How to be an experience designer
How to be an experience designer
Design Week: What does it mean to be an experience designer?
Chloe Morris : This involves creative direction, and bringing brands to life and allowing people to experience them.
My last job was as a freelancer for Global Bartending, run by Dan Dove. London Essence was a soda drink and tonic company. We had a rich perfume history with them. It used to be perfume houses who developed essences in the 1980s. So we kept that in our minds when we created the event. I looked into every aspect of the brand and key words throughout the design process. We considered science, perfume, laboratories, carbonation and came up with The Essence House. It is an immersive experience where people can interact directly with the brand and environment.
DW: What are your educational backgrounds?
CM: I have a BA in product design and interior architecture, as well as an MA in narrative environments from UAL. This is the perfect fit for what I do.
My course [narrative environments] was designed more for the industry of spatial design - how to navigate exhibitions. I wanted to be a bit more creative and developed my own projects with the help of masters. That's how I developed Edible Stories, which was all about spatial design and food. Because I wanted to try everything and see what the results would be, I was fortunate enough to have room for error.
DW: How has your career progressed so far?
CM: To run my business, I went straight to university. Pop-ups were my main focus for a whole year. Every two months, I would put one in a new location in London. Each one was unique and an unforgettable experience.
That was for a year, to reach our target market and refine our concept. Although it was fantastic and sold out all the events, money was a challenge. Then I moved into corporate events. I have shifted away from food and am now creatively directing multi-sensory experiences for brands.
I could work with upfront budgets and create things based on them, rather than gamble with ticket sales. Since then, I have left Edible Stories to become a freelancer. This gives me more freedom and allows me to work with a variety of companies and exciting brands.
DW: What made you want to get involved in experience design?
CM: I believe that my course was the most important in terms of space, food and storytelling. I felt that I could pick up specific details in a story so I would consider the narrative as a way to introduce the feeling of the event. Next, you will need to consider the food and environment. Then, you will need to decide how to include the smells, colours, and characters. This will take some trial and error but eventually, you'll be able to bring them to life.
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CM: We had a six- to seven month lead time for my latest project, which isn't something you get all the time. So we were very lucky! It is usually a faster turnaround, but once you reach the end of the project, it feels like you have no time.
The foundation of any project is a concept. Sometimes, we receive a client's narrative - a specific thing they want to highlight or launch. Although we get the brand guidelines, it doesn't help us with the actual concept. It does give us some things to remember, such as colours, fonts, and materials. We start with some very visual mood boards. Then we refine it and refine it until we have a concept that we love. This is a critical stage in the project and requires lots of back-and-forth.
It's then time to get excited and sign off with your client. Since I have been in the industry for many years, I prefer to work with people I like. It can be stressful. I have worked with many people who were recommended to me by clients. It's important to build a strong relationship with suppliers.
It's then a week of intense building. From 6am to 1am, it's a long day. It's impossible to stop and get a sandwich. Crew food is easy to grab as crew food is already provided.
DW: What are your primary day-to-day tasks and responsibilities?
CM: I am constantly thinking about the job that I will be doing with Edible Stories and one of my freelance clients. As I scroll through social media, even though the idea has been approved, I am still looking for them. Although my screenshot collection is large, I can still find the perfect screenshots to match what another client needs. Keep your eyes open. I am constantly inspired. Most projects require me to make last-minute changes that will either bring the project together, or just slightly improve on what we had agreed upon.
DW: Is the job creatively challenging?
CM: There is a constant evolution of where it goes. But it's fascinating. It's important to research what is available and what past events have taken place in this area. It's the most enjoyable stage of the entire process.
DW: How closely do other designers work with you?
CM: When I was at Edible Stories, it used to be more of a one-woman show. Now that I am a freelancer, I work for many clients and need to fit in with their team. I am currently working well with the director of my company. Our ideas are constantly exchanged. While he is responsible for the operations, he is still creative and I handle the concept, design, and production.
It is great to have someone to share the load and run your ideas. To make it all happen, we also hire stylists, builders and graphic designers. All of these people I have worked with before, and can trust to do the job as we intended. It is great to be able delegate and do what you need.
DW: What are your strengths as an experience designer?
CM: It's all about grabbing people's attention. When I started out, Instagram wasn't a very popular platform. Although it existed, it wasn't as well-known as it is today, it's still something that we need to remember. The event must be visually appealing. It also needs to have something that is unique and someone wants to photograph it. Sometimes, things are amazing in person but look terrible when you take pictures. We have a lot of events that end up having a media night. People need to be interested in buying tickets to those images.
Flexibility is also a must. Clients have booked you because they trust your judgment and sometimes make last-minute calls to push it even further into reality. Although you may have approved elements with renders, it is possible to run the space and need to move items around because the space seems smaller or doesn't work.
DW: What are your favorite parts about your job?
CM: I love the creative stage as much as the actual bringing it into life. It's intense but rewarding at the end. When you finish a project, it is almost time for it to go live. It's amazing when you have spent so much time planning and finally get to build it exactly as you saw it in renders.
DW: What is the worst part of your job?
Budgeting is probably the most difficult part of the job. Imagine that a job with high production values will require you to budget a lot of money.
It is important to stay on task, especially when working with clients who have limited funds and have ambitious goals. You must be able to manage numbers and allocate resources. It's great if you enjoy excel spreadsheets and numbers. But if you are more visual and like coming up with new ideas and getting back something, it will not be the most exciting part of the project.
DW: What would you look for in a junior experience design?
CM: It is so important to be able work with others. It is good for them to be capable of solving problems and finding solutions without me having the responsibility. I like to be surprised by their ideas. At the interview stage, it's always a good idea to give potential candidates a project so that you can see if they have original ideas or just a regular Pinterest board.
DW: What advice would you give people who are considering experience design?
CM: You just have to keep going. There will be some bumps in the road, but don't lose heart.
It can be difficult to manage dynamics. I love the one-two punch of my current dynamic, but that has not always been true with former employers and collaborators. If you want to work with anyone, you need to find people you like working with and who can lift you up.
Knowing your value is also crucial. We creatives don't know what our time is worth. It's hard to determine the value of what you do, because we love what it does. You might say, "Oh, I'll work another three hours," or "I'll work for a whole week instead of the three days I get paid for because it's so good and I love it." This is great, but you must be paid for your work. It would cost you the same as anyone else, so it is worth paying.
While I find myself still doing extra hours and extra days for the job, I then look at myself and realize that no one in my field would ever do it! It's because you are so passionate about the job that you forget about your worth. You need to know how much you are worth and not let your passion get in the way of your success.
DW: How is the job market?
CM: You can find gigs wherever you go. Once you are in the industry, people will recommend you. There are many other industries you could go into. F&B brands are an industry that understands the value of immersive experiences. I am a frequent collaborator with them. This is something that the fashion industry has done for many years and everyone else is only just beginning to understand. There is no industry that is impossible, but you need to have the right ideas to make it work.
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