Interview with Ivilina Miteva
Ivilina is a forward-thinking designer and a recent Master of Arts alumnus of the Bulgarian National Academy of Art, very much interested in elevating the contemporary design approach to the next…
Designer Interview
2 September 2026
I have a somewhat unexpected path into design. As a child, I loved drawing, but I attended an economics high school with a focus on finance, so art and design were not really the direction people around me expected me to take. When I told my parents that I wanted to study design, it was quite a shock for them.
To be completely honest, I did not really know what I was getting myself into. When you are a child, the profession of a designer sounds very romantic — you draw, you create things, and somehow you imagine that is what the job is. I discovered much later how much research, problem-solving, technical knowledge, persistence and responsibility are involved.
I received my Bachelor's degree in Industrial Design and later a Master's degree in Automotive Design at the National Academy of Art in Sofia, Bulgaria. I am currently a PhD student in the Industrial Design department, researching design methods using contemporary means of production.
Today, I work between independent projects, freelance design and academic research. Looking back, I think the most important thing was simply following that initial curiosity. Design became something I gradually discovered rather than something I had planned from the beginning.
To be completely honest, I did not really know what I was getting myself into. When you are a child, the profession of a designer sounds very romantic — you draw, you create things, and somehow you imagine that is what the job is. I discovered much later how much research, problem-solving, technical knowledge, persistence and responsibility are involved.
I received my Bachelor's degree in Industrial Design and later a Master's degree in Automotive Design at the National Academy of Art in Sofia, Bulgaria. I am currently a PhD student in the Industrial Design department, researching design methods using contemporary means of production.
Today, I work between independent projects, freelance design and academic research. Looking back, I think the most important thing was simply following that initial curiosity. Design became something I gradually discovered rather than something I had planned from the beginning.
At the moment, I work independently rather than through a large established studio. My practice combines freelance collaborations, personal design projects and academic research.
I like this combination because the three areas influence each other. Professional projects keep me connected to real constraints and real users, independent projects give me freedom to experiment, while my PhD allows me to investigate the design process more deeply.
For now, I am trying to keep these different parts of my practice in balance and let them develop alongside each other.
I like this combination because the three areas influence each other. Professional projects keep me connected to real constraints and real users, independent projects give me freedom to experiment, while my PhD allows me to investigate the design process more deeply.
For now, I am trying to keep these different parts of my practice in balance and let them develop alongside each other.
For me, design is a way of questioning the things we already accept as normal.
I am particularly interested in everyday objects because they are so familiar that we rarely stop to think about them. A successful design can take something ordinary and make us look at it differently without necessarily making it more complicated.
I see design as a balance between function, simplicity, detail and emotion. It has to work, but I also believe that a product can communicate something and create a small moment of discovery.
I am particularly interested in everyday objects because they are so familiar that we rarely stop to think about them. A successful design can take something ordinary and make us look at it differently without necessarily making it more complicated.
I see design as a balance between function, simplicity, detail and emotion. It has to work, but I also believe that a product can communicate something and create a small moment of discovery.
I am most attracted to simple products with clear functions. The simpler the object appears, the more interesting I often find it to design because there is nowhere to hide unnecessary decisions.
I enjoy exploring proportions, ergonomics, materials and very small details — sometimes details that are only a few millimetres apart but can completely change the way an object feels or functions.
I also enjoy projects that challenge something familiar. Trinity Drinking Glass is a good example: the starting point was an extremely ordinary object, but the goal was to question what a drinking glass could be.
I enjoy exploring proportions, ergonomics, materials and very small details — sometimes details that are only a few millimetres apart but can completely change the way an object feels or functions.
I also enjoy projects that challenge something familiar. Trinity Drinking Glass is a good example: the starting point was an extremely ordinary object, but the goal was to question what a drinking glass could be.
At the moment, Trinity Drinking Glass is particularly meaningful to me.
The project started from the Traga Open Call 2024 brief. The challenge was to rethink the familiar drinking glass and find a different way of approaching such a simple object.
The glass is reversible. By turning it upside down, its volume, diameter, proportions and way of use change. The collection consists of three different sizes, while maintaining a common visual language. The physical prototype was developed as part of my design research.
What interests me most about the project is that the transformation is very simple. There is no complicated mechanism. You simply turn the object around, and suddenly you experience it differently.
The name Trinity was actually suggested by my partner because of the three sizes. I chose to keep it because, apart from that practical connection, I also have a personal association with the name through a character from a television series. It felt slightly provocative, which suited the character of the glasses.
