What led you into design?
I’ve always practiced some form of art, painting, sketching, design, and spent a lot of time both with my hands and on the computer. I was always curious about how things are made, how ideas take form. That curiosity became my way of performing, of understanding the world.
Design came as a natural path to channel that impulse, the urge to express tension, to translate feeling into form. After finishing my graphic design studies, I realized what truly moved me wasn’t only creating for a purpose, but the sensitivity behind it, the tactile, material experience of making.
That’s where I found the bridge between design and art: where creation isn’t only functional but deeply felt.
What does a typical day look like?
Days usually start slow, with a meditation, something to bring gratitude and perspective, a way to ground before everything begins. Then movement to oxygenate the mind and If I need ambience I’ll play some music right before moving into work.
As the day winds down I shit from work and try to reconnect with my creative energy to let ideas unfold freely. Sketching, reading or at my atelier. Both moments feed each other and keep each other alive.
What's your workstation setup?
The process can start with quick sketches on paper, then the computer is where most ideas take shape. I like working on the go and changing my surroundings and my laptop it’s a great tool for it, that flexibility keeps me inspired. Using a tablet is handy, especially for 3D sketching on the go, making spare moments productive. My setup shifts with the rhythm of my work. I often move between my home studio, a café, or my jewelry workshop. Some softwares are great tools to keep everything synced, even allowing to collaborate fluidly with others.
3D printing it’s something I’m starting to explore hands-on. From there, those printed forms can find their way into metal, completing the dialogue between idea and material.
Where do you go to get inspired?
Inspiration often finds me when I step away from the city. The moment I leave, something in me resets, mind clears, tension releases, and ideas start to surface naturally. Traveling has that effect; even a bus ride out can open up space for new forms to appear.
But I also can’t hide that I love digital research. I grew up as a bit of a computer rat, opening endless tabs connected by small links of curiosity. I still do it. I follow those threads, gather references, then close everything and let the ideas collapse into a canvas. I also use platforms like Are.na, where I enjoy seeing how others build their visual and conceptual boards. It feels more personal and niche (off the algorithm) like entering small, connected worlds of inspiration that you’d never find otherwise.
What product have you recently seen that made you think this is great design?
The design of cities, their movement and infrastructure. I’ve always been fascinated by metro systems, how each city carries its own energy. The design of these environments, the way we experience everyday life.
Recently in I visited the Noguchi Museum, I was particularly inspired by his space models. They show how design can organize space through proportion, balance, and light. His approach feels like a dialogue between sculpture and architecture, how form can quietly guide how we move or feel in a place.
Another spot is Silence Please in New York City, a space that merges sound, music, and design into a single sensory experience. It’s a subtle reminder that listening can also be designed.
Finally, I think of cooking as another kind of design. The way ingredients are arranged, their texture, timing, and temperature, all of these are intuitive design decisions. When I cook, I enter a more fluid creative state, where design becomes about rhythm and feeling rather than structure.
What pieces of work are you most proud of?
I’m especially proud of the progress I’ve made in 3D jewelry design for my own brand, Pivot. It’s been a way of merging my artistic intuition with technical precision and has opened a new stage in how I approach form and materiality.
From my commercial work, a project I truly enjoyed was creating a digital 3D model for the artist Tini. The base of the model came from her Logo typography, and my job was to sculpt that 2D visual into a volumetric piece. I also had to recreate a surface pattern that simulated a texture of reflective crystals, bringing a jewelry-like brilliance to the digital piece. The project was developed in close collaboration with an incredible creative team, which made the whole process fluid and inspiring. The final model became part of an evolving website concept that changed daily, giving the entire collaboration a sense of movement and experimentation.
What design challenges do you face at your company?
One of the main challenges in collaborative work is aligning everyone’s perspectives while giving space to each person’s creative voice.
Understanding that every point of view can enrich the process helps build more thoughtful outcomes. Balancing the needs of the project with those of the team is an ongoing exercise, especially since I naturally tend to get very involved with what I do. I’m learning to stay passionate while maintaining the right level of perspective.
What music do you listen to while designing?
Any advice for ambitious designers?
I’d say, stay present and patient. It’s easy to get caught up in future projections, yet the best ideas come from being fully where you are, listening, observing, making space to let things develop and creating from that place.
Anything you want to promote or plug?
Thanks for the space.
To see my art visit lucianaflorio.com and find my work here
Pivot, is where I create metal pieces from 3D designs. You can find it on Instagram as @pivot.atelier
To get in touch with me find me on Instagram as @luxixlu or contact me directly at contacto@lucianaflorio.com
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