By Design: Bruno Regalo's Advice For The Future of The Industry
Bruno Regalo is the global chief design officer at TBWA\Worldwide, leading the fullest manifestation of design across the global collective and helping to find the visual soul of brands through 'Design by Disruption'.
He has worked with and led brands such as: adidas, Gatorade, Grammys, United Airlines, Google, Intel, AMD, Disney, McDonald's, Cannon, and TikTok.
Bruno was recognised as the number one art director in the world by The Lüzer’s Archieve Magazine and Best Ads on TV. His work has been honoured at major festivals around the globe such as The One Show, D&AD, Cannes Lions, Clios, ADC, Webby's, Effie Awards, El Ojo and El Sol, among others.
LBB> Tell us about your current role and design specialism(s)?
Bruno> I’m global chief design officer at TBWA\Worldwide, leading 'Design by Disruption', TBWA’s global design unit. I split my time between Los Angeles and New York, driving creative leadership and vision in both offices. My role goes beyond just oversight; it's about channelling the fullest expression of design across our global collective and uncovering the visual soul of brands through the power of our disruption methodology.
LBB> What drew you to design in the first place and how has your design career evolved?
Bruno> Before I fell in love with visuals, music was my first obsession. I’m a multi-instrumentalist, and I spent my entire teenage years glued to MTV, memorising music videos and getting totally hooked on the visual experimentation of the '90s.
I knew the directors' names, the colour palettes, the textures by heart… At the same time, I was obsessed with album covers, movie posters, and sports magazines. Add another passion to the mix: comic books. That combo was the perfect recipe for me to fall head over heels for design and visual expression.
LBB> What aspects of design do you get really nerdy about personally?
Bruno> For me, everything starts with an idea, a concept. I’m completely fascinated by that genesis - the zero point where the foundations are created. This is, without a doubt, my favourite moment—the one where I really dive deep.
Then comes the research, which is an almost magical stage for me. I’m a true collector of references. I have folders upon folders meticulously organised, with titles like 'Korean Ornaments', 'Moroccan Textures', '70’s Handmade Collages'.
And it’s not just online material, but especially books and old print publications—everything carefully photographed and catalogued. This allows me to connect unique references, avoid beaten paths, and steer clear of falling into design trends or fleeting fads.
Additionally, I invest at least an hour of my day studying new tools and exploring technological possibilities that can amplify the creative process and help express design in the most impactful way possible.
In summary: Idea, deep dive research, and freshness in expression.
LBB> There are so many new design tools out - what tools do you like to use and why? (whether digital platforms or old fashioned pen and paper!)
Bruno> I believe that nothing can replace good old pen and paper, but I often say that if you dropped me on a deserted island with Photoshop, I’d probably find a way out. Beyond that, my daily exploration of new AI tools—constantly seeking to enhance both my own workflow and that of my team—has become a recent passion for learning and developing what’s next.
LBB> Design Thinking - thoughts?
Bruno> I like to break down design thinking into two parts.
First, we’re problem solvers, not just visual decorators. It’s not just about making something look good—it’s about making something smart. As Lee Clow said, "Make it smart, make it beautiful, and have fun." The smart part of solving the problem always comes first. But once the problem is solved, our job is to make it as beautiful and memorable as possible. After all, Sagmeister has an entire book convincing us that "beauty sells better than ugly."
The second pillar is keeping humans at the centre of everything. All the theories around design thinking revolve around this. We need to understand people’s needs, desires, and emotions to create something that truly resonates. And the process? It’s not written in stone. It can and should be adaptable and always updatable—after all, design thinking isn’t a set of old, unchanging rules. It’s a living approach, evolving with time and with people.
LBB> What are the most persistent misconceptions about your particular design specialism that you see across the advertising and marketing landscape?
Bruno> I could create a long list about this, especially with my background in art direction, where I’ve spent years living and observing the intersection of design and advertising from different angles in different countries. I believe the market is in the midst of a transformation, but we still have a long way to go.
