Tamás Fekete

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Tamás Fekete ("TF") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

TF : I started studying Industrial Design in 2012 at the Moholy-Nagy University of Art and Design in Budapest, where I completed both my Bachelor’s and Master’s degrees. During my studies, I spent half a year at Philips in Amsterdam as a product design intern, learning how product development works in a structured, corporate environment. After finishing my master’s, I worked in design agencies and as a freelancer, gaining hands-on experience across a wide range of projects. During this time, I worked both as an industrial and graphic designer, which became a valuable complementary skill in my career. A few years later, I moved from Hungary to the Netherlands and joined an agency as a Senior Industrial Designer, focusing on soft goods and accessories for major tech brands such as Nikon and Logitech. There, I designed fabric-based products like backpacks, protective cases, and other accessories, developing strong expertise in materials, CMF, and production coordination with factories. In 2022, I founded Openend Design, offering product design and development services, and began working independently with clients around the world. Since then, I’ve developed several award-winning products, including Chalk Tyme and Subkayak D46.

DL: What motivates you to design in general, why did you become a designer?

TF : What motivates me most is that moment when an idea becomes real, when you create something that didn’t exist before and it turns out to be both beautiful and useful. That feeling never gets old. Designing feels natural to me, almost instinctive. I’ve always had this urge to create, to draw, build, and solve problems just for the joy of seeing things come to life. As a child, I made models out of paper and plasticine, trying to understand how things were built. That curiosity never left. Becoming a designer was my way of turning all those interests — art, storytelling, engineering, technology, and innovation — into one ecosystem where I could keep learning and creating endlessly. Objects have a deep influence on how we feel and live. They shape our mood, our comfort, and our connection to the world. Knowing that something I design can quietly improve someone’s day is what keeps me motivated. Design gives me the chance to leave a small but meaningful mark on the world.

DL: Did you choose to become a designer, or you were forced to become one?

TF : I chose it completely on my own. At the end of high school, I set my mind on becoming a designer and never really looked back. Once I discovered what design was, it felt like a clear direction, something that connected everything I enjoyed doing. From that point, every decision I made was aligned with that goal. Along the way, my interests evolved. In the beginning, I wanted to become a car designer, that was the dream. But as I studied more, I became fascinated by the broader world of product design. Everyday objects offered endless possibilities for creativity and problem-solving. The more I learned, the more I realized that design isn’t one fixed path; it’s a mindset that can grow and adapt.

DL: What do you design, what type of designs do you wish to design more of?

TF : Over the years, I’ve designed a wide range of products, each with its own challenges and character. I’ve worked on sports equipment like racing kayaks, innovative pair of scissors, water bottles, and many more across a lot of categories. I’ve designed everyday consumer products as well as tech products with integrated electronics. My work also includes decorative objects and concept pieces that blend technology and craftsmanship. I’ve collaborated with inventors to help shape and refine patented products, from household tools to sports gear. For several years, I specialised in fabric-based product design, creating backpacks, camera accessories, and other soft goods for global brands. What I’d love to design more of are products with strong, dynamic aesthetics — objects that have emotional impact and presence. I’m especially drawn to boats and watercraft; they’re such beautiful objects where form, performance, and emotion come together perfectly. I’d be genuinely passionate to work on more of those.

DL: What should young designers do to become a design legend like you?

TF : Stay curious and open-minded. Opportunities often show up in unexpected ways, and the best ones usually don’t look perfect at first. Say yes, try things, and learn from them, even the small or difficult projects can teach you something valuable. Be patient. Design takes time. It takes years to build your eye, your skill, and your intuition. There will be slow periods and setbacks, but they’re all part of it. Just keep improving, keep creating, and hold on to that excitement that made you want to design in the first place. Becoming a good designer takes a lot of patience and practice. It doesn’t happen overnight, and there’s no clear moment when you can say you’ve “made it.” Don’t chase the next shiny thing, focus on what you’ve already started and what you’re good at. Surround yourself with people you can learn from, and stay consistent. That’s how your work and mindset will naturally evolve.

DL: What distinguishes between a good designer and a great designer?