The project started from the Traga Open Call 2024 brief. The challenge was to rethink the familiar drinking glass and find a different way of approaching such a simple object.
The glass is reversible. By turning it upside down, its volume, diameter, proportions and way of use change. The collection consists of three different sizes, while maintaining a common visual language. The physical prototype was developed as part of my design research.
What interests me most about the project is that the transformation is very simple. There is no complicated mechanism. You simply turn the object around, and suddenly you experience it differently.
The name Trinity was actually suggested by my partner because of the three sizes. I chose to keep it because, apart from that practical connection, I also have a personal association with the name through a character from a television series. It felt slightly provocative, which suited the character of the glasses.
My professional experience has developed gradually through freelance work and different collaborations. I prefer not to define my practice through one particular first commercial object, because I see each project as part of a longer learning process.
The early professional projects were especially valuable because they introduced me to the difference between designing something as an academic exercise and designing something that has to respond to real constraints, production requirements and another person's expectations.
The early professional projects were especially valuable because they introduced me to the difference between designing something as an academic exercise and designing something that has to respond to real constraints, production requirements and another person's expectations.
I am particularly interested in materials that allow a very precise relationship between form and function.
For Trinity Drinking Glass, I chose borosilicate glass because of its strength and resistance, while still allowing the object to maintain the visual delicacy associated with glass.
More broadly, I am very interested in contemporary manufacturing technologies. This is also connected directly to my PhD research, which focuses on design methods using contemporary means of production.
Technology is interesting to me when it expands what can be designed rather than simply making the design process faster.
For Trinity Drinking Glass, I chose borosilicate glass because of its strength and resistance, while still allowing the object to maintain the visual delicacy associated with glass.
More broadly, I am very interested in contemporary manufacturing technologies. This is also connected directly to my PhD research, which focuses on design methods using contemporary means of production.
Technology is interesting to me when it expands what can be designed rather than simply making the design process faster.
Probably when I have a problem that I cannot immediately solve.
Design sometimes keeps me awake at night — either because I have an idea I want to explore or because there is an unresolved problem that I haven't managed to solve yet.
I don't think creativity always comes from sitting down and deciding, "Now I will be creative." Often it happens while researching, sketching, making something, observing an object or simply thinking about a problem repeatedly.
Curiosity is probably the biggest source of my creativity.
Design sometimes keeps me awake at night — either because I have an idea I want to explore or because there is an unresolved problem that I haven't managed to solve yet.
I don't think creativity always comes from sitting down and deciding, "Now I will be creative." Often it happens while researching, sketching, making something, observing an object or simply thinking about a problem repeatedly.
Curiosity is probably the biggest source of my creativity.
I usually begin with the function and the reason why the object needs to exist.
After that, I focus strongly on proportions, ergonomics, interaction and details. I like products that appear simple, because simplicity makes every decision more visible.
I often find myself working on very small adjustments. A few millimetres can change the balance of an object, the way it is held, or even the emotional impression it creates.
After that, I focus strongly on proportions, ergonomics, interaction and details. I like products that appear simple, because simplicity makes every decision more visible.
I often find myself working on very small adjustments. A few millimetres can change the balance of an object, the way it is held, or even the emotional impression it creates.
There is a mixture of excitement, curiosity and frustration.
At the beginning of a project, there is usually a lot of uncertainty. You have many possibilities but no clear answer. Then there are moments when something suddenly starts making sense, and those are probably my favorite moments.
I also become quite obsessed with unresolved problems. Sometimes that is not particularly convenient because I can continue thinking about a design long after I have stopped working.
At the beginning of a project, there is usually a lot of uncertainty. You have many possibilities but no clear answer. Then there are moments when something suddenly starts making sense, and those are probably my favorite moments.
I also become quite obsessed with unresolved problems. Sometimes that is not particularly convenient because I can continue thinking about a design long after I have stopped working.
There is definitely satisfaction, especially when something that existed only as an idea becomes a physical object.
But realization also changes the way I see the design. Once I can hold it, use it and observe it from different angles, I immediately start noticing things I would change.
So there is a moment of happiness, followed quite quickly by curiosity about what could be improved.
But realization also changes the way I see the design. Once I can hold it, use it and observe it from different angles, I immediately start noticing things I would change.
So there is a moment of happiness, followed quite quickly by curiosity about what could be improved.
For me, successful design has to work on several levels.
It should solve the problem it was designed to solve, but ideally it should also create an experience or an emotional response.
Trinity, for example, could have simply been a glass with an unusual shape. What makes the project interesting to me is the interaction: the user discovers that by turning the object over, its function changes.