A classic mistake is treating design—a fundamental discipline—as a small department, merely providing comps and assistance for art directors, making decks, or involving designers only in the final stages of projects, rather than from day one.
Another major misstep is seeing design solely as ‘logo makers’ or the people who only handle branding and design systems. Design is so much broader and richer than this outdated view, which often leaves significant opportunities on the table and misses the chance to impact the connection between people, brands, and products in a more diverse, plural, and culturally resonant way.
A final point would be the belief that good and smart design only happens in traditional, almost 'Olympian' spaces. Design is ever-changing, constantly evolving, and I don't buy the idea of putting it in a box or reserving it for sacred spaces. Design is a creative and boundless discipline, and its innovation can thrive anywhere.
LBB> Accessible design is an increasingly prominent topic - from your experience what are the most challenging facets of accessible design? And what does best practice in accessible design in your particular design specialism look like?
Bruno> Accessible design is a must, but the real challenge is making sure it’s not just functional but also creatively alive. It’s about striking that sweet spot where design remains visually exciting while being inclusive. For me, it’s about weaving accessibility into the DNA of the project from day one—thinking about colour, contrast, legibility, and flow in a way that feels natural, not forced.
Great accessible design is driven by empathy and real-world insights. I like to bring in the voices of those who navigate these challenges daily. Their input transforms the process, turning accessibility into an opportunity for innovation, rather than a limitation. The goal is to create something that everyone can connect with—something that’s not just accessible, but also compelling and full of life.
LBB> What design controversies or challenges do you find trickiest to navigate or do you find yourself thinking about most frequently?
Bruno> I’ve always been a challenger of predetermined formats and absolute truths. I completely disagree with the notion that only copywriters and art directors are 'creatives' or that good design is only made in traditional, almost 'Olympian' spaces.
I find myself thinking about the range of extremely creative, diverse, interesting, and culturally relevant people with unique perspectives who don’t fit into classic moulds or traditional roles. I’m excited about seeking out this kind of talent, connecting with these different profiles, staying updated and inspired by them, and, in some way, helping to open doors for more diverse voices in design.
That's precisely why, at DxD, we have people with completely different backgrounds, specialties, nationalities, and ways of working, so that our work incorporates this multicultural layer and multiple perspectives, making our projects even more unique.
LBB> How do you think about the ethics of design?
Bruno> When I think about the ethics of design, I see it as an essential framework that guides every decision we make as designers. Design isn’t just confined to the obvious places like logos or branding—it’s in everything around us, from the curves of our smartphones to the patterns on our t-shirts, and even the colours of our cars. This omnipresence of design means it has a profound impact on our daily lives, carrying with it an equally profound responsibility.
Design always walks the line between being informative and persuasive, and in the right hands, it has the power to do good—unifying communities, educating people on important issues, and inspiring positive change. However, without careful ethical guidance, these same decisions can lead to harm, potentially misleading or alienating people.
As brands evolve to become more authentic and connected with their audiences, especially under the pressure of new generations demanding real, raw, and honest expression, it’s our responsibility as designers to ensure that we aren’t just creating aesthetically pleasing work, but work that resonates truthfully with the people it reaches.
Ethics in design isn’t about rigid rules; it’s about adaptability. Just as design itself evolves, so too must our approach to ethical considerations. It’s about balancing creativity with conscience, ensuring that in our pursuit of innovation, we never lose sight of the human element at the heart of everything we create.
LBB> What are some of your favourite examples of creative design solutions that inspire you?
Bruno> Paul Rand said, "Design is the silent ambassador of your brand." So, everything that captures me in a subtle or almost casual way in design enchants and inspires me. Whether it’s the design credits in a film, the curve of a car from a different angle, the worn-out print on a t-shirt, or a photo in an album cover—when I find myself hypnotised in an almost innocent and unexpected way by something visually captivating, I realise that’s where the magic of design lives. I try to chase that feeling in the work I do next.
LBB> Which design projects throughout your career have been the most satisfying to work on and why?
