Now that I have more of an understanding of filmmaking and an understanding of costume within film, it’s helped me build a team around it—and I would like to continue doing it, because for me, it’s a great escape from my job. It helps me balance out a bit, and being creative without the commerce element feels like a very different exercise—it’s about characterization, and there’s no preciousness around it representing just one vision.

That’s what I love about very good cinema: Those textures you find in the 1950s or ’60s with the clothing—it’s never just a flat surface. You have Lee, played by Daniel, at the beginning wearing this shirt that’s optic white…. [There’s] this idea of it being pristine, like cocaine. By the end of it, after his heroin trip and everything else getting darker and darker, it becomes dirtier…. I like following those threads. With costume, you can do things like that which are more subtle, whereas sometimes with fashion, it has to be loud for people to grab on. In film, you have to lure the audience in and let them know who the character is in a way that unfolds. It’s not about the bang of fashion where it’s a 15-minute show that has to sell you this one idea.

What I find amazing about these pieces is that, as you said, they could be plucked out of a store today, and I did quite like having those things in the film—because sometimes we feel like we’re inventing everything now, but then you realize there were people in the past who were even further ahead than we are.

As the creative director of a fashion house—or two fashion houses—you’re always the decision-maker and the person everyone is turning to to weigh in on everything and have the final say. Working as the costume designer, did it feel pleasant to relinquish that total control for a little while? Yes, I enjoy it. It’s quite nice sometimes to be submissive in life. [Laughs.] I quite like not being in that driving seat all the time, because it makes you think differently when you’re back in the driving seat. I think it’s really helped me with my journey within fashion. It’s nice to restart—it keeps your feet on the ground. I think, in fashion, it’s very easy to levitate off the ground. It helped me to rechallenge myself, and to have those moments in Rome where I really felt like a student again, saying, “I don’t know how this works—but how do I make it work?”

I think with Loewe, for example, it might have affected the way I really reduced the menswear down in the recent show. It became a form of textural classicism—very precise. And I think Allerton may have inspired this idea of building a perfection that is almost like an armor, but then ultimately, you see that there are holes in it—in the trouser, in the sweater. It all looks very together at first, but then you realize it’s not.

I think it’s really important for me to keep doing my day job, because it sharpens my knife outside of it. And I think they can dovetail into one another.

We were actually introduced by Karla Otto. It was one of those meetings where I felt like I had known Luca all my life. We were meant to just have a coffee, but then we chatted all afternoon. I just feel like we are searching for the same things but in different fields, so it’s really nice to be able to collaborate in this way—which requires a huge amount of trust in each other—but pushing each other too. And there are not many people, I think, who understand clothing as deeply as Luca does.

I think Allerton may have inspired this idea of building a perfection that is almost like an armor, but then ultimately, you see that there are holes in it—in the trouser, in the sweater. It all looks very together at first, but then you realize it’s not.

there were plenty of memorable moments for Jonathan Anderson—but few were quite as awe-inspiring as his first day of filming, walking through the back lot of Rome’s legendary Cinecittà Studios. “One of my favorite films is Sunset Boulevard, and it reminded me of the scene when Norma goes to the studios, and there’s just cinema happening,” Anderson says over Zoom from Los Angeles, where Queer had premiered the night before, with genuine wide-eyed wonderment. “You enter into one of those dark spaces and find a stage lit as a 1950s Mexican street. Then you’re in the middle of the jungle. If you were to ask a child what cinema is, it would be this.”

Tashi pairs her Loewe cotton shirtdress with Chanel espadrilles when she’s older, and wears Cartier jewelry exclusively (despite her real-life Bulgari ambassadorship). She applies Augustinus Bader cream on her body and wears lots of camel cashmere. This is Tashi attempting to exert her dominance over everyone else: She is a better tennis player, she is wealthier, she is more mature, and she would like you to know it. When she is young, she’s in Adidas campaigns, which our culture has come to know as a signifier for the sports prodigy, the role model.

