Design between Eastern emotionality and Western rationality
Interview with Ali Mahmoud, Founder and Director of Keybrand Strategic Design
Ali Mahmoud is a visionary entrepreneur and the Founder and Director of Keybrand Strategic Design, a boutique design studio founded in 2005 in Frankfurt a.M. With an impressive career spanning over 25 years, Ali’s journey in design and strategic branding has been a remarkable fusion of diverse influences, shaped by his experiences in the Middle East and Europe.
Before establishing Keybrand, Ali worked as a Creative Director in leading Branding Agencies in Frankfurt and Munich, gaining insights into different cultural perspectives. This unique exposure enabled him to navigate the intricacies of various cultures, honing a distinctive approach that seamlessly bridges the gap between the emotionality of the East and the rationality of the West.
Expanding his business to Syria and Dubai, Ali’s strategic design agency has made a lasting impact, catering to industry leaders and public sector clients from its offices in Damascus and Frankfurt before his agency moved to Berlin. Recognized for his exceptional design work, Ali is a prize-winner of several international design awards and a former lecturer at the Weissensee Academy of Art and Design in Berlin.
In this interview, we get a glimpse into the mind of Ali Mahmoud, a design strategist whose journey is filled with cross-cultural inspiration. We explore his sources of creativity and gain insights into his strategic branding approach.
What sparked your interest in design and branding? How has your life journey between the Middle East and Europe shaped your unique point of view in your work?
As a child, I have always been interested in drawing. I was fascinated with comic magazines and the amazing drawing skills of the artists. For me, it was clear that I wanted to do something creative later. Back then, it was either a designer or an architect.
Being familiar with the two cultures adds for sure another dimension to my work and my design style.
My design philosophy: Form follows function to evoke emotion.
The motto of your agency is “Intelligence made visible”. What role visual communication plays in building a strong brand identity?
The motto “Intelligence made visible” describes the connection between strategic and visual thinking.
I have always believed that the best designs are the ones that align with the brand’s essence, values and strategy. A strong brand identity should add value, attract its audience, and communicate what the brand is all about.
How do you approach understanding a client’s brand essence and translating it into visual elements?
It all starts by understanding the vision of the client and what makes the brand unique.
Of course, a brand exists also in a competitive landscape, so examining the competition and looking into the way they communicate is very important as well and a key to differentiation. Finally, and maybe the most important is knowing our customers — not only their needs and the way they think and behave but also what makes them tick.
The design task then is to craft a memorable visual identity that represents the brand personality and resonates with its audience.
What are the key elements of a visually compelling and memorable logo design? What is the difference between a good and a bad logo?
There is a quote attributed to Leonardo da Vinci “Simplicity is the ultimate sophistication” which I find perfect to describe how anyone should approach logo design.
A logo shouldn’t (and can’t) tell the whole story, its most important role is identification. A logo is simply an identifier to help distinguish the brand from other brands.
Surely, there are a few characteristics that set good logos apart:
Besides simplicity, a good logo should be relevant, memorable, timeless and versatile in use.
Strategic brand building is time-consuming intellectually-demanding conceptual work. How did you shape your personal approach to working? What helped you initially?
At the beginning of my career, I was only interested in design and aesthetics. But with time, I learned that design is more than the surface of things — good design goes deeper and is purposeful.
My interest in strategy started when I was an Art Director at the Keysselitz Branding agency in Munich. Keysselitz had a very rich history of building brands such as Audi, Volkswagen, DB (German railways), etc. and I learned a lot from my colleagues in the strategy department who were true branding experts.
How do you incorporate current design trends while maintaining a timeless quality in your work?
In general, I try not to do that. Trends come and go and I believe design should outlive them. Naturally, design needs to be current and fit in the “Zeitgeist”, nevertheless, its principles are timeless and universal. Take, for example, the Barcelona chair by Mies van der Rohe, after almost a century it is still one of the most beautiful and modern furniture pieces you can ever have.
Good design is timeless and never trendy.
Besides, following a trend makes your design ordinary, one among many others, and who would want that?
Clients could be difficult and designers know that better than anyone. How do you handle situations where a client’s vision for their brand conflicts with your design recommendations?
Those conflicts are almost impossible to avoid, but I do my best to minimize them.
A brand is something dear and personal for every brand owner, and normally they are very emotional about it. It is crucial to understand the client’s vision and where they come from.
At the beginning of any project, an extensive exchange about what we want to achieve with the brand is necessary.
A proper presentation of the design ideas helps as well, especially if the design decisions are laid out in a rational and convincing manner.
Graphic design requires precision, dedication, and a certain level of perfectionism. What motivates you in your work?
Design is about solving problems, expressing ideas, and constantly learning new things. For me, that is incredibly rewarding.
I can still recall how happy and excited I was when I went to the print shop and saw for the first time my design printed. There is simply something magical about creating something that previously did not exist.
You have gained a lot of recognition for your work — winning multiple design awards, teaching at university, and working with big names and brands. What is the project that you are most proud of?
Difficult to say, I like different projects for different reasons. Sometimes it is the problem-solving part; with others, it is the design innovation or the visual creativity. Mostly, I like the ones where I can enjoy creative freedom.
Among my highlights are the global branding of CitiFirst, (a Citi Group sub-brand), the design of the Syrian coat of arms, and the branding of Damascus Arab Capital of Culture 2008.
If you could give a piece of career advice to young professionals aspiring to become great designers, what would it be?
Don’t try to copy or be someone else. Try to identify your strengths and what makes you different and build on them. Design is a manifestation of the way you think, and everyone is unique in this.
Thank you, Ali, for sharing your inspiring story, experience, and knowledge!
