Interview with Mersa Habibi

I do not think I chose design all at once. It felt more like a path that slowly pulled me toward itself.

From the beginning, I was drawn to forms, objects, symbols, and the hidden stories behind them. I was always curious about why some things are only seen, while others remain in people's minds and emotions. That curiosity became the beginning of my journey in design.

Product design was my first serious field of exploration. It taught me that an idea must not only be beautiful, but also buildable, usable, and understandable. Later, jewelry design allowed me to follow this perspective in a more personal and emotional way, because jewelry lives so closely with the body, memory, and identity.

What made me a designer was not only a love for beauty, but a deep desire to create things that carry meaning, connect with people, and hold a fragment of a story, a culture, or an emotion within them.

In every project, I begin with the "why". I need to understand why the design should exist, what need it responds to, and what feeling or experience it is meant to create for its audience.

My second priority is the human experience. No matter how beautiful a design is, if it cannot be lived with, worn, touched, or used naturally, it does not feel complete to me. Function, comfort, emotional connection, and user experience must always stand beside form and beauty.

My third priority is detail. I am deeply sensitive to details because I believe the true character of a design often reveals itself in its smallest elements. Details show how much respect the designer has for the audience, the idea, and the final quality of the work.

Technically, my process usually begins with research, observation, and initial sketches, then moves into digital modeling, form exploration, rendering, prototyping, and gradual refinement. I believe in digital tools, but I also believe in touch, intuition, and human judgment. Tools matter, but they can never replace the eye, sensitivity, and decisions of the designer.

I would describe my style as "meaning-driven narrative design"
an approach where form, material, technique, and detail all serve the expression of an idea and the creation of a memorable experience.

When I design, the first emotion that awakens in me is curiosity, a strong desire to discover something that has not yet taken shape.

For me, the most exciting moment is when a raw idea slowly begins to come alive; when a hidden connection appears between research, form, material, and the feeling of the work. That moment feels like a light turning on in the dark.

Of course, designing is not always pure excitement. Doubt, dissatisfaction, and repeated revisions are also part of the journey. But these tensions are what make the process feel alive. I love the moment when, after many attempts and refinements, I suddenly feel that the idea has finally found its own voice.

In the end, designing brings me a kind of peace, not the peace of perfection, but the quiet satisfaction of knowing that I have given an idea its most honest possible form.

I believe what shaped me most as a designer was not only education or professional experience, but the way I learned to look at the world.

One of the most important skills in my journey has been observation. I pay attention to people’s behavior, their choices, what they are drawn to, what they hide, and even the small details that may seem insignificant at first. For me, design often begins in these quiet observations.

Another essential skill is storytelling. I always try to find an emotional or intellectual layer behind a product—something that allows the work to be not only seen, but understood and felt. This sensitivity to narrative naturally led me toward designs connected to culture, memory, and identity.

Working with different brands and projects has also strengthened my analytical thinking. I learned that a designer must listen carefully, uncover the real need beneath the surface, understand the market, and create balance between imagination and practical reality.

If I had to name the greatest influence on my work, I would say: people. People with their memories, needs, cultures, fears, and dreams. That is where design begins for me,with the desire to understand the human being.

My growth path has always begun with one question: how can I make design deeper, more human, and more impactful?

In the future, I want to develop Mersa Design Atelier into a more international space for design, strategy, and storytelling—a place where projects are not only successful in terms of beauty or market value, but also capable of expressing culture, emotion, and human experience in a contemporary and tangible way.

Personally, I want to work more on projects that blur the boundaries between jewelry, product, art, and experience—works that are not only worn or used, but truly lived. For me, growth means being able to see the world of an idea more completely each time, and bringing it closer to reality with more precision, courage, and honesty.

My dream design project is to create a large cultural collection or experience where jewelry, architecture, storytelling, light, sound, and history come together, so the audience feels they have entered a world, not simply viewed an exhibition or a product. To realize such a project, I would need a sponsor or production partner with the same curiosity and courage to explore a new world and create something truly singular—someone who does not see design merely as product-making, but as an opportunity to build a lasting experience.