Art is a good boy and wants to be told so. He listens to Tashi and does what she wants. He wears good-boy clothes: crisp white Uniqlo polo shirts on the court and navy quarter zips off-duty. Patrick, however, is sleazy, and what he wants from Tashi is both a challenger and someone who will put him in his place. He evokes a Peter Pan “I’ll never grow up” energy in mismatched athleisure, and drives a rundown car despite coming from money.

the tooling we choose has a profound impact on the work we do, and, in the best case scenario, becomes a standard for how we build products. This is why we put so much care into even the tiniest details in Linear.

Even when doing concept work, you often need to focus your efforts. The design concept should feel like an exciting evolution of the product.

I didn't adhere to a specific method during the exploration phase, but typically, each day I designed a complete set of screens and flows. One day might be dedicated to designing the Inbox view, while the next day I could focus on the roadmap and projects. Other days, I explored upcoming product features. During this process, I experimented with different iterations of the sidebar, visual styles, and colors, and then linked the screens together as a prototype to assess their functionality.

Through this process, I generated hundreds of screens and was able to narrow down a few major directions that resonated most. Around this time, I began sharing the screens with other designers and people within the company to gather feedback and additional insights.

Ultimately, we settled on the main design direction, and I created a few views to showcase it

We started with the concept design Karri had originally imagined, but it wasn’t fully figured out and needed some additional design work. We didn’t know how we would bridge the previous UI design with the new style or if the new design could support all of our application states and options. We were able to make some changes off the bat, such as updating the color system, while other changes had to be punted to later on, such as the different headers you come across while navigating the app.

It’s easy for the scope of UI redesign projects to blow up. Before we got too far down any one path, we needed to get some confidence on the right option to keep everyone focused. So we ran some stress tests (or crash tests if you want to be dramatic) before going into implementation and iterating with engineers. We tested three main focus areas: the environment, the appearance, and the hierarchy.

Our app runs on Electron, so our navigation needed to work not just on macOS and Windows as a native app but also in any browser. That meant that previous/next navigation buttons, history, and tabs needed to be easily removable to work with browsers. We tested a lot of options, from very condensed to more spacious configurations. I often relied on Apple standards, which also helped get close to the feeling of a native app.

I also spent time aligning labels, icons, and buttons, both vertically and horizontally in the sidebar and tabs. It was definitely a challenge given the amount of UI elements we have on this tiny surface. This part of the redesign isn’t something you’ll immediately see but rather something that you’ll feel after a few minutes of using the app.

Karri mostly worked with opacities of black and white during his explorations, which really helped him get results quickly and helped me understand the relationship he had in mind between the elements and their respective elevation and hierarchy. As our system relied on a set of variables, I worked with Andreas on our software engineering team to polish and iterate on both the core variables and the operations we apply to them to generate our aliases for surfaces, texts, icons, and controls.

A while back, we rebuilt the system for generating custom themes in Linear, using the LCH color space instead of HSL. LCH has the benefit that it’s perpetually uniform, meaning a red and a yellow color with lightness 50 will appear roughly equally light to the human eye. This makes it possible to generate more consistently good-looking themes, regardless of which base colors are used.

Yes, the theme generation system also supports a contrast variable which defines how contrasty a theme should be. This allows us to automatically include super high-contrast themes for users who need it for accessibility reasons.

Linear relies on a set of structured layouts that support the navigation elements and content. It integrates additional headers to store filters and display options, side panels to display meta properties, as well as the actual display: list, board, timeline, split, and fullscreen.When I joined the project, Karri had already gathered most of the app's views and their respective states, so I was able to run all of my tests quite effectively. I mostly worked by type of view (list, board, split, etc.) as I found it easier to focus and ensure that every decision worked in all cases.

We divided the project into five milestones:Stress tests: Following the series of explorations made in November 2023, we tested if the direction felt right in the main views of Linear: Inbox, Triage, My Issues, Issues List, Project, Cycles, Roadmap, Search.Behavior definitions: As the direction was refined, we documented and defined the behaviors of the main components of the app: sidebar, tabs, app headers, and view headers.Sidebar and chrome refresh: We implemented the first bits of the refresh on the sidebar, tabs, and view headers. We also improved the appearance and contrast of our theme for light and dark modes. We used a feature flag to allow for internal testing at this stage.Private beta: We started rolling out the new design in Private beta to get initial feedback. Once we felt comfortable, we began rolling out the changes to a percentage of workspaces each day.GA: We released the new UI to all workspaces.