TF : A great designer thinks in more dimensions. They connect dots that most people don’t even see, drawing links between disciplines, ideas, and experiences, and turning that complexity into something clear and effortless. It’s not just about making something beautiful or functional, but about combining both with intelligent problem-solving and invention. A great designer can take insights from completely unrelated fields and translate them into something extraordinary. It’s this ability to think deeply, to merge creativity with logic, and to simplify the complex that truly sets them apart. Just as important, a great designer truly understands the target user — their pain points, wants, and needs — and keeps that at the center of every decision.

DL: What makes a good design a really good design, how do you evaluate good design?

TF : For me, good design works on multiple levels. It’s not just about how it looks, but about depth, meaning, and intention. It should make sense, feel right, and ideally, make you feel something too. A strong design also surprises me. It might be crafted so precisely that you can’t immediately tell how it was made, or it challenges your expectations in a clever way. But good design isn’t only about creativity — it’s also about answering the needs of the business behind it. Designing something that works commercially, that people actually buy and use, is often the hardest part. Beyond aesthetics, I value craftsmanship, quality, and how well a design solves the problem it’s meant to — not just functionally, but also in terms of production, cost, and market success. When a design manages to balance emotion, intelligence, and commercial sense, that’s when I consider it truly great.

DL: What is the value of good design? Why should everyone invest in good design?

TF : Good design sells. To put it bluntly, it’s as simple as that. It creates emotion, desire, and trust in ways that price alone never can. The way something looks, feels, and communicates its purpose has a direct effect on how people connect with it. There are countless objects, interiors, and products in the world, but only a few truly stand out — the ones that make you feel something, that you remember, or that you keep choosing again and again. The power of good design is that it resonates emotionally and adds value that goes far beyond function. Good design can also make existing solutions better — more efficient, easier to produce, and often cheaper — with clear benefits for both the business and the user. For businesses, it increases perceived value and helps products succeed in crowded markets.

DL: What would you design and who would you design for if you had the time?

TF : That’s a difficult question because my curiosity constantly shifts. I’m not the type who dreams of one specific project for years; I get inspired when the right challenge appears. When that happens, I immediately know what I want to dive into, and I make the time for it. Before I designed my first kayak, I wasn’t even focused on that type of product, but I had the skills to take it on and make something unique. The same happened with soft goods — I never imagined I’d be designing backpacks and accessories, but once I did, I became completely fascinated by that world. That’s why I prefer to keep this question open. Each project brings a new direction and a new kind of excitement. I’d rather stay curious, adaptable, and ready for whatever opportunity truly sparks something in me.

DL: What is the dream project you haven’t yet had time to realize?

TF : I’d like to create and launch a product under my own brand one day — something where I can shape the process from concept to final story. After years of designing for clients, it would be meaningful to apply that experience to something more personal and long-term. I’m especially drawn to interior and lifestyle design, the kind of objects that make a home feel better to live in. I like creating things that quietly influence the atmosphere and make everyday moments feel a little more special.

DL: What is your secret recipe of success in design, what is your secret ingredient?

TF : If I tell you, it wouldn’t really be a secret anymore, right? For me, a big part of it is patience, resilience, and not giving up when things get difficult. I tend to stick with projects longer than most and have this quiet optimism that even if it’s tough now, it will turn out fine in the end. I trust that instinct, and it’s proven right more often than not. Once I start something, I keep pushing, sometimes well past the point where others would stop. That persistence has opened doors and led to results I wouldn’t have reached otherwise. Another part of it is how I connect skills. I’m always learning, experimenting, and refining. Over time that compounds, and you start seeing links between areas that seem unrelated. That’s often where my best ideas come from — connecting dots others might not notice. And finally, aesthetics. For me, the right form and proportions are very important. Even the most functional design loses its soul if it feels off visually. I try to give every object an organic, sculpted quality, something that feels balanced, natural, and emotionally triggering. That’s what makes the design alive when you look at it.

DL: What is your greatest design, which aspects of that design makes you think it is great?