In the future, I hope to create works that build dialogue between cultures and show that design can gather memory, emotion, and the future into a living form.

Mersa Design Atelier is an independent multidisciplinary design and strategy studio capable of managing the entire journey of a project, from its earliest concept to its final presentation. Our work extends far beyond product and jewelry design. Every project begins with understanding our client's needs, analyzing the target audience, studying market trends, and developing a tailored design strategy. From there, we move into product design, service design, brand identity development, and planning effective market presentation.

Before creating any solution, we believe it is essential to understand the problem itself. Research, needs assessment, trend analysis, market insights, audience understanding, and brand positioning are therefore integral parts of our design process. Based on this foundation, we develop solutions that are not only aesthetically refined, but also meaningful, functional, strategically positioned, and capable of creating lasting value.

Alongside product and service design, the studio provides expertise in branding, brand identity, and social media marketing, ensuring that every product or project is not only created, but also effectively communicated, presented, and experienced by its audience. We believe that design is complete only when the entire journey, from the initial idea to the final user experience, is thoughtful, cohesive, and purposeful.

Although our projects vary in scale, industry, and discipline, they are all guided by one shared principle: every design should have a clear reason to exist.

To me, design is not the creation of form; it is the creation of meaning.

Before a design can be beautiful or functional, it should answer a more fundamental question:
Why should it exist?
What value does it create?
How does it improve the human experience?
What story does it tell?

For this reason, I do not see design as merely a creative process. I see it as a process of solving problems, building connections, and shaping meaningful experiences. Every project is a dialogue between people, culture, technology, and the needs of its time. The designer's role is to find the right balance among all of these elements.

In my view, the most successful designs are those that go beyond aesthetics and function to create a lasting impact. A beautiful object may capture attention, but a meaningful one remains in people's memories. That belief guides every design decision I make.

I am most drawn to projects that represent more than just a product/projects that carry an idea, tell a story, or express a deeper purpose. The work I enjoy most is not limited to solving functional problems; it creates experiences, communicates meaning, and has the potential to shape identity.

Although jewelry design is one of my primary fields of practice, I am equally passionate about multidisciplinary projects where product design, strategy, branding, and user experience come together. These projects challenge me to think beyond a single discipline and develop more holistic and meaningful solutions.

I am most inspired by projects that present an intellectual challenge, ones that require research, exploration, analysis, and the development of a unique design approach. The projects I value most are those that successfully connect the past with the future, culture with innovation, and people with the objects they choose to live with.

I have been fortunate to create several projects that are deeply meaningful to me, designs enriched with stories, cultural narratives, and ideas that I genuinely love. Choosing only one is difficult, because each represents a different chapter of my journey as a designer.

However, if I had to select a single design that is closest to my heart, it would undoubtedly be the **Iran Bracelet**, the project that received the A' Design Award.

The reason is not simply the recognition it received, but what it represents. This project brought together many of the ideas and values that have shaped my approach to design over the years. The bracelet unites seventeen historical landmarks from different regions and eras of Iran into a single continuous narrative, celebrating the country's cultural diversity, historical continuity, and rich identity.

For me, this was never just a piece of jewelry. It was an attempt to transform history, architecture, and collective memory into something people could carry with them every day. The greatest challenge was finding a way to express such depth of meaning within a contemporary, wearable object without compromising either its authenticity or its functionality.

If someone wanted to understand my philosophy as a designer through a single project, I believe the **Iran Bracelet** would be the best example. It reflects my belief that the most meaningful designs are those that unite beauty, function, and storytelling into an experience that continues to live far beyond the object itself.

The first project I designed for a company was a product design project. It marked an important turning point in my professional journey because, for the first time, I experienced the realities of designing within a commercial context, where creativity alone was not enough. A successful design also had to respond to manufacturing constraints, user needs, market expectations, and business objectives.

