Intense energy to inevitable risks – Designing for a start-up
21 May, 2025
Clare Dowdy finds out about the excitement, and challenges, that come with working with an early-stage company.
“Culturally, working with founders is intense, in the best possible way,” says Kelly Mackenzie, founder and creative director of White Bear. The London and Dublin based branding agency has form working with founder-led companies, including Tom Parker Creamery and chocolate brand Luvli.
“The business isn’t just what they do, it’s often wrapped up in their identity, sense of self-worth and purpose,” Mackenzie explains.
And because of this intensity, the agency becomes almost as invested as the client.
“When we’re asked to evolve or build their brand, we often tell them that it’s like being asked to mind their child,” Mackenzie says. “Naming that emotional connection early builds trust. It helps them feel safe in a process they’ve often never experienced before.”
Many designers talk of going on a journey with these clients.
“You have a very close relationship with the founders, and get to know them very deeply,” says Hijinks co-founder Marc Allenby. “Their idea is usually based on passion, and you – as a designer – are fuelled by that passion. That energy is self-motivating, you really care about what you’re creating.”
The WeRepresent logo and wordmark designed by Hijinks
When Hijinks presented the founder of talent agency WeRepresent with their logo, she burst into tears, which isn’t standard practice when presenting to bigger clients.
But Hijinks had created an animated version that “breathed” – a nod to the founder’s traumatic experience of being in a coma on a ventilator with Covid. A moving approach, in more ways than one.
The entrepreneurial spirit found in start-ups can be infectious.
“Rather than being jaded, they have a youthful energy, and that attracts us,” says Russell Potter, the co-founder of architecture and design firm SODA, whose many hospitality start-up clients include the Instagram-beloved crumble shop, Humble Crumble.
Then there’s the potential for creative freedom. “It’s a blank canvas. We’re creating something from nothing,” says Allenby at Hijinks, in contrast to a more mature brand that will come with its own baggage.
But these clients may not have worked with a design studio before process, and inevitably there’s a lot of hand-holding.
Dundee-based Agency of None branded the start-up QuickBlock
“Start-ups by their nature, are often a very small group of people, all trying to cover many roles. So the role of the designer is often as an educator, as much as a designer,” says Lyall Bruce, director of Dundee-based Agency of None, whose start-up clients include QuickBlock, a sustainable building block made from recycled food packaging, and coffee roaster Bryte.
As a consequence of this inexperience, the brief is rarely formal. It might be a loose deck, a stream-of-consciousness call, or a rough vision, according to Mackenzie. “And throughout, there will be extra calls to talk through thinking, being available on WhatsApp or Slack, and giving reassurance at each step.”
That naivety is both beautiful and brilliant, says Potter at SODA. But if you’re not careful, you can get dragged into a lot of business decisions. “We’re often asked to comment above our pay grade – we can’t always have the answers,” he says. “Someone client side has to have a leap of faith and make a decision.”
Inevitably budgets are tight, and agencies often need to explain the value of effective design,
“Once they see the link between strong branding and commercial outcomes, budget conversations become much easier,” says Mackenzie at White Bear. Although, as several designers pointed out, this challenge is not unique to start-up clients.But for start-ups, agencies often break down payment into smaller chunks, as a way of protecting themselves.
The interior of the new Crunch sandwich shop in London’s Soho designed by KIDZ
KIDZ, which has offices in Amsterdam, Belgrade, Dubai and Paris, designed the new Crunch sandwich shop in London’s Soho. “Working with early-stage companies inevitably involves risk — timelines can shift, priorities may change, or funding may fall through,” says KIDZ co-founder Dmitrii Mironov.
“To protect our team and ensure a smooth process, we break the work into smaller, clearly defined stages. We require prepayment for each stage; keep written records of all agreements, even when communication is fast and informal; limit the number of revisions and fix the scope of work for each stage; and withhold certain deliverables until full payment is received.”
They’ve had a few cases where a project wasn’t completed because the client pivoted or changed direction unexpectedly. “While that’s never ideal, it’s part of the reality of working with start-ups,” he adds.
And sometimes it makes sense to rethink payment completely.
In lieu of fees from a business consultancy, Hijinks did a skills swap.
Meanwhile, when Run for the Hills designed a third site for restaurant chain Cricket in London’s White City, they threw in a £5,000 bar bill to make up for the smaller fee. That allowed the agency to take the team out, thereby boosting morale, and host clients, thereby showcasing their work.
The interior of one of the Humble Crumble shops, designed by SODA studio
In 2015, SODA had a start-up client in the hospitality sector who offered to pay part of the fee in Bitcoin. “We ummed and ahhed, but decided to take the £19,000 in money,” Potter says.
Some years later, it would have been worth over £1 million, though Potter points out that they would have sold it before then.
Then there’s the gamble of a profit share, where you’re investing in their business in lieu of partial payment.