We knew that in order to move quickly and ship our work successfully, we needed to dedicate time and team resources to it. We couldn’t treat it as a side project.

Each afternoon, we divided the coding portions into groups of two engineers while designers iterated on other parts of the project, building a pipeline for us to work from. This daily back-and-forth between designers and engineers helped us get the first working version of the new UI by the end of the week

Next, we worked on the Inbox. We redesigned notifications to be more centered around the notification type and emphasized the faces of your teammates. We simplified headers and filters to improve the overall navigation. We also reviewed comments alignments and harmonized the look of our buttons with the new themes.

We started using Inter Display to add more expression to our headings while maintaining their readability and kept using regular Inter for the rest of the text elements.

The challenges start from the fact that it's never a good time to do a redesign. It's hard to make it a priority. It's difficult to calculate the ROI on it. And if you run your product with A/B testing, every global redesign will tank the metrics in the short term.

The real need for redesigns often comes when you have created a successful product and it has evolved with the market and users over time.

We ship small changes daily, and something major almost every week. Every year, it's almost like a new product. This incremental way of building the product is hugely beneficial, and often necessary — though it unbalances the overall design, and leads to design debt. Each new capability adds stress on the product's existing surfaces for which it was initially designed. Functionality no longer fits in a coherent way. It needs to be rebalanced and rethought.

If your product evolves fast, you should be paying this debt every 2-3 years. The longer you wait and the more successful your product becomes, the more you will have to untangle.

Slowly the user sentiment and perception might start turning negative and you might start looking like a dinosaur incumbent. This leaves an opportunity for some nimbler player to come along and compete in your market. Companies often try to address this with brand refreshes, but if you don’t refresh the product, nothing truly changes about the experience.

While the design debt often happens in small increments, it’s best to be paid in larger sweeps. This goes against the common wisdom in engineering where complete code rewrites are avoided. The difference is that on the engineering side, a modular or incremental way of working can work as the technical implementation is not really visible. Whereas the product experience is holistic and visual. You cannot predict which path the user takes. If you update just one module or view at a time, the overall experience becomes more disjointed. Secondly, if your goal is to reset and rebalance the whole product UI and experience, you have to consider all the needs simultaneously. An incremental approach doesn’t let you do that.

I’ve never seen redesigns successfully executed without the CEO behind it. While design might have a seat at the table generally, they are usually not able to convince everyone around that table. Only the CEO can push through all the excuses and give the latitude to a project touching all of the surfaces the product needs.

The way to get the CEO involved is to tie a design reset into a larger company shift or directional change. For example, if a company is looking at a new product, or major new feature, a redesign project can be a way to imagine how it might look or feel. This can be the justification for why you need to spin up the team (and at the same time, you can make a case for updating the rest of the product experience).

Organizations are often quite stuck in their views and ways of doing things, making them less enthusiastic about something new. When I was at Airbnb, the mobile redesign project was a way to shift the company to become mobile-first. It set the tone and got the message across to the whole company that mobile was happening and that it was happening now. While it looks like an obvious change in hindsight, there were many arguments against it at the time and it took a lot of convincing. Switching to think about mobile meant the design and features had to be rethought to work in that platform.

While Linear is a smaller and younger company, we’re also undergoing a shift. The product vision has widened from a simple issue tracker to a purpose-built system for product development. We are now moving into planning workflows that naturally come before the building or execution phase of building products. This product evolution creates new future needs from the product design, and we have to make space for it.

When you realize that a design reset is needed for your product, how do you actually get started with the project? You start with a standalone team to explore the new concept design and create something the company can rally around.The auto industry has a practice of building “concept cars”, where they explore the next version of the car freely and boldly without considering practicality. A concept car sets the direction, but usually is not expected to land in production because it’s too impractical or costly to manufacture.

A secret I've learned is that when you tell people a design is a "concept" or "conceptual" it makes it less likely that the idea is attacked from whatever perspective they hold or problems they see with it. The concept is not perceived as real, but something that can be entertained. By bringing leaders or even teams along with the concept iterations, it starts to solidify the new direction in their mind, eventually becoming more and more familiar. That's the power of visual design.