Gina Guasch Studio's designs are a vibrant, bold, and unapologetic statement of identity and activism. The studio, founded in Barcelona in 2019, is a beacon of authenticity and inclusivity, with a team drawn from the queer community and a feminist, ethical vision at its core. This is a studio that truly lives up to its name, with a point of view that is as unique as it is genuine.
What makes GGS stand out is its unwavering commitment to authenticity. In an industry where studios often define themselves by the clients they attract, GGS takes a different approach. They define themselves by their genuine point of view, which is evident in their work. This is a studio that is not afraid to be itself, and it is this courage that has led to a diverse and impressive client list, including Nike, The New York Times, Sony Music, Boiler Room, and The Face.
Gina's background in graphic design and her creative upbringing in Barcelona have shaped her unique style. She describes her work as 'full of colour and life', with an experimental and naive aesthetic that goes beyond trends. This is particularly evident in the flyers, which are a testament to the studio's ability to capture the raw energy of club culture and social contexts. Each flyer is a work of art, with a distinct approach that avoids hegemonic or stereotypical solutions.
One of the most fascinating aspects of GGS is its refusal to be palatable. MARCIAS, the queer electronic music collective co-founded by Gina, has faced repeated flagging and removal on Instagram for its bold and unapologetic nature. This is a studio that is not afraid to challenge norms and push boundaries, which is a refreshing change in an industry that often prioritizes conformity.
Gina's branding projects also showcase her commitment to authenticity and identity. SAPPHI, a queer dating app identity, 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, with a flexible system that combines digital and analogue references. Good Girl Snacks, a Gen Z snack brand, gets a character-driven universe built around friendship and community, and MIRO, a guide for a MirĂł Foundation exhibition, uses sketchy, naive illustration and hand-drawn lettering to make the work feel like a playful invitation.
Running a studio independently is a challenging but rewarding journey. Gina acknowledges the financial struggles and the difficulty in competing with larger studios or agencies. However, the emotional reward and the team's support keep them going. Being an openly queer studio has its advantages, attracting like-minded clients and providing a sense of affirmation. Yet, it also presents challenges in entering certain markets or working with clients who may view the studio as too radical.
Looking ahead, Gina sees design becoming increasingly polarised. She predicts a shift towards either more automatic and generic designs due to social media and short attention spans, or more author-driven, critical, and context-rooted designs as a response to the political moment. Gina's commitment to the latter is clear, and it is this unwavering dedication that has shaped GGS into the authentic and impactful studio it is today.
In conclusion, Gina Guasch Studio is a testament to the power of authenticity and inclusivity in design. Their work is a vibrant and bold statement of identity and activism, and their refusal to conform to industry norms is a refreshing change. GGS is a studio that is not afraid to be itself, and it is this courage that has led to a diverse and impressive body of work.