TF : I’d say the Subkayak D46 is the design I’m most proud of so far. It brought together everything I’ve learned: technical precision, aesthetics, and hands-on process. I led the entire project from 3D scanning and reverse-engineering the client’s handmade prototype to reshaping the surfaces, adjusting proportions, and refining every curve through A-class modeling. It was a mix of sculpting and engineering, which is exactly what I enjoy most. The kayak has a strong two-part look, with a central core wrapped by an outer shell that gives it a clear identity and a sense of motion even when it’s still. I also integrated customizable 3D-printed parts, which made production more efficient and opened options for personalisation. I’m really proud of how it turned out.

DL: How could people improve themselves to be better designers, what did you do?

TF : I think the best thing any designer can do is to never stop learning. I’m naturally curious, and that curiosity has shaped my path more than anything else. I try to stay open to many disciplines — architecture, gastronomy, art, and design from all over the world. You can always find unexpected connections between fields, and those often lead to the most original ideas. I also believe in trying new things while constantly refining what you already know. Experimentation gives you fresh perspectives, but deep practice gives you mastery. The balance between the two is where real growth happens. Another key part is understanding human emotions and the connection between people and the objects they use. Every detail matters — how it feels, how it looks, how it communicates. Figuring these things out requires empathy. A good designer always keeps the user in mind and designs for their needs, not just for the sake of form. For me, staying curious, being open-minded, and designing with empathy are the things that keep me evolving as a designer. Once you stop exploring or stop caring about how people connect with your work, your designs lose their purpose.

DL: If you hadn’t become a designer, what would you have done?

TF : That’s an interesting question. Before I decided to study product design, I was very interested in media — especially video creation and editing. I always enjoyed storytelling through visuals, so I could easily imagine myself working in that field. Outside of design and the creative world, I’d probably be an entrepreneur in hospitality. Both my parents ran a restaurant for 30 years, and that place was like a second home to me. I grew up around that environment and I really liked it, so if I hadn’t chosen design, I’d most likely have followed that path.

DL: How do you define design, what is design for you?

TF : That’s always a difficult question, because my definition of design keeps evolving as I gain more experience. The word “design” is used so broadly today that it can mean almost anything, but for me, it’s the balance between emotion, function, and aesthetics. Design is about shaping how people experience the world. It’s not only about how something looks or works, but how it makes you feel when you use it. A well-designed object has a kind of harmony. it solves a problem, while it carries a personality and resonates emotionally with the use. For me, design is the process of translating ideas, emotions, and needs into something physical that improves life, even in a subtle way.

DL: Who helped you to reach these heights, who was your biggest supporter?

TF : In the beginning of my studies, my parents were very supportive. They never doubted my path or tried to steer me in another direction. They just let me be myself and explore what I was interested in. Later, my wife became my biggest supporter. She’s been by my side through every high and low, encouraging me when things get tough and celebrating the wins just as much as I do. Having people who truly believe in you — not just in your work, but in who you are — makes all the difference.

DL: What helped you to become a great designer?

TF : I was lucky to be surrounded by talented and clever people who shaped me into the designer I am today. Early on, teachers, mentors, and friends played a huge role in helping me grow, and later I learned a lot from colleagues and design leaders with more experience. Being around people who challenged me made all the difference. What also helped was constantly stepping out of my comfort zone. Many of my best projects started with uncertainty with situations where I wasn’t sure how things would turn out, but I trusted my instincts and went for it anyway. I’ve realised that I seem to have a relatively high tolerance for risk and uncertainty, which helped me jump into the unknown and eventually come out with a lot of new experience and knowledge. That mindset has pushed me to grow and discover new sides of design I wouldn’t have reached otherwise. I’ve also learned to stay open to criticism and look at my work with a critical eye. That mindset helps me see where I can improve, and then actually do it. I don’t like to stagnate, so continuous learning and refining my approach have always been important to me. Those habits, combined with curiosity and persistence, are what keep me evolving as a designer for more than a decade now.

DL: What were the obstacles you faced before becoming a design master?

