We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Ali Berk Senbas ("ABS").
Ali Berk Senbas is an award-winning designer that helps make the World a better place with their original and innovative creations and advanced design works.
Ali Berk Senbas Designs
We are pleased to share with you original and innovative design work by Ali Berk Senbas.
Designer Interview of Ali Berk Senbas:
DI: Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
ABS : I come from an architectural background shaped by institutions like SCI-Arc and Princeton, where I was immersed in experimental, computational, and interdisciplinary design. Over time, my interests evolved beyond built form into more speculative territories — blending fashion, AI, and narrative systems. That evolution led to the creation of Formzee, an independent, non-commercial research project that explores the role of artificial intelligence in creative design processes. I’ve always been drawn to design as a way of thinking — a method for shaping form, structure, and meaning across scales and mediums. From a young age, I was captivated by visual systems and how they carry emotion and logic at once. Becoming a designer wasn’t a decision I made at a single moment; it was more of a continuous unfolding — guided by curiosity and a desire to dissolve the boundaries between disciplines. Design, for me, is a space of inquiry. And Formzee is an extension of that inquiry — not a business, but an evolving research practice dedicated to expanding how we understand and collaborate with intelligent tools in the act of creation.
DI: Can you tell us more about your company / design studio?
ABS : Formzee is not a company or a commercial design studio — it’s an independent research project I initiated to explore the intersection of artificial intelligence, fashion, architecture, and narrative form. The project functions as a creative laboratory, where I investigate how machine learning and computational design can reshape the way we think about aesthetics, authorship, and design intelligence. Rather than producing products or offering services, Formzee operates as a conceptual and visual inquiry — blending human intuition with algorithmic systems to imagine new modes of design. It’s a space for experimentation, not for commerce — and its outputs exist primarily as digital research, speculative prototypes, and visual storytelling across platforms.
DI: What is "design" for you?
ABS : For me, design is a language — a way of translating thought into form. It’s not limited to objects or outcomes, but is instead a living process that weaves together imagination, structure, and context. Design allows us to tell stories, question systems, and propose new possibilities for how we live, move, and perceive the world. I see design as both intuitive and computational — a space where logic and emotion converge. Through Formzee, I explore design as an evolving intelligence: not something fixed or static, but something that adapts, learns, and collaborates. It’s less about solving problems and more about opening up new questions — aesthetic, ethical, and technological. Ultimately, design is how I think, feel, and inquire — it’s a form of consciousness shaped through material, image, and code.
DI: What kinds of works do you like designing most?
ABS : I’m most drawn to designing systems that blur the boundaries between disciplines — especially where fashion, architecture, and digital intelligence intersect. I’m interested in speculative forms: garments that feel architectural, structures that behave like living organisms, and aesthetics that emerge from human–AI collaboration. What excites me most is designing processes, not just outcomes — workflows where algorithms and intuition shape each other in unexpected ways. I particularly enjoy working on visual research and generative design that challenges conventional ideas of authorship, materiality, and style. Whether it’s a digital sculpture, a computational garment, or an experimental interface, I’m most fulfilled when the work questions reality as much as it imagines it.
DI: What is your most favorite design, could you please tell more about it?
ABS : One of my favorite designs from Formzee is a computational garment we developed as a visual study — a sculptural form that merges algorithmic logic with organic elegance. It was generated through a custom AI model trained on thousands of my architectural and fashion references, then refined through iterative feedback loops between machine outputs and human intuition. The result was a piece that felt both futuristic and ancestral — like something unearthed from a digital mythology. It didn’t exist as a wearable object, but as a concept and a visual provocation: what does it mean to “wear” intelligence? To let design emerge rather than be imposed? What made it special wasn’t just the outcome, but the process — it was one of the clearest moments where Formzee’s core idea came to life: that design can be a conversation between human imagination and machine creativity, without being bound to production or commercial intent.
DI: What was the first thing you designed for a company?
ABS : While Formzee is not a commercial studio and I don’t work in a traditional client-based structure, one of the first things I designed that reached a wider public was a digital fashion artifact developed as part of my early research into AI-assisted aesthetics. It wasn’t created for a company, but it gained visibility through online platforms and communities that focus on experimental design. That early work was significant because it helped me understand the potential of computational tools not just for efficiency, but for poetic expression. It marked the beginning of a shift — from architecture into speculative fashion, from static design into intelligent systems. Even now, I think of that piece as a foundation for the broader visual language of Formzee.
DI: What is your favorite material / platform / technology?
