What if the most effective way to understand an ecological crisis was to shrink yourself into it?

Pollination: The Buzz Behind Our Food was built on that premise — a hands-on interactive exhibit designed to place visitors not outside the problem, but inside it, at the scale of the very creatures we're losing.

Created in collaboration with Maia El Mehdawi and exhibited at the Science Museum London as part of Future of Food Lates, the exhibit centred on a single interaction design challenge: how do you make someone genuinely care about pollinators in under five minutes, in a loud room, on a Friday night?

The answer was scale. Flowers were fabricated at human size, immersing visitors in an environment where they moved through the exhibit as the bug, not the observer. From inside that perspective, players worked through a hands-on matching game, connecting foods to the pollinators responsible for their existence. The mechanics were simple by design; the revelation was in the doing. People were surprised, again and again, by how much of what they eat depends on creatures they rarely think about.

The project demanded both making and systems thinking — designing an experience that could be picked up instantly by anyone, survive 250 interactions across a single evening, and communicate genuine scientific content without losing the playfulness that makes people stop and engage. Props were fabricated from scratch using papier-mâché and physical construction, built to be touched, handled, and worn down by curiosity.

Bondé is a fragrance experience designed for two — scent as shared relational identity.

Developed for L'Oréal Brandstorm 2026 under the Parfum Vivant brief, Bondé emerged from a simple cultural insight: fragrance has always been deeply personal, but the most powerful scent memories are rarely solo. They are bound to another person — a mother, a partner, a place shared.

The concept moves against the grain of contemporary perfumery's obsession with individual expression. Bondé proposes that a fragrance can be relational by design: two complementary scent profiles that each stand alone but create something new when worn together. The experience is built around the moment of discovery — two people finding their individual scents, and then the third scent that only exists in proximity.

Visually, Bondé draws on the aesthetics of connection — interlocking forms, warm earth tones, the visual language of closeness. The brand identity was developed to feel premium but emotionally accessible, sitting between luxury fragrance and the warmth of independent beauty. From cultural insight through brand strategy to visual execution, this project demonstrated an ability to move fluently between analytical thinking and creative direction.

Desire Lines asks what happens when navigation is stripped of sight — when the body has to find its own route.

A desire line is the path worn by repeated human movement — the shortcut across a lawn, the worn patch on a pavement corner. It is navigation by instinct rather than instruction. This project takes that concept and removes the one sense most navigation design assumes: vision.

The installation placed participants in a space where routes were defined not by visible signage or clear pathways, but by texture, sound, and physical resistance. Blindfolded, participants traced paint through a space designed to resist easy movement — discovering that navigation, at its most fundamental, is a full-body act, not just a visual one.

The work sits in the tradition of critical design practice that asks not "how do we design for users" but "what assumptions are built into the design itself?" The city, the building, the interface — all assume a particular body, a particular set of senses. Desire Lines made that assumption visible by removing it.

Resident Advisor turned 25 in 2026 — a milestone for one of electronic music's most trusted cultural platforms.

The live brief asked for a campaign that would honour RA's history without becoming nostalgic for it. Twenty-five years of documenting global club culture is not a story of one place or one sound — it is a story of relentless movement, of communities forming and dissolving, of music as a form of collective belonging that resists easy documentation.

The campaign response began with a cultural audit: what does RA actually stand for, and how does that manifest visually? The platform has always existed at the intersection of journalism and community, between the insider and the accessible. The visual identity developed for the anniversary campaign reflects this tension — typographically grounded, referencing print culture and fanzines, but applied to contemporary surfaces and digital contexts.

The project demonstrated the ability to move fluently between cultural insight, strategic thinking, and visual execution — from a detailed reading of the brief and its cultural context, through a visual identity system, to final campaign executions. This range — analytical and visual — is what this project most clearly represents.

Guini Land is Nina Bassichetti's independent illustration practice — a label for work that doesn't fit neatly anywhere else.

Launched in 2024, Guini Land began as a question: what happens when the illustration work that gets made privately, for its own sake, is treated as seriously as any commissioned project? The answer was a debut print run — a series of illustrations printed in limited edition and offered for sale independently.

The prints sold out entirely. That result was not incidental — it was the first proof that a particular visual world, cosmic and warm and slightly strange, had an audience beyond the studio. Guini Land's imagery sits somewhere between folk cosmology and contemporary illustration: bodies and planets and plants and the domestic rendered with the same level of attention, as if the scale of the universe and the scale of a kitchen table are equally interesting.

The label continues to develop. A second run is in planning, with an expanded range of objects alongside the prints. The long-term vision is for Guini Land to move into small physical objects — limited edition pieces that carry the visual language into three dimensions. This connects directly to Nina Bassichetti's wider interest in toy design and play objects as vehicles for cultural and emotional storytelling.

An affordance is what a design allows you to do. An anti-affordance is what it prevents.

This project began with a deceptively simple observation: the designed world is full of anti-affordances for women. A door that requires two hands to push while holding something. A pocket too small to hold a phone. A street lighting system that assumes a user who feels safe. A chair designed for a body type that is statistically not the majority.

Affordances: Anti Affordances of Being a Woman made these invisible exclusions visible by turning them into wearable objects and installation elements. Shirts printed with cosmic imagery — the same imagery Nina Bassichetti uses in Guini Land — were accompanied by text that named the anti-affordance each garment references. The cosmic visual language was chosen deliberately: it places the micro (the overlooked detail of daily design) against the macro (the scale of systems that produce it), asking the viewer to hold both at once.

The work is critical without being didactic. It does not explain what the viewer should feel. It creates an environment in which the realisation arrives through encounter — which is, perhaps, the most honest form of critical design.