I think a successful design makes the user understand something without having to explain everything to them.
It should solve the problem it was designed to solve, but ideally it should also create an experience or an emotional response.
Trinity, for example, could have simply been a glass with an unusual shape. What makes the project interesting to me is the interaction: the user discovers that by turning the object over, its function changes.
I think a successful design makes the user understand something without having to explain everything to them.
The first question I ask is: Does it make sense?
Does the form support the function? Is there a reason behind the decisions? Is the object appropriate for its context?
Only after that do I start looking at aesthetics, details and visual character.
A beautiful object that doesn't work is not enough for me. At the same time, pure functionality without any emotional or aesthetic quality can also miss an opportunity.
Does the form support the function? Is there a reason behind the decisions? Is the object appropriate for its context?
Only after that do I start looking at aesthetics, details and visual character.
A beautiful object that doesn't work is not enough for me. At the same time, pure functionality without any emotional or aesthetic quality can also miss an opportunity.
Designers influence what people use, buy, keep and eventually throw away, so I think responsibility is unavoidable.
We should think about materials, production, durability and the entire life of an object rather than only its appearance at the moment it is presented.
I also believe that designers have a responsibility to question whether something needs to be more complicated, more disposable or more excessive.
Sometimes responsible design means creating something better. Sometimes it means creating less.
We should think about materials, production, durability and the entire life of an object rather than only its appearance at the moment it is presented.
I also believe that designers have a responsibility to question whether something needs to be more complicated, more disposable or more excessive.
Sometimes responsible design means creating something better. Sometimes it means creating less.
The boundaries of design are becoming increasingly fluid. Digital tools, advanced manufacturing, computational methods and AI are changing not only what we can produce but also how we think about design.
For me, the interesting question is not whether technology will replace designers. It is how designers will use these tools to ask better questions and explore possibilities that were previously difficult or impossible.
I think the future of product design will combine technological knowledge with something that technology cannot easily replace: observation, judgement, empathy and understanding of human behaviour.
For me, the interesting question is not whether technology will replace designers. It is how designers will use these tools to ask better questions and explore possibilities that were previously difficult or impossible.
I think the future of product design will combine technological knowledge with something that technology cannot easily replace: observation, judgement, empathy and understanding of human behaviour.
My inspiration often starts with observation.
I like looking at ordinary objects and asking why they are the way they are. I also draw inspiration from architecture, automotive design, contemporary products, manufacturing technologies and everyday experiences.
I try not to limit my references only to design. Art, films, books, people and conversations can all influence the way I think.
Most importantly, I try to stay curious. For me, creativity is less about constantly looking for inspiration and more about continuing to pay attention.
I like looking at ordinary objects and asking why they are the way they are. I also draw inspiration from architecture, automotive design, contemporary products, manufacturing technologies and everyday experiences.
I try not to limit my references only to design. Art, films, books, people and conversations can all influence the way I think.
Most importantly, I try to stay curious. For me, creativity is less about constantly looking for inspiration and more about continuing to pay attention.
I would describe my approach as minimal and functional, with an interest in subtle details and unexpected interactions.
I am attracted to simple forms because they leave very little room for unnecessary decisions. When an object is visually simple, every curve, proportion, edge and transition becomes important.
I don't try to force a particular style onto every project. I prefer to let the problem and the function determine the form, while looking for opportunities to introduce a small element of surprise or emotion.
I am attracted to simple forms because they leave very little room for unnecessary decisions. When an object is visually simple, every curve, proportion, edge and transition becomes important.
I don't try to force a particular style onto every project. I prefer to let the problem and the function determine the form, while looking for opportunities to introduce a small element of surprise or emotion.
I live and work in Sofia, Bulgaria, and I am originally from Burgas.
Being from Bulgaria naturally influences the way I see things, although I don't always notice it consciously. Living in a country with a strong cultural heritage and a relatively small design industry has both advantages and disadvantages.
One advantage is that there is room for experimentation and for developing your own direction. At the same time, there are fewer opportunities and resources compared with some of the larger international design centres.
I think this has made me more self-reliant and more willing to look beyond my immediate environment for opportunities, references and collaborations.
Being from Bulgaria naturally influences the way I see things, although I don't always notice it consciously. Living in a country with a strong cultural heritage and a relatively small design industry has both advantages and disadvantages.
One advantage is that there is room for experimentation and for developing your own direction. At the same time, there are fewer opportunities and resources compared with some of the larger international design centres.
I think this has made me more self-reliant and more willing to look beyond my immediate environment for opportunities, references and collaborations.