ABS : My favorite “material” is intelligence itself — not just artificial, but hybrid: the interplay between algorithmic systems and human intuition. I’m especially drawn to generative technologies like diffusion models, procedural modeling, and parametric design platforms such as Grasshopper and Blender. AI is not just a tool I use — it’s a collaborator. Through Formzee, I’ve trained custom models on curated datasets, not to replicate existing styles but to generate entirely new visual languages. This fusion of code, form, and perception feels like a new material — one that is fluid, responsive, and alive. Rather than being tied to a single medium, I think of design as platform-agnostic. My favorite “platform” is the space where narrative, computation, and aesthetics converge — whether that’s a digital render, a speculative garment, or an experimental interface.
DI: When do you feel the most creative?
ABS : I feel most creative in moments of quiet friction — when there’s tension between the known and the unknown, and I’m navigating that space with no clear outcome in mind. It often happens late at night, when distractions fade and the dialogue between myself and the machine becomes more fluid, almost subconscious. When I’m training a new model or remixing visual forms through generative processes, there’s a moment where the output surprises me — not because it’s polished, but because it reveals something I hadn’t thought to look for. That’s when I feel most alive creatively — when design becomes discovery. It’s never about waiting for inspiration; it’s about creating the conditions where unexpected intelligence can emerge.
DI: Which aspects of a design do you focus more during designing?
ABS : I focus most on the underlying logic and narrative of a design — the system that gives rise to form, and the emotion or mythology it carries. Rather than starting with a fixed shape or outcome, I begin with a question: What kind of intelligence or atmosphere should this design evoke? Aesthetically, I pay close attention to geometry, texture, and silhouette — especially how they can suggest something timeless yet futuristic. But more than visual qualities, I care about process: how human intuition and machine behavior shape each other through iteration. In Formzee, every design is both an artifact and a trace of its own making — so the generative system itself becomes part of the design. That’s the layer I focus on most: not just how it looks, but how it became.
DI: What kind of emotions do you feel when you design?
ABS : Designing fills me with a sense of wonder, curiosity, and quiet intensity. There’s a deep satisfaction in watching something unfamiliar emerge — especially when it comes from a process I’ve only partially guided. It feels less like control and more like discovery — as if the design already existed somewhere, and I’m just uncovering it layer by layer. At times, the process is meditative — almost like solving a puzzle with intuition instead of rules. Other times, it’s charged with tension and restlessness, especially when a form resists definition or slips into something uncanny. But even in frustration, there’s excitement — because it means the work is alive. More than anything, I feel a sense of dialogue. Through Formzee, I design not alone, but in conversation — with the machine, with memory, with future mythologies.
DI: What kind of emotions do you feel when your designs are realized?
ABS : When a design is realized — even if only as a digital artifact or a speculative prototype — I feel a mix of awe, humility, and a strange sense of distance. There’s a quiet thrill in seeing something that once lived only in the abstract, now taking form with its own presence and logic. Because my work often involves machine collaboration, the final outcome feels both familiar and alien — like encountering a version of my imagination I didn’t know existed. It’s not about pride in authorship, but about witnessing emergence: how an idea, shaped through code and intuition, becomes something that speaks back. In those moments, I often feel reflective — not just about the piece, but about the process, the tools, and the potential futures the design hints at. It’s emotional, but not loud. More like a pulse of recognition that something intangible has found form.
DI: What makes a design successful?
ABS : To me, a design is successful when it opens a new way of seeing — when it reveals something unexpected, stirs emotion, or challenges assumptions. It’s not about how polished or popular it is, but about whether it resonates — intellectually, aesthetically, or even subconsciously. In my work through Formzee, success often means that the process itself led to surprise — that the collaboration between human and machine produced something I couldn’t have predicted or controlled. If a design can feel alive, layered with meaning, and slightly beyond language, then it has succeeded. Ultimately, I believe a successful design doesn’t just solve — it provokes. It stays with you, even after you’ve looked away.
DI: When judging a design as good or bad, which aspects do you consider first?