TF : One of the first big challenges was getting into university. The design program I applied for was extremely competitive, with only a handful of places available each year. I had to build new skills to reach the required level. That period taught me discipline and patience, qualities that became fundamental later on. Breaking into the industry after graduation was another difficult step. In Hungary at the time, there weren’t many design studios or open positions, so I started freelancing early on to work on industrial design projects. It was uncertain and unpredictable, but it gave me a wide range of experience working with different agencies and designers. That independence helped me learn how to adapt fast and find my own direction. Another obstacle was learning to balance creative freedom with commercial expectations, and to handle rejection without taking it personally. In the beginning, that was tough, but as my portfolio grew and my experience solidified, I learned to separate feedback from self-worth. Later, the challenges changed, acquiring clients, managing deadlines, and delivering consistent quality became the new focus. Those experiences taught me to look at design not only as a creative pursuit but as a business as well. Understanding that balance has probably been one of the most valuable lessons in my career.

DL: How do you think designers should present their work?

TF : I think design should be presented as a story, not just a collection of images. People connect better when they understand the thinking behind what they see — the problem, the process, and the intention. A good presentation guides the viewer through that journey in a clear and engaging way. Every image, sketch, or render should communicate a purpose, not just fill space. Just as important, a good presentation should show the impact the design created. Whether it improved the user experience, solved a problem, or added value for a business, showing real results helps people understand why the design matters.

DL: What’s your next design project, what should we expect from you in future?

TF : With my company, Openend Design, I’ll continue collaborating on exciting projects. I enjoy working with brands who are passionate about creating meaningful, well-crafted products, and I want to keep building long-term collaborations that allow great ideas to grow into successful products. In parallel, I’m developing my own product line — something I’ve wanted to pursue for a long time. I’m especially drawn to objects that shape the atmosphere of a space, that add warmth, texture, and emotion to interiors. This direction feels like a natural extension of my design philosophy, and I’m excited to bring these pieces to life in the near future.

DL: What’s your ultimate goal as a designer?

TF : My ultimate goal is to create products that improve everyday life. I want people to feel something when they use the object I design, comfort, happiness, or a small moment of joy. If my work can quietly make life a little better or more beautiful, that’s the goal. Another part of it is the joy of invention itself. I love the process of solving problems in new ways finding ideas or mechanisms that didn’t exist before but offer a clear, simple answer to a real need. That moment when something clicks and works beautifully is what keeps me motivated to keep creating.

DL: What people expect from an esteemed designer such as yourself?

TF : People usually expect clarity and direction, someone who can take their idea and turn it into something real without overcomplicating things. They want designs that feel fresh and original but still make sense in a practical way. Clients also expect you to understand their goals, not just make something look nice. The best projects happen when there’s real collaboration and trust on both sides. I try to keep the process simple, transparent, and enjoyable to work through together.

DL: How does design help create a better society?

TF : There are many ways but at its core, design aims to move things in a positive direction. It’s about improving how we interact with the world — whether that’s through a better tool, a smoother process, or simply a more pleasant everyday experience. Good design removes friction. It makes tasks easier, systems clearer, and interactions between people more enjoyable. Even something as simple as improving how we use a product or service can quietly raise the quality of life. But I also believe these improvements are often small and incremental. They don’t always create an immediate, visible impact. It’s usually with time that we look back and realize how a certain design made things better, easier, or more human. That’s what makes design powerful — it’s a series of small, thoughtful steps that gradually shape a better society.

DL: What are you currently working on that you are especially excited about?

TF : I’m currently working on several projects that explore new ways to improve everyday experiences through design. Some are client collaborations, while others are self-initiated concepts I’m developing in my studio. I’m also working on a few personal projects, which gives me complete creative freedom. A big part of my work involves experimenting with 3D printing, both as a design tool and as a production method. It’s an exciting phase where exploration and refinement come together, and I’m really enjoying that process right now.

DL: Which design projects gave you the most satisfaction, why?