I try to approach a company relationship as a collaboration rather than simply receiving a brief and delivering an object.
The first thing I need is to understand the problem: what the company wants to achieve, who the user is, what the technical and production constraints are, and what makes the project meaningful.
Only then do I start exploring solutions.
I also think communication is particularly important because good design rarely happens in isolation.
The first thing I need is to understand the problem: what the company wants to achieve, who the user is, what the technical and production constraints are, and what makes the project meaningful.
Only then do I start exploring solutions.
I also think communication is particularly important because good design rarely happens in isolation.
I would suggest companies look beyond the visual style of a portfolio.
A good designer should be able to explain why they made certain decisions, understand constraints, ask questions and accept constructive criticism.
The relationship also needs trust. If a company hires a designer but doesn't allow them to question the problem or propose alternatives, they are not really using the designer's full potential.
I would choose a designer based on their thinking, curiosity and ability to communicate, as much as on the quality of their previous work.
A good designer should be able to explain why they made certain decisions, understand constraints, ask questions and accept constructive criticism.
The relationship also needs trust. If a company hires a designer but doesn't allow them to question the problem or propose alternatives, they are not really using the designer's full potential.
I would choose a designer based on their thinking, curiosity and ability to communicate, as much as on the quality of their previous work.
My process usually starts with understanding the problem and researching the context.
Then comes a period of exploration — sketching, developing alternatives, studying proportions, materials and possible manufacturing methods.
For physical products, I strongly believe in making things as early as possible. A physical model can reveal something that is difficult to understand from a drawing or a computer screen.
After that, I refine the strongest direction through testing and detail development.
The process is not always linear. Sometimes making a prototype sends you back to the beginning, and I think that is a normal and valuable part of design.
Then comes a period of exploration — sketching, developing alternatives, studying proportions, materials and possible manufacturing methods.
For physical products, I strongly believe in making things as early as possible. A physical model can reveal something that is difficult to understand from a drawing or a computer screen.
After that, I refine the strongest direction through testing and detail development.
The process is not always linear. Sometimes making a prototype sends you back to the beginning, and I think that is a normal and valuable part of design.
I tend to value objects that are simple, well considered and capable of remaining useful and visually relevant over time.
For me, a favorite object doesn't necessarily have to be expensive or iconic. Sometimes a very ordinary object becomes a favorite because its proportions, ergonomics or small details are exceptionally well resolved.
For me, a favorite object doesn't necessarily have to be expensive or iconic. Sometimes a very ordinary object becomes a favorite because its proportions, ergonomics or small details are exceptionally well resolved.
My days vary quite a lot because I combine freelance work, independent projects and my PhD.
Some days are focused on research and writing, others on sketching, modelling or developing a product. There are also meetings, administrative tasks and teaching-related activities.
I try to protect some time for focused design work because that is when I can really immerse myself in a problem.
The balance is not always perfect, but I like the variety. I don't think I would enjoy doing exactly the same thing every day.
Some days are focused on research and writing, others on sketching, modelling or developing a product. There are also meetings, administrative tasks and teaching-related activities.
I try to protect some time for focused design work because that is when I can really immerse myself in a problem.
The balance is not always perfect, but I like the variety. I don't think I would enjoy doing exactly the same thing every day.
Don't be afraid of not knowing.
When I started studying design, I didn't really know what I was getting myself into. You learn by doing, failing, questioning and trying again.
I would also encourage young designers not to chase trends too much. Develop your ability to observe and think. Learn how things are made. Understand materials. Make physical things whenever possible.
And most importantly, stay curious. If you find yourself thinking about a design problem when you are supposed to be sleeping, that might actually be a good sign.
When I started studying design, I didn't really know what I was getting myself into. You learn by doing, failing, questioning and trying again.
I would also encourage young designers not to chase trends too much. Develop your ability to observe and think. Learn how things are made. Understand materials. Make physical things whenever possible.
And most importantly, stay curious. If you find yourself thinking about a design problem when you are supposed to be sleeping, that might actually be a good sign.
The biggest positive for me is that design gives me the opportunity to be genuinely excited about what I do.
I can move between research, sketching, making, problem-solving and experimentation. Every project can teach me something new.
The negative side is that it can be difficult to switch off. A problem can stay in your head long after the working day is over. Deadlines, uncertainty and constantly having to make decisions can also be exhausting.
But personally, I find that the excitement outweighs the difficulties.
I can move between research, sketching, making, problem-solving and experimentation. Every project can teach me something new.