That experience fundamentally changed the way I approached design. I realized that a designer's responsibility extends far beyond generating beautiful ideas. It is about finding the right balance between creativity, practicality, and the real needs of people.

Although my work has since expanded into jewelry design, design strategy, and multidisciplinary projects, that very first experience laid the foundation for the way I still think today: a successful design should not only inspire, but also create genuine value in the real world.

For me, the choice of material or technology is never predetermined. Each project has its own language, and that language determines which material, production method, or technology can best express the idea.

For this reason, I am not attached to a single material. I am deeply interested in combining different materials and exploring the possibilities they create together. The interaction between textures, physical qualities, and even contrasts between materials has always inspired me and opened new opportunities for creating distinctive experiences.

The same applies to technology and production methods. From traditional craftsmanship to 3D modeling, digital production, and emerging technologies, each method offers designers a unique way to express an idea. Learning and experimenting with different techniques has always excited me, because every technology opens a new way of thinking and designing.

Ultimately, what matters to me is not the material or the technology itself, but how it can be used to create a better experience and communicate an idea more precisely.

Creativity, for me, is not tied to a particular time or place. I feel most creative when I am faced with a genuine and challenging problem, one without an obvious answer, one that encourages me to research, observe, question, and explore new possibilities.

I also find my mind at its most active when I connect different disciplines and worlds. Art history, architecture, culture, nature, technology, literature, and conversations with people from diverse backgrounds often spark ideas that later evolve into design concepts.

Many of my best ideas are born away from the design desk, while walking, traveling, visiting museums, or simply spending time in quiet reflection. I believe creativity is the result of accumulated experiences rather than a single moment of inspiration.

At the same time, I believe creativity flourishes in environments that encourage exploration, experimentation, and freedom of thought. The fewer unnecessary limitations there are, the greater the opportunity to discover new ideas and develop original solutions. That is why I always try to create a design process where curiosity and experimentation are not exceptions, but essential parts of the journey.

Every project has its own priorities, but there are a few principles that remain constant throughout my design process.

The first is solving the right problem. Before I think about form or details, I try to understand exactly what the design is meant to achieve, what need it addresses, and what value it creates for the people who will use it.

The second is the user experience. To me, successful design should feel natural, enjoyable, and lasting. Functionality and the experience of interacting with a design should never be sacrificed for aesthetics.

Finally, I focus on the identity of the work itself. Every design should have its own distinctive character, something that sets it apart and creates a deeper connection with its audience.

I feel most satisfied when these three elements,**purpose, experience, and identity**, exist in harmony. In my view, great design is never about prioritizing one at the expense of another; it is about achieving the right balance between all of them.

If I had to describe my emotions while designing with a single word, it would be **curiosity**.

Almost every project begins with a question, one that I do not yet have the answer to. That sense of not knowing is the most exciting part of the design process for me. The moment I realize I am about to discover something new, uncover an unexpected connection, or find a solution that did not exist before, I feel the greatest energy and motivation to design.

As the process unfolds, curiosity turns into excitement, the excitement of discovery, of ideas coming together, of unexpected connections emerging, and of watching a complex concept gradually transform into a coherent design.

Of course, design is not always a confident journey. Doubt, revision, and even temporary failures are all part of the process. Yet none of these diminish my desire to explore. Instead, they push me to think more deeply, ask better questions, and keep searching for stronger answers.

In the end, I find a sense of peace when an idea has been expressed in its most honest and precise form. For me, true satisfaction does not come from reaching a definitive answer, but from the joy of the journey of discovery itself.

Seeing an idea become a real object is always a powerful and emotional moment for me. It feels as though something that existed only in my imagination has finally come to life.

But for me, realizing a design is not the end of the journey—it is the beginning of its life. From that moment on, the design enters people's lives, interacts with them, and begins to acquire meanings that are no longer entirely mine.

The greatest satisfaction comes when I see people build a personal relationship with a design—when they wear it, use it, create memories around it, or even interpret it in ways I had never imagined. That is the moment I know the design has gone beyond being an object and has become part of a human experience.

