Gina Guasch Studio's designs are a vibrant, bold statement that goes beyond mere aesthetics. They are a testament to the studio's unique, empathetic, and queer point of view, which is a defining characteristic that sets them apart from other studios. Founded in Barcelona in 2019, GGS has quickly become known for its inclusive, feminist, and ethically-driven approach to design, attracting a diverse range of clients and projects that resonate with its core values.
Gina's background in graphic design and her creative upbringing in a household that fostered critical thinking have shaped her approach to design. She launched GGS with the intention of building a more inclusive team, drawn from the queer community, and a feminist, ethical vision that permeates every aspect of the studio's work. This commitment to inclusivity and authenticity is evident in the studio's diverse client list, which includes Nike, The New York Times, Sony Music, Boiler Room, and The Face, as well as a rich roster of cultural, music, and activist projects.
Gina's work is characterized by an experimental, naive aesthetic that is full of color and life. She works closely with art, club culture, and social contexts, using branding and fast formats like flyers and covers to create images that are both critical and identity-driven. The flyers, in particular, are a testament to this approach, with each one starting from a different place and sharing the same intention: to build images with character that respond to the music and context, avoiding hegemonic or stereotypical solutions.
One of the most compelling aspects of GGS's work is its refusal to be palatable. MARCIAS, a queer electronic music collective that Gina co-founded, has had its flyers repeatedly flagged and removed on Instagram for going against the platform's guidelines. This detail highlights the studio's commitment to pushing boundaries and challenging the status quo.
Gina's branding projects also demonstrate the same conviction, with a focus on creating identities that are fluid, movement-based, and rooted in the idea of plurality. SAPPHI, an identity for a queer dating app, uses fluid, movement-based forms to explore closeness and reciprocity between equals. OXI, a nightclub identity for a venue in Berlin, is built around the idea of plurality, combining digital and analogue references, bold evolving color, and custom typography that shifts across the club's different spaces.
Good Girl Snacks, a Gen Z snack brand that blends Middle Eastern and American flavors, gets a character-driven universe built around friendship and community. MIRO, a guide for a Miró Foundation exhibition, uses sketchy, naive illustration and hand-drawn lettering to make the work feel like a playful invitation.
Running the studio independently has its challenges, as Gina acknowledges. It can be difficult to be financially stable and to compete with bigger studios or agencies. However, the team, the emotional reward, and the satisfaction of reaching or exceeding goals every year keep the studio going. Gina's openly queer identity also helps attract like-minded clients, which is affirming, but it can also make it harder to enter certain markets or work with certain clients who see the studio as too radical.
Looking ahead, Gina sees design becoming increasingly polarized, with either more automatic and generic designs driven by social media and short attention spans, or more author-driven, critical, and context-rooted designs that respond to the political moment we're living in. Gina clearly stands with the second path, and given everything GGS has built, that was never in doubt.