The negative side is that it can be difficult to switch off. A problem can stay in your head long after the working day is over. Deadlines, uncertainty and constantly having to make decisions can also be exhausting.
But personally, I find that the excitement outweighs the difficulties.
Don't add something unless you can explain why it needs to be there.
Curiosity, observation and problem-solving are probably the most important.
Technical skills are essential, but tools can be learned. What is harder to teach is the ability to notice something, question it and imagine a different possibility.
Communication is also extremely important. A designer has to communicate with clients, engineers, manufacturers, users and other designers.
And finally, persistence. Some problems simply refuse to be solved quickly.
Technical skills are essential, but tools can be learned. What is harder to teach is the ability to notice something, question it and imagine a different possibility.
Communication is also extremely important. A designer has to communicate with clients, engineers, manufacturers, users and other designers.
And finally, persistence. Some problems simply refuse to be solved quickly.
My toolbox is a combination of digital and physical tools.
Sketching is still one of my most important methods for developing ideas. I also use digital modelling and visualization tools throughout the development process, together with physical prototypes when possible.
Sketching is still one of my most important methods for developing ideas. I also use digital modelling and visualization tools throughout the development process, together with physical prototypes when possible.
I try to divide projects into smaller stages and give each stage a clear purpose.
This is particularly important because design can easily become endless. There is almost always another detail that could be changed.
I try to distinguish between a problem that genuinely needs solving and a detail that I am changing simply because I am afraid to finish.
I think time management is less about doing everything and more about deciding what deserves your attention at a particular moment.
This is particularly important because design can easily become endless. There is almost always another detail that could be changed.
I try to distinguish between a problem that genuinely needs solving and a detail that I am changing simply because I am afraid to finish.
I think time management is less about doing everything and more about deciding what deserves your attention at a particular moment.
There is no single answer.
A simple conceptual object can develop relatively quickly, while a product that requires extensive research, prototyping and production development can take months or much longer.
Trinity Drinking Glass went through a process of conceptual development and physical prototyping. The timeline was strongly connected to the need to test whether the unusual form could actually work as a comfortable drinking object.
For me, the important thing is not how quickly a design is finished, but whether enough time has been given to the right questions.
A simple conceptual object can develop relatively quickly, while a product that requires extensive research, prototyping and production development can take months or much longer.
Trinity Drinking Glass went through a process of conceptual development and physical prototyping. The timeline was strongly connected to the need to test whether the unusual form could actually work as a comfortable drinking object.
For me, the important thing is not how quickly a design is finished, but whether enough time has been given to the right questions.
I currently work through freelance collaborations and independent projects. I prefer not to disclose the names of private clients, but I enjoy working across different types of product and design problems.
I particularly enjoy product design where a seemingly simple object contains a deeper problem.
I like projects where there is enough freedom to question the established solution and enough constraint to make the final result meaningful.
I also enjoy projects where I can stay close to the physical object — thinking about materials, proportions, manufacturing and how a person will actually interact with it.
I like projects where there is enough freedom to question the established solution and enough constraint to make the final result meaningful.
I also enjoy projects where I can stay close to the physical object — thinking about materials, proportions, manufacturing and how a person will actually interact with it.
I would like to continue developing my practice in parallel with my academic work.
I am currently focused on completing my PhD research, but I would also like to continue developing independent product projects and working as a product designer.
In the longer term, I would love to teach at the National Academy of Art while continuing to practice design professionally.
I like the idea of combining teaching, research and practice because each one feeds the others. Working with students keeps me curious, research gives me depth, and professional design keeps the work connected to reality.
I am currently focused on completing my PhD research, but I would also like to continue developing independent product projects and working as a product designer.
In the longer term, I would love to teach at the National Academy of Art while continuing to practice design professionally.
I like the idea of combining teaching, research and practice because each one feeds the others. Working with students keeps me curious, research gives me depth, and professional design keeps the work connected to reality.
It depends on the project.
I often develop the initial concept and design direction myself, especially for independent projects, but design rarely exists completely in isolation.
Feedback from other people is extremely valuable. Engineers, manufacturers, colleagues, students or simply someone using a prototype can notice things that I might not see myself.
I enjoy the balance between having enough personal control over the concept and being open to outside perspectives.
I often develop the initial concept and design direction myself, especially for independent projects, but design rarely exists completely in isolation.
Feedback from other people is extremely valuable. Engineers, manufacturers, colleagues, students or simply someone using a prototype can notice things that I might not see myself.
I enjoy the balance between having enough personal control over the concept and being open to outside perspectives.
e-mail: ivilinadm@gmail.com
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