Every time one of my designs becomes reality, I feel not only joy, but also a sense of connection with people. I believe that from that moment forward, the work no longer belongs solely to its designer; it belongs to those who live with it, and each of them adds a new chapter to its story.

To me, the success of a design cannot be measured solely by awards, commercial success, or even its beauty. While all of these are valuable, none of them alone defines what truly makes a design successful.

A design succeeds when it solves a real need, creates a genuine connection with its audience, and allows people to express a part of their identity, personality, or values through it. Especially in jewelry design, I feel a piece has truly succeeded when it is no longer just an object, but becomes part of someone's life and identity.

I also believe that a successful design is an honest one—one that has a clear reason to exist and contributes positively to people's lives. This is one of the reasons I chose to participate in the A' Design Award. Its mission is to recognize and promote designs that help create a better society and a better world through the power of good design. That vision resonates deeply with my own understanding of what truly defines successful design.

The first question I ask myself is, **"Why does this design exist?"**

If a design cannot justify its reason for being, then its beauty, complexity, or even innovation become far less important to me. I always try to understand the purpose behind a design before evaluating it, and I prefer to judge it within the context of its own objectives rather than through my personal taste.

From there, I ask whether the design truly solves a problem, whether it creates a meaningful connection with its audience, and whether it achieves a balance between form, function, experience, and identity.

Attention to detail is equally important to me. Details are never merely decorative—they reflect the level of respect a designer has for the people who will experience the work. I believe that craftsmanship, precision, and the care invested in even the smallest decisions reveal a designer's professionalism, mindset, and depth of thinking.

Finally, I value authenticity. A good design does not have to be complex or unconventional. It simply needs to be honest, thoughtful, and true to its purpose.

To me, design is not only about creating better products; it is about contributing to a better world. That is why I believe designers carry a responsibility that goes far beyond aesthetics or functionality.

Our first responsibility is respect—respect for life in all its forms. For people, animals, plants, nature, and even the cultural heritage we have inherited. Every design decision leaves an impact on the world around us, and therefore every decision should be made with awareness, empathy, and responsibility.

I also believe that designers have a responsibility to preserve and evolve culture. Design has the power to protect identity, reinterpret traditions for contemporary life, and pass cultural values on to future generations without losing their authenticity. Design is not always about creating something new; sometimes it is about safeguarding what should never be forgotten.

At the same time, we must remain conscious of the impact our choices have on natural resources and the environment. Creating products that are thoughtful, durable, and responsible is, in my view, far more valuable than producing objects intended only for short-term consumption.

Ultimately, every design leaves a footprint on the world. As designers, our responsibility is to ensure that this footprint reflects respect, awareness, and a genuine contribution to making life better.

I believe design is entering an era that is more interdisciplinary, intelligent, and human-centered than ever before. Artificial intelligence, generative technologies, and new methods of production are transforming the way we design, removing many of the limitations that once defined the creative process.

At the same time, I do not believe the future of design belongs to technology itself. It belongs to the people who know how to use technology with purpose. Artificial intelligence can generate countless answers, but it is still human curiosity that asks the right questions, creates meaning, and takes responsibility for the decisions behind every design.

I also believe that as the world moves toward faster production and increasing similarity, authenticity, identity, and a designer's unique perspective will become even more valuable. In the future, the true difference will not lie in access to tools, but in the quality of thought, depth of understanding, and the ability to tell meaningful stories.

For me, the future of design is one where technology and human creativity do not compete with one another, they collaborate to create a world that is more thoughtful, more meaningful, and ultimately, more human.

My most recent international exhibition experience has been through events associated with the **A' Design Award**, where my work was presented alongside projects from designers around the world. It was a valuable opportunity to engage in a global dialogue about design and to see how different cultures approach creativity and innovation.

