead to decision fatigue, while too few wouldn’t allow enough room for creativity.I designed the toy to be abstract, encouraging kids to use their imagination in 'designing' their own toy, but also included familiar elements they could easily relate to. To achieve this, I divided the toy into three main segments: the head, torso, and legs. I then added detachable eyes and arms for extra character and familiarity. The simplified, non-traditional shapes mean the segments can be reassembled in various ways, opening up endless possibilities for creative play.To further enhance the experience, I made it possible to combine multiple Gumbek toys (of the same size) to create even more complex designs. This way, kids can upgrade their toy as their skills and imagination grow, all while staying within a manageable range of options.

Research has shown that children today have more toys than ever, but paradoxically, the more toys they have, the less emotional connection they form with them. They tend to lose interest quickly, playing with one toy for a short time before moving on to the next. I wanted to create a toy that would feel special to them, something they could truly connect with.The key to achieving this was to make the process of building the toy part of the experience. By allowing children to assemble the Gumbek toy themselves, I wanted them to take ownership of it, giving them a sense of pride and a deeper emotional investment. To further enhance this connection, I designed the toy with interchangeable parts. This way, if a child becomes bored with one look, they can change the toy's appearance, extending their engagement and creativity.

My decision to maintain traditional handcrafted methods was deeply inspired by my grandmother, a master toy maker, and the legacy of my family’s toy-making tradition. Preserving this aspect of our heritage was essential to me, as I believe that handmade products carry a unique sense of soul and craftsmanship that mass-produced toys simply can’t match.Handmade toys also tend to be of higher quality, more durable, and built to last. In fact, I offer lifetime free repairs for any wear and tear—whether it’s a tear in the fabric or a drop in the stuffing—so the toy can stay with the child for years, rather than ending up in a landfill.Additionally, the handmade production process is far more eco-friendly than mass production. It minimizes waste and uses safer, more sustainable materials, which makes the toy not only better for the child, but also for the environment.

Receiving the Bronze A' Design Award in the Toys, Games, and Hobby Products category has been an incredibly validating experience. It’s a recognition that confirms I’m on the right path and provides a significant boost of motivation to continue adhering to my core principles when designing toys. This award reinforces the importance of blending creativity, education, and functionality in my work.Looking ahead, I’m even more inspired to continue developing educational toys that stimulate both learning and imagination. I plan to expand the Gumbek collection and introduce new innovations within the smart-toy space, creating more products that encourage hands-on, meaningful play for children.

Children develop their sensory skills through their senses of hearing, sight, touch, and taste. These senses act as the first 'windows' through which they explore the world, helping to stimulate and 'illuminate' different parts of the brain. Sensory toys play a crucial role in this developmental process, as they engage the child’s senses from an early age and help build foundational cognitive and motor skills. With the Gumbek Didactic Toy, I wanted to integrate these sensory aspects into the design by using a variety of textures and materials that children can touch and explore. Different materials—soft, smooth, bumpy, and textured—encourage tactile exploration and help improve fine motor skills, hand-eye coordination, and sensory integration.

When developing the Gumbek Didactic Toy, I was committed to meeting several key design criteria: durability, safety, and aesthetic appeal, while ensuring the toy remained an engaging and effective learning tool. I didn’t want to compromise on any of these aspects, and I believe I achieved a harmonious balance between them.To ensure durability, I used high-quality materials that combined with quality workmanship would withstand frequent handling and play, without sacrificing the tactile experience. At the same time, I prioritized safety by adhering to all standards of the The EU Toy Safety Directive (2009/48/EC). Aesthetically, I wanted the toy to be visually appealing and stimulate creativity without being overly complex or distracting. The design is simple yet expressive, inviting children to engage with it on both a functional and imaginative level. By focusing on both form and function, I believe I’ve created a toy that not only meets safety and durability standards but also offers a meaningful and enjoyable learning experience.

From the survey of 200 parents, one key finding was that children today are increasingly lacking the opportunity to develop fine motor skills. Parents reported doing many tasks for their children, such as buttoning shirts or tying shoelaces, which results in children not engaging enough with their hands. This underdevelopment of fine motor skills often becomes apparent when kids start school, as they struggle with basic tasks like holding a pencil correctly or writing neatly.Additionally, the survey highlighted that children today often have too many toys, which leads to a lack of sustained emotional connection with them. This emotional detachment can hinder their ability to engage deeply with objects and affects their long-term emotional development.In response to these insights, I designed Gumbek with the goal of helping children reconnect with hands-on play while also developing essential fine motor skills. The toy's modular structure encourages kids to assemble and reassemble the toy, providing opportunities to practice dexterity, hand-eye coordination, and other fine motor tasks. Furthermore, by allowing them to personalize and change the toy's appearance, I aimed to foster a deeper emotional connection, making the toy more meaningful and, in turn, more likely to support their overall development.

I wanted to create a toy that was inclusive of all children, regardless of their level of imagination or creativity. Not every child feels comfortable expressing their ideas right away, and some may not yet have fully developed their creative thinking skills. At the same time, some kids thrive in more structured play while others flourish in open-ended, imaginative activities.By offering both structured and creative play options, I aimed to give all children the chance to engage with the toy in a way that suits their individual needs and developmental stages. The idea was to provide flexibility, so whether a child prefers a guided experience or one that encourages free exploration, they can still enjoy and learn from the toy.

While I may not expect Gumbek Didactic Toy to make a massive global impact overnight, I’m incredibly proud of the progress I’ve seen over the past few years. Every new customer, every parent who takes the time to think more consciously about how their children play, feels like a small but significant victory.What I truly hope is that Gumbek contributes to a broader conversation around the importance of screen-free, developmentally beneficial play. In a world where kids are increasingly drawn to digital devices, I believe offering hands-on, creative play experiences is a step in the right direction. Even if the impact is gradual, I’m happy to make a difference, one step at a time, toward a future where play is recognized for its essential role in children's growth and development.