Interviews met Rilind Hoxha

The core idea was to create something more than packaging — an emotional experience. Inspired by both the magic of the holiday season and the timeless elegance of fine jewelry, we wanted to craft a calendar that feels like a treasured gift in itself. The principle was “built to be kept, designed to be felt.”

We focused on creating a luxurious, reusable object that holds emotional and functional value. Our goal was to combine the joy of unboxing with the prestige of premium jewelry — every compartment reveals a carefully curated piece.

We’re planning a limited series production for the upcoming holiday season, expanding on the same concept with new color palettes and product combinations. It will become a signature holiday tradition under Smaragd 1969.

Roughly 6 weeks from initial concept to final prototype. The longest part was balancing the structure, materials, and jewelry layout into one cohesive form.

It was initiated from within — a self-commissioned project driven by inspiration. We wanted to challenge the usual presentation formats for jewelry and offer something collectors could emotionally connect with.

We are producing and selling it ourselves under Smaragd 1969, our in-house jewelry brand. It’s a fully integrated concept from design to retail.

We saw a gap between luxury jewelry and meaningful presentation. Jewelry often comes in disposable boxes — we wanted to change that narrative by turning the packaging into part of the story.

We saw a gap between luxury jewelry and meaningful presentation. Jewelry often comes in disposable boxes — we wanted to change that narrative by turning the packaging into part of the story.

It targets discerning buyers — collectors, gift-givers, and individuals looking for exclusive, timeless jewelry presented in a thoughtful and reusable way.

Its emotional depth and permanence. Most advent-style products are temporary. Ours is designed to last — a collectible display box that can be reused year after year.

“House of Smaragd” is a nod to our roots and elegance. “Advent Calendar” gives the seasonal context. Together, it symbolizes a house of treasures revealed one day at a time.

We used Adobe Illustrator and Photoshop for the visuals, 3D modeling for structure testing, and a mix of hand sketches to conceptualize the user experience.

The balance between function and emotional storytelling. It’s not just packaging — it’s a seasonal ritual, a collector’s piece, and a luxury display in one.

Yes, our internal team handled creative direction, but we also collaborated with structural engineers and packaging specialists to ensure durability and precision.

Technology allowed us to precisely test the structural elements digitally before production, minimizing waste and ensuring a premium user experience.

We conducted customer surveys and benchmarked premium packaging in the jewelry and gifting industries. This helped us understand what evokes emotional value and longevity.

Fitting high-value pieces in a compact structure while maintaining aesthetic appeal and security was a big challenge. We also had to find the right balance of materials — premium, but sustainable.

We believed this design had a story and a soul worth sharing. The A' Design Award felt like the perfect platform to validate that vision internationally.

It taught us that innovation can happen through emotional connection, not just function. We also learned how to balance storytelling, product, and packaging in one cohesive idea.

Only that this calendar is just the beginning. We’re exploring other limited editions — not just for holidays, but for milestones, birthdays, and life events. The calendar is not just a design — it’s a new format for storytelling through jewelry.

I studied visual communication and design, but my passion started long before — I was always curious about how things are made and why they look the way they do. Becoming a designer felt natural; I’ve always been drawn to the emotional and functional power of form, space, and typography.

I’m the Head of Design at Why Agency, a multidisciplinary creative studio based in Skopje. We focus on branding, product packaging, UX/UI, and storytelling. Our approach is holistic — strategy and aesthetics go hand in hand.

Design is structured emotion. It's not only how something looks, but how it makes people feel and behave. It's intention made visible.

Packaging, branding systems, and spatial design. I love formats where storytelling, materiality, and interaction come together.

The House of Smaragd Advent Calendar is a favorite. It pushed boundaries — not just as packaging, but as a functional collectible. It’s rare to work on a project that blends luxury, sentiment, and sustainability so well.

A brand identity for a small architecture studio — it was clean, modular, and taught me a lot about simplicity and restraint.

Uncoated papers, textured boards, and any material that feels human. Digitally, I work extensively with Adobe Creative Suite, Figma, and Blender when needed.

When the brief is clear but the solution isn’t. I thrive in that space between structure and exploration.

Hierarchy, texture, proportions, and storytelling. A good design always has rhythm.

Focused excitement. You enter a flow state — part logic, part instinct.

It’s rewarding, but I rarely stop to celebrate — I’m usually thinking about how to make the next version better.

When it communicates clearly, evokes feeling, and elevates the experience for its intended user.

Concept strength, execution quality, and alignment with purpose.

Designers shape culture and consumption — we must act responsibly, reduce waste, and design things that last.

It’s becoming more human-centered. The future lies in adaptive design, sustainability, and cross-disciplinary collaboration.

The most recent public showcase was the A' Design Award itself. We are preparing a seasonal installation in our stores later this year.

Everywhere — architecture, nature, fashion, typography, and especially moments of stillness. I keep digital mood boards constantly evolving.

Tactile minimalism. I explore clean structures with attention to material, space, and feeling.

I live in Skopje, and yes — being in the Balkans, you're surrounded by contrasts. That duality — tradition vs. modern — definitely informs my visual language.

Strategically. I listen, analyze, and then build design systems that solve problems and tell stories.

Trust the process. Great design comes from collaboration, not control. Be open and clear about your goals.

We start with research and immersion. Then moodboarding, sketching, prototyping, testing, and refining. It’s iterative — with constant dialogue between form and function.