As for my next exhibition, I am less concerned with the location than with the experience it creates. I would like to curate an exhibition that is more than a collection of objects—one where each piece becomes part of a larger narrative, bringing together design, art, culture, and human experience.

I hope my next exhibition will be a place where visitors do more than simply observe the works. I want them to connect with them, experience them, and leave with new questions, new emotions, and perhaps a new way of seeing the world.

Inspiration does not come to me from a single source; it grows out of my curiosity about the world. I am constantly drawn to discovering connections between disciplines that may seem unrelated at first, and those unexpected intersections often become the starting point of a new idea.

Art history, architecture, mythology, different cultures, nature, literature, music, and even everyday conversations can all spark a project. Among these, the cultural heritage of Iran has always been one of my richest sources of inspiration. Its layered history, symbols, craftsmanship, and countless stories continuously offer new perspectives to explore.

To nourish my creativity, I make a conscious effort to keep learning. Reading, traveling, visiting museums, observing people, and experiencing different cultures are all essential parts of my creative process. I believe every new experience, every meaningful conversation, and every unfamiliar place has the potential to change the way a designer sees the world.

Perhaps my greatest source of inspiration, however, is asking questions. The more questions I ask, the more I discover—and every discovery becomes the beginning of another idea. I do not wait for inspiration to arrive; I cultivate it through curiosity, observation, and living.

If I had to describe my design style in a few words, I would call it, "meaning-driven narrative design".

For me, every project begins not with a form, but with a question, a story, or a meaning waiting to be expressed. Beauty, materials, technology, and visual language all exist to serve that meaning—not the other way around.

Over the years, I naturally gravitated toward this approach because I realized I am most passionate about projects that build connections between people, culture, history, and contemporary life. I want my designs to be more than objects that are simply seen; I want them to be felt, remembered, and shared through the stories they carry.

Another defining characteristic of my work is my meticulous attention to detail. I genuinely enjoy refining the smallest elements because I believe the true character of a design often reveals itself in its details. Details are never merely decorative; they are part of the narrative and play a fundamental role in shaping the user's experience.

My approach combines research, storytelling, cultural identity, meticulous craftsmanship, and human experience within a contemporary design language. Whether I am designing a product, a piece of jewelry, or developing a design strategy, I always begin by understanding why the project should exist before deciding what it should look like.

Ultimately, my approach is simple: every design should be more than an object,it should create an experience that carries meaning for people.

I live in Iran, a country that offers an endless source of inspiration for a designer. Its history, architecture, art, literature, craftsmanship, mythology, and cultural diversity have all become an inseparable part of the way I think and design.

More than its historical heritage alone, what has shaped me most is the Iranian way of seeing the world—a culture rich in symbolism, metaphor, storytelling, and layers of meaning. I believe this perspective naturally finds its way into many of my designs.

Designing in Iran also comes with its challenges. Economic limitations, restricted access to certain technologies and materials, and the difficulties of maintaining a continuous presence in international markets are all realities that designers here experience. Yet these challenges have also encouraged me to think more creatively, find alternative solutions, and rely even more on research, innovation, and the strength of ideas.

In the end, I do not see Iran as a limitation, but as an essential part of my creative identity. Wherever I design, I carry my cultural roots with me, not to repeat the past, but to create works that build dialogue between cultures and remind us that design is a universal language.

I do not see my relationship with companies as that of a designer and a client. I see it as a partnership built around solving a shared challenge.

Every collaboration begins with understanding. Before making any design decisions, I take the time to understand the company's goals, values, audience, market position, and the real challenges it is trying to address. I believe meaningful solutions can only emerge from a deep understanding of the problem.

From there, design becomes a collaborative process where research, strategy, creativity, and continuous dialogue move forward together. I value open communication throughout the project because the strongest outcomes are achieved when everyone shares the same vision and works toward the same purpose.

Ultimately, my goal is not simply to deliver a design. It is to help create products, services, or brands that generate genuine value for people while contributing to the long-term success of the business.

As I often say, I don't design for my clients,I design with them.