At a former agency, product designer Jake Weir occasionally ended up doing sweat equity to help out, “so you’re basically partners.” When a hairdresser with limited funding came to him wanting to develop a new hair curler, the agency was given shares in the company for their design input. “We were incentivised to make it work,” Weir says. The product was a success – ultimately sold to BaByliss for “millions.”
But even when budgets are low, these jobs are still worth doing sometimes. “We’ll do them as a passion project as they’re quick turnaround and they give younger guys in the studio more on-site experience,” Potter says.
What happens when the client’s dream is never going to make it?
MAP Project Office was once asked to design a very specific backpack. “We wondered if there was a market for this,” says MAP’s creative director, Weir.
When people are pouring their life savings into a project, there’s a responsibility to warn them of the risks. Regardless, founders often have their mind set on these things. In these circumstances, MAP will look for a way to “dial the founders’ single-mindedness down,” Weirs says.
“If you relax the concept a little bit, you can make it less niche and more accessible, especially for a first product.”
White Bear’s work with the Tom Parker Creamery brand
And experienced designers in this sector get good at spotting the jobs to avoid.
Start-ups have a reputation for being short-lived. It’s commonly said that 90% of them fail, although the source for this stat is not at all clear.
Harvard Business Review puts it more modestly, claiming that more than two-thirds of them never deliver a positive return to investors. The food and beverage sector, in particular, is full of such tragedies, according to The Grocer.
But these potential risks shouldn’t be a reason not to take on a start-up. “The reason the project fails is not because of the design,” says Trotman at Run for the Hills, “unless the client has shittified it.”
A fish restaurant that Run for the Hills worked on in London had great interiors and a cool brand, Trotman says. “But it failed on the food, and we can’t do anything about the food.”
Conversely, when they do well, the agency is part of that success story. In 2005, Big Fish named and branded start-up chocolate puddings company Gü, cleverly persuading its founder to ditch his name, The Belgian Chocolate Company. Just seven later, it was sold for £32.5m.
And because the agency is so embedded – it’s personal, remember – the work takes on real significance.
“You really get the chance to make a lasting impact and build a long-term working relationship,” says Bruce at Agency of None. And better still for the broader industry. “The experience they have here will set up the relationship with design forever.”
Design disciplines in this article
Brands in this article
What to read next
More human resources – designers brand new workplace apps
Brand Identity
15 Apr, 2025
#intense #energy #inevitable #risks #designing
Intense energy to inevitable risks – Designing for a start-up
21 May, 2025
Clare Dowdy finds out about the excitement, and challenges, that come with working with an early-stage company.
“Culturally, working with founders is intense, in the best possible way,” says Kelly Mackenzie, founder and creative director of White Bear. The London and Dublin based branding agency has form working with founder-led companies, including Tom Parker Creamery and chocolate brand Luvli.
“The business isn’t just what they do, it’s often wrapped up in their identity, sense of self-worth and purpose,” Mackenzie explains.
And because of this intensity, the agency becomes almost as invested as the client.
“When we’re asked to evolve or build their brand, we often tell them that it’s like being asked to mind their child,” Mackenzie says. “Naming that emotional connection early builds trust. It helps them feel safe in a process they’ve often never experienced before.”
Many designers talk of going on a journey with these clients.
“You have a very close relationship with the founders, and get to know them very deeply,” says Hijinks co-founder Marc Allenby. “Their idea is usually based on passion, and you – as a designer – are fuelled by that passion. That energy is self-motivating, you really care about what you’re creating.”
The WeRepresent logo and wordmark designed by Hijinks
When Hijinks presented the founder of talent agency WeRepresent with their logo, she burst into tears, which isn’t standard practice when presenting to bigger clients.
But Hijinks had created an animated version that “breathed” – a nod to the founder’s traumatic experience of being in a coma on a ventilator with Covid. A moving approach, in more ways than one.
The entrepreneurial spirit found in start-ups can be infectious.
“Rather than being jaded, they have a youthful energy, and that attracts us,” says Russell Potter, the co-founder of architecture and design firm SODA, whose many hospitality start-up clients include the Instagram-beloved crumble shop, Humble Crumble.
Then there’s the potential for creative freedom. “It’s a blank canvas. We’re creating something from nothing,” says Allenby at Hijinks, in contrast to a more mature brand that will come with its own baggage.
But these clients may not have worked with a design studio before process, and inevitably there’s a lot of hand-holding.
Dundee-based Agency of None branded the start-up QuickBlock
“Start-ups by their nature, are often a very small group of people, all trying to cover many roles. So the role of the designer is often as an educator, as much as a designer,” says Lyall Bruce, director of Dundee-based Agency of None, whose start-up clients include QuickBlock, a sustainable building block made from recycled food packaging, and coffee roaster Bryte.