A Bauhaus-style wall clock

Japanese ceramic teacups

A classic Eames chair

A handcrafted brass lamp

The Smaragd calendar prototype

Morning review and planning, creative blocks before lunch, team feedback in the afternoon, and sketching or quiet design time in the evening.

Design for people, not for trends. Don’t rush your style — let it evolve. And always stay curious.

Positives: You get to create. Negatives: You often have to defend the value of your work in non-creative environments

Less, but better — only what matters.

Critical thinking, empathy, composition, and storytelling.

Illustrator, InDesign, Figma, Photoshop, Blender, Pantone books, sketchpads, Japanese design books, and too many saved Instagram folders.

Timeboxing and phases. I split projects into creative, technical, and feedback blocks to stay on track.

It varies — from days to months. The House of Smaragd took 6 weeks including prototyping.

“How long will it take?” Or, “Can we make it look more premium without changing the budget?”

Designing the full Smaragd seasonal campaign — it combined retail, packaging, identity, and emotion in one system.

Through Why Agency: Volvo, Burger King, VivaSokovi, KFC, Smaragd1969 and lifestyle brands.

Packaging and spatial — it’s where brand meets physical experience. You feel the result in your hands.

I want to create more permanent collectible designs, and eventually launch a curated product line under my own label.

Both. I love designing solo, but nothing beats a tight creative team working in sync.

Yes — we’re working on a gold investment collection and a new jewelry line for children, with custom packaging and interactive elements.

Via www.whyagency.co or through our Instagram @whyagencymk.

Design should never feel like decoration. It should feel like intention — thoughtful, useful, and emotionally resonant.

From the very beginning, our vision was to demonstrate that sustainability can enhance, rather than diminish, the feeling of luxury. We replaced traditional glossy and plastic-based materials with FSC-certified paper, water-based inks, and recyclable structures, while ensuring every detail — from the tactile texture to the sound of opening — retained a sense of refinement. The concept was built around longevity: instead of being discarded, the box could be repurposed as a jewelry chest, allowing the design to live on far beyond its first impression.

The inspiration came from the ritual of discovery that advent calendars represent — a daily act of anticipation and joy. We wanted to translate that emotional rhythm into the world of fine jewelry. Our research into vintage advent calendars from mid-century Europe helped us capture their narrative charm, which we then reimagined through clean geometry, precision folds, and modern proportions. This balance of past and present allowed us to create an object that evokes nostalgia while remaining unmistakably contemporary.

The structure was conceived as a symbolic journey through four chapters — each representing one of Smaragd 1969’s core values: heritage, craftsmanship, emotion, and modernity. We tested various modular layouts until finding a configuration that felt both balanced and ceremonial. The sequential opening of compartments creates a narrative flow, transforming unboxing into an experience of exploration — a quiet, elegant ritual that connects the user emotionally to each jewelry piece.

During the creative process, we realized that the essence of Smaragd 1969 is not in fleeting surprises, but in timeless elegance and sophistication. The royal direction emerged naturally from this realization, allowing us to emphasize deep, noble color palettes, gold foiling, and architectural symmetry. The transformation brought a sense of permanence and grace, aligning the concept more closely with Smaragd’s heritage — a house that celebrates refinement and legacy.

Working with AJ-Graf Matbaa was an essential part of realizing this vision. Translating our digital 3D concept into a tangible form required micro-millimeter precision in folds, drawer mechanics, and magnetic closures. Together, we refined over ten prototypes to achieve perfect alignment and durability. Their technical mastery allowed us to preserve every delicate design nuance while ensuring the box functioned flawlessly, reflecting both aesthetic harmony and engineering precision.

Our approach was to treat tradition and modernity not as opposites, but as complementary forces. We combined traditional printing and embossing craftsmanship with minimalist, architectural geometry. The tactile velvet paper and matte gold detailing recall classic jewelry boxes, while the clean forms and modular logic bring a distinctly modern identity. The result is an equilibrium that mirrors Smaragd’s essence — a brand where heritage meets innovation.

Among the most influential discoveries was a vintage perfume chest from Paris, featuring layered drawers and hand-lined interiors. Its hidden compartments inspired the multi-tier experience of our box. We also studied hand-crafted jewelry boxes where the imperfections of handmade details gave them soul. This insight guided us to keep a subtle human touch in an otherwise highly structured design — balancing precision with warmth.

The project challenges the traditional idea that luxury packaging must be excessive. We believe the future of luxury lies in emotional longevity and sustainable beauty — creating objects meant to be kept, not discarded. The Advent Box proposes a new model: packaging as heirloom. It sets a precedent for brands to see packaging as part of the collectible experience, merging craftsmanship, emotion, and environmental responsibility into one enduring form.

We conducted extensive testing with FSC-certified papers, biodegradable laminates, and vegan adhesives to find materials that offered both resilience and refinement. Each paper sample was evaluated for folding strength, texture memory, and compatibility with metallic foiling. The chosen combination achieved a tactile softness and structural firmness, delivering the sensory richness of luxury while meeting our sustainability standards.

The A’ Design Award recognition validated our belief that sustainability and storytelling can define the next era of luxury design. It inspired us to continue experimenting with modular systems, recyclable materials, and multi-sensory experiences that go beyond function. This acknowledgment not only celebrates our craftsmanship but also reinforces our mission at Why Agency and Smaragd 1969 — to design packaging that feels meaningful, timeless, and responsible.