Bruno> One project that stands out for me is 'Behind the Record,' which we created for the Recording Academy. This project was particularly meaningful because it combined culture, design, the digital environment, and, of course, music—four things I’m deeply passionate about.
The digital era of music and streaming services has been a blessing for humanity, putting all your favourite artists just a click away. But on the flip side, thousands of people behind the records—songwriters, producers, engineers, musicians—lost their credits and portfolios that used to be on album liners, leading to an unprecedented commercial crisis.
Together with the Recording Academy, we developed an online solution where artists could recreate their album covers for digital platforms, incorporating the names of everyone involved in making the record. It was a digital design tool that truly changed the music industry.
More than 5,000 major artists like Taylor Swift, Billie Eilish, and Maroon 5 embraced the idea organically, voluntarily promoting and advocating for the solution, and bringing the unsung heroes of the music world back into the spotlight.
As a result, all major streaming platforms—Spotify, Deezer, Tidal, Apple Music, and others—started including credits on every track, restoring the recognition that had been lost in the digital age. Like all good design, we changed cultural behaviours: the industry now values and acknowledges the full team behind the music, not just the faces in front.
LBB> What’s going on at the moment in design that’s getting you particularly excited?
Bruno> The emergence of new technologies and tools is a huge boost to the creative process. AI has quickly become an accelerator for prototyping, testing, and production, turning into a true dream assistant when used correctly. I’m incredibly excited to see just how far we can go with these new tools.
Another factor is that, even during this uncertain time between new AI tools and the job market—especially for young professionals—I see the industry (particularly advertising agencies and large networks) opening new studios focused on design and expanding the range of possibilities. We're getting new perspectives with a focus on design, more diverse points of view, and new positions for more designers to showcase their voice and work, helping the discipline become even more integral and vital in everyday society.
In short: It’s a great time to be a designer. Studios, remote work, diversity, more open positions, new and exciting tools—more ways to bring your ideas to life.
LBB> Who are your design heroes and why?
Bruno> When I think about my design heroes, three names stand out.
David Carson - The rule-breaker. He didn’t follow trends—he created them. Carson has always been deeply connected to the pulse of culture, bringing a deconstructed, interesting, and intriguing approach to design. His work on Ray Gun Magazine remains current, relevant, and absolutely fascinating. The best part is that today I can call him a friend, which is, for me, an incredible honour.
Reid Miles - The embodiment of elegance. He managed to merge two of my greatest passions, design and music, into timeless creations. Miles’ connection with jazz, especially through his work for Blue Note Records, is proof that design can be both sophisticated and ground-breaking. His typographic solutions and minimalist compositions are iconic and continue to inspire my work to this day.
Leonardo da Vinci - A true Renaissance genius. Sure, he wasn’t technically a designer, but who cares? Da Vinci was amazing at everything he touched and visually changed the course of history. He’s my number one and always will be—because, let’s face it, he’s simply Da Vinci. I better stop here before I include Michelangelo and Caravaggio.
LBB> Thinking of people at the beginning of their career, what advice would you give them for navigating this constantly changing field?
Bruno> I believe in three simple pieces of advice:
Never stop learning. Often, I see our profession filled with pilots learning to fly mid-flight. People tend to enter the job market and push studying to the side. As a big fan of Kobe Bryant and his Mamba mentality, I believe we shouldn’t take our talent for granted. We need to discipline ourselves to keep learning and stay updated on what’s happening around us, striving to be at least 1% better every day. Over time, this will make an exponential difference.
Be a curious and organised collector. See something that catches your eye during the day? Save it, photograph it, catalogue it, create tags… this will keep your references constantly updated and your curiosity alive and organically fuelled, further expanding your range and feeding your brain to make conceptual and visual connections.
Value your uniqueness. Use your experiences, your culture, your diversity as part of your superpowers. Only you have read the books you’ve read, visited the places you’ve been, listened to the music you’ve heard… The sum of all this is unique, and that’s your creative DNA in the world. Understand how powerful your creative voice and signature can and should be, and everything will fall into place.