TF : The projects that gave me the most satisfaction are the ones that actually made it to the market. There is something special about seeing people use what you have designed because it makes the whole process feel complete. Designing for production is much harder than just creating concepts, but that is what makes it satisfying. It forces you to solve real problems, deal with constraints, and still make something beautiful and functional. My product Vector Scissors was one of the most challenging and rewarding ones. It started from an idea to improve how scissors cut and turned into a full venture to bring it to ready for mass production. That process taught me a lot about design, manufacturing, and business along the journey. The D46 kayak was another highlight. Knowing that athletes use it every day to train and race, and that they connect with it emotionally, is an incredible feeling. In general, I really enjoy projects where I can spend enough time refining proportions and form. That is where a product’s character really comes to life. When the geometry, balance, and surface transitions start to feel right, you just know it is going to catch people’s attention. That moment is one of the most satisfying parts of my work.

DL: Where do you think the design field is headed next?

TF : I think design is going through one of its biggest shifts in decades. We’ve never had this much access to high-quality tools, resources, and inspiration. The overall quality of design is rising globally, and a big part of that comes from the rapid integration of AI. AI has changed how designers work almost overnight. I believe the future of design will rely less on technical execution and more on human judgment. Designers will need stronger skills in taste, curation, and direction — the ability to filter ideas, frame them meaningfully, and connect with the human side of a product even more deeply. From a technical point of view, design will become faster and more accessible. But the role of the designer is changing. We’re shifting from being creators to interpreters, from makers to meaning-builders. That’s both the challenge and the opportunity ahead of us.

DL: How long does it take you to finalize a design project?

TF : It really depends on the project and the level of depth it requires. Every design process is different. Some projects move quickly because the goals are clear and well-defined, while others need more exploration, testing, and refinement before reaching the right result. In general, I try to adapt to the available time. Design is flexible, and there are many ways to solve a challenge, but quality always takes focus and iteration. The more time there is to explore, the more refined and complete the outcome becomes. In my experience, there is a stage where it is absolutely worth spending more time on a project to answer all the important questions properly and reach real depth. But it is just as important to recognise when to stop. Design is open-ended by nature, and perfection does not really exist. Knowing when a design is right enough is part of the craft.

DL: When you have a new design project, where do you start?

TF : I almost always start by understanding my client’s needs in depth. Often, the most important aspects are business-related — things like time to market, production constraints, and key objectives. A good discovery session at the beginning is essential because it becomes the foundation for everything that follows. I like to start from the expected outcome and plan backward from there. Then I study the product category I am designing for. I look at what already exists, what works well, what does not, and where there is room for something better. This helps me identify real opportunities instead of just adding another product to the mix. For me, the project can only start once I feel there is enough clarity and understanding of the needs. That point of clarity is what gives direction and confidence to the entire design process.

DL: Do you think design sets the trends or trends set the designs?

TF : I think in most cases, trends set the direction for design. Moods, materials, shapes, textures, and colors change constantly, often influenced by pop culture, films, technology, trend reports and fairs. These shifts affect how people and designers see the world, and naturally, they translate into design. But there are rare exceptions when a new design sets a trend. That usually happens when something truly different appears — something that feels fresh and unexpected and not following any previous trends.

DL: What is the role of technology when you design?

TF : Technology is critical in design. It’s what turns an idea into something that actually works. Without the right technology, a design often stays just a concept. For me, it’s a key factor in shaping how an object is developed and refined down to its details. New technologies also open new opportunities. I’m always looking for tools and methods that allow better execution or smarter solutions. One of the biggest impacts for me personally has been 3D printing. It changed the way I design and test ideas, and it also transformed how quickly products can move from prototype to market. Better technology leads to better tools, and better tools make better design possible.

DL: What kind of design software and equipment do you use in your work?

TF : I start most of my ideas with pen and paper or sketching on my iPad using Procreate and the Apple Pencil. That’s my go-to setup for quick concept development. For 3D work, I use Rhino and Fusion 360 for modeling and CAD. For visualisation and rendering, I use KeyShot, and I also integrate AI tools like Midjourney and Vizcom to explore directions and generate variations quickly. For graphics and presentation materials, I work with Adobe Photoshop, Illustrator, and InDesign. On the prototyping side, I use multiple FDM 3D printers, which are essential in my process for testing proportions, functionality, and real-world usability.

DL: What is the role of the color, materials and ambient in design?