As a consequence of this inexperience, the brief is rarely formal. It might be a loose deck, a stream-of-consciousness call, or a rough vision, according to Mackenzie. “And throughout, there will be extra calls to talk through thinking, being available on WhatsApp or Slack, and giving reassurance at each step.”
That naivety is both beautiful and brilliant, says Potter at SODA. But if you’re not careful, you can get dragged into a lot of business decisions. “We’re often asked to comment above our pay grade – we can’t always have the answers,” he says. “Someone client side has to have a leap of faith and make a decision.”
Inevitably budgets are tight, and agencies often need to explain the value of effective design,
“Once they see the link between strong branding and commercial outcomes, budget conversations become much easier,” says Mackenzie at White Bear. Although, as several designers pointed out, this challenge is not unique to start-up clients.But for start-ups, agencies often break down payment into smaller chunks, as a way of protecting themselves.
The interior of the new Crunch sandwich shop in London’s Soho designed by KIDZ
KIDZ, which has offices in Amsterdam, Belgrade, Dubai and Paris, designed the new Crunch sandwich shop in London’s Soho. “Working with early-stage companies inevitably involves risk — timelines can shift, priorities may change, or funding may fall through,” says KIDZ co-founder Dmitrii Mironov.
“To protect our team and ensure a smooth process, we break the work into smaller, clearly defined stages. We require prepayment for each stage; keep written records of all agreements, even when communication is fast and informal; limit the number of revisions and fix the scope of work for each stage; and withhold certain deliverables until full payment is received.”
They’ve had a few cases where a project wasn’t completed because the client pivoted or changed direction unexpectedly. “While that’s never ideal, it’s part of the reality of working with start-ups,” he adds.
And sometimes it makes sense to rethink payment completely.
In lieu of fees from a business consultancy, Hijinks did a skills swap.
Meanwhile, when Run for the Hills designed a third site for restaurant chain Cricket in London’s White City, they threw in a £5,000 bar bill to make up for the smaller fee. That allowed the agency to take the team out, thereby boosting morale, and host clients, thereby showcasing their work.
The interior of one of the Humble Crumble shops, designed by SODA studio
In 2015, SODA had a start-up client in the hospitality sector who offered to pay part of the fee in Bitcoin. “We ummed and ahhed, but decided to take the £19,000 in money,” Potter says.
Some years later, it would have been worth over £1 million, though Potter points out that they would have sold it before then.
Then there’s the gamble of a profit share, where you’re investing in their business in lieu of partial payment.
At a former agency, product designer Jake Weir occasionally ended up doing sweat equity to help out, “so you’re basically partners.” When a hairdresser with limited funding came to him wanting to develop a new hair curler, the agency was given shares in the company for their design input. “We were incentivised to make it work,” Weir says. The product was a success – ultimately sold to BaByliss for “millions.”
But even when budgets are low, these jobs are still worth doing sometimes. “We’ll do them as a passion project as they’re quick turnaround and they give younger guys in the studio more on-site experience,” Potter says.
What happens when the client’s dream is never going to make it?
MAP Project Office was once asked to design a very specific backpack. “We wondered if there was a market for this,” says MAP’s creative director, Weir.
When people are pouring their life savings into a project, there’s a responsibility to warn them of the risks. Regardless, founders often have their mind set on these things. In these circumstances, MAP will look for a way to “dial the founders’ single-mindedness down,” Weirs says.
“If you relax the concept a little bit, you can make it less niche and more accessible, especially for a first product.”
White Bear’s work with the Tom Parker Creamery brand
And experienced designers in this sector get good at spotting the jobs to avoid.
Start-ups have a reputation for being short-lived. It’s commonly said that 90% of them fail, although the source for this stat is not at all clear.
Harvard Business Review puts it more modestly, claiming that more than two-thirds of them never deliver a positive return to investors. The food and beverage sector, in particular, is full of such tragedies, according to The Grocer.
But these potential risks shouldn’t be a reason not to take on a start-up. “The reason the project fails is not because of the design,” says Trotman at Run for the Hills, “unless the client has shittified it.”
A fish restaurant that Run for the Hills worked on in London had great interiors and a cool brand, Trotman says. “But it failed on the food, and we can’t do anything about the food.”
Conversely, when they do well, the agency is part of that success story. In 2005, Big Fish named and branded start-up chocolate puddings company Gü, cleverly persuading its founder to ditch his name, The Belgian Chocolate Company. Just seven later, it was sold for £32.5m.
And because the agency is so embedded – it’s personal, remember – the work takes on real significance.
“You really get the chance to make a lasting impact and build a long-term working relationship,” says Bruce at Agency of None. And better still for the broader industry. “The experience they have here will set up the relationship with design forever.”
Design disciplines in this article
Brands in this article
What to read next
More human resources – designers brand new workplace apps
Brand Identity
15 Apr, 2025
#intense #energy #inevitable #risks #designing
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