TF : They are among the most important aspects of design because they define how a product feels and how people connect to it. Color, material, and ambience set the mood the user experiences when interacting with an object. All these tactile and visual elements shape perception. Colors carry both subconscious and cultural meanings, so what feels calm or premium in one context might mean something completely different in another. Materials and textures, on the other hand, affect how pleasant or uncomfortable an interaction feels. When these elements work together in harmony, they create a product that feels right. And it feels right because those decisions were made thoughtfully during the design process.

DL: What do you wish people to ask about your design?

TF : I’d like if people asked more about the process instead of just the result. Every design goes through hundreds of decisions, trials, and adjustments before it finally feels right, and that invisible work is often what makes the final product successful. Knowing the full story behind a design would put the end result in a completely different perspective, it would make people appreciate it differently.

DL: When you see a new great design or product what comes into your mind?

TF : When I see a great design, I always wonder how the idea came to life and what led the designer to make certain decisions. I start thinking about the process behind it — the challenges, iterations, and reasoning that shaped the final result. There is always a story behind good design, and I find that story just as fascinating as the object itself.

DL: Who is your ideal design partner? Do you believe in co-design?

TF : Absolutely, I believe in co-design. The best results often come from good collaboration. For me, an ideal design partner is someone who aims to be on the same level for the sake of the project. It is not about who has the better idea, but how we can create a great product together. They should challenge me, but also be open to feedback and improvement when needed. A good partner is flexible with workload because it is rarely an even split, and having a similar sense of taste and aesthetics helps a lot. Without that shared visual direction, decision-making can become difficult, especially in design. Most importantly, they should have a collaborative and proactive spirit, not waiting for the other person to take the first step.

DL: Which people you interacted had the most influence on your design?

TF : Different people influenced me at different stages of my career. My teachers gave me a strong foundation and taught me how to think critically about form and function. Later, working with colleagues and mentors helped me see design from new angles and understand the value of collaboration and also the business side of design. Many of my clients also had a big impact. Their feedback, knowledge, and ambitions constantly remind me that design is about solving real problems for real people. All of these interactions shaped how I approach my work today.

DL: Which books you read had the most effect on your design?

TF : The Design of Everyday Things by Don Norman had a big impact on me. It was one of the first times I read about design from a scientific and psychological point of view. It helped me understand how much design is connected to human behaviour and how small decisions can completely change the user experience.

DL: How did you develop your skills as a master designer?

TF : I developed my skills mostly through tutorials, courses, and a lot of self-experimentation. I’ve always learned best by doing, so I like to test things myself and figure out how they work in practice. A big part of my growth also came from incremental improvement during projects. Each task usually brings something new I need to solve, and figuring out those solutions on the go teaches me just as much as any course could.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

TF : Leonardo da Vinci is the first one that comes to mind. He was curious about everything — art, science, mechanics, anatomy — and somehow managed to connect it all. Even though he was from a very different era, I’d like to just talk with him about how he saw the world and where his ideas came from, and how he managed to do all the things he did.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

TF : I’m very pleased and proud of the recognition I’ve received. It’s a great feeling when your work gets noticed and appreciated by others. At the same time, I don’t let it get to my head. I haven’t really changed because of it, and I wouldn’t say I feel “famous.” I still approach my work the same way.

DL: When you were a little child, was it obvious that you would become a great designer?

TF : Not at all. As a kid, I spent most of my time drawing, building models, playing with LEGO and so on, but I did it purely for fun. I loved the act of creating more than the final result. People often told me I should do something with my talent, but I was unsure how. I didn’t even know design was a real profession until the end of high school. When I finally discovered it, everything clicked. It suddenly made sense that all the things I enjoyed, drawing, building, problem-solving could actually come together into one path.

DL: What do you think about future; what do you see will happen in thousand years from now?

TF : With how fast things are changing? I’d already be happy to know what the world looks like ten years from now. Whatever it is, it’ll probably be something we can’t even imagine today.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

TF : I’m always open to meeting new people and exploring collaborations. If you’d like to get to know me or see more of my work, feel free to visit my website or connect with me on LinkedIn. And if you’re interested in working together, I’d be happy to chat and see how we can help each other out.