ABS : When judging a design, I first look at its intention and integrity. What was it trying to express or explore — and did the process honor that intention in a thoughtful, coherent way? I also pay close attention to the emotional tone and systemic logic of the work. Is there a sense of inner structure, even if it's unconventional? Does it provoke curiosity, offer a new perspective, or feel alive in some way? In my own practice with Formzee, I value designs that emerge from rich processes — especially when human and machine intelligence collaborate. So I tend to judge not just by the final form, but by the depth of inquiry and the clarity of the vision behind it. A design can be strange, minimal, or even unfinished — and still be “good” if it carries intention, resonance, and intelligence.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
ABS : I believe a designer’s first responsibility is to question the systems we inherit — and to imagine new ones with greater empathy, intelligence, and care. Design shapes perception, behavior, and belief; it doesn’t just reflect society — it actively constructs it. That gives designers a profound responsibility to engage critically with the world. From an environmental perspective, this means moving beyond surface-level sustainability to deeper systemic thinking: questioning consumption, materiality, and even the role of production itself. In Formzee, for example, I often explore non-physical, speculative artifacts that challenge the assumption that design must always result in objects. Socially, designers must also consider who is included, who is excluded, and how power flows through visual, spatial, and technological systems. A responsible designer designs not just for aesthetics, but for equity — and for futures that are more diverse, adaptive, and humane.
DI: How do you think the "design field" is evolving? What is the future of design?
ABS : The design field is evolving from static disciplines into fluid systems — moving beyond form and function into behavior, intelligence, and code. We’re witnessing a shift where design is no longer just about making things, but about shaping processes, experiences, and synthetic realities. AI, in particular, is transforming the field — not just as a tool for automation, but as a collaborator that challenges authorship, intuition, and aesthetic boundaries. Through Formzee, I explore design as a dialogue between human imagination and machine emergence — where the goal isn’t efficiency, but meaning. The future of design will be hybrid: part speculative, part generative, part ecological. It will require us to rethink materiality, authorship, and even what counts as “real.” I believe we’re entering an era where design becomes less about solving problems, and more about expanding consciousness — both individual and collective.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
ABS : My most recent public presentation of Formzee was a digital showcase across online platforms, where I shared a curated sequence of AI-generated fashion and architectural artifacts as part of an ongoing research dialogue. Rather than a conventional exhibition in a physical gallery, I see these moments as open, evolving forms of engagement — distributed, interactive, and accessible beyond institutional spaces. For the next phase, I would love to hold an immersive exhibition that bridges physical fabrication and digital intelligence — where viewers can experience how machine-generated forms unfold through narrative, texture, and spatial logic. Ideally, it would be less of a display and more of an encounter — a living archive of collaborative imagination between human and AI.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
ABS : My design inspiration comes from a fusion of systems and stories — from architecture, fashion, mythology, digital culture, and machine logic. I’m especially drawn to contrasts: the organic and the synthetic, the ancient and the futuristic, the precise and the chaotic. These tensions become the raw material for Formzee. To feed my creativity, I’ve built a large, curated database of visual, historical, and conceptual references — including over a million images — which I use to train custom AI models. This acts as both a memory bank and an evolving source of aesthetic intelligence. I also engage with code, geometry, and speculative fiction, allowing unexpected narratives to emerge through structure and form. Ultimately, inspiration is less about a single source and more about pattern recognition — finding resonance between disciplines, and listening closely to what the machine and the moment are trying to say.
DI: How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to design?
ABS : My design style is a fusion of the geometric, the gothic, the futuristic, and the organic — a kind of digital mysticism shaped through computation. I often describe it as speculative elegance — where structure meets mythology, and where form feels both ancient and alien. This style emerged naturally from my background in architecture and my curiosity about systems — visual, cultural, and technological. Working with AI allowed me to push beyond personal taste and explore aesthetics as emergent behavior. Rather than designing objects, I often design languages — visual vocabularies that evolve through iteration, training, and transformation. Key characteristics of my style include intricate silhouettes, unexpected material logics, layered textures, and forms that seem alive or in flux. My approach is not about forcing an idea into shape, but about setting up a system where form can unfold with its own intelligence. Through Formzee, I explore this aesthetic not as a brand, but as a research lens — a way to study how design can be generated, reinterpreted, and felt in the space between human intention and machine emergence.
DI: Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
ABS : I was born and raised in Istanbul, a city layered with history, complexity, and contradiction — where Byzantine, Ottoman, and modern influences coexist in visual tension. That cultural density shaped how I see the world: as a collage of systems, symbols, and stories. You can see that influence in Formzee — especially in the way my work blends the mystical with the technological, and the ornamental with the algorithmic. I’ve also lived and studied in cities like Los Angeles, Princeton, and Chicago, which exposed me to diverse design philosophies — from experimental computation to radical minimalism. This cross-cultural experience gives me both sensitivity and detachment: I draw from heritage without being confined by it. The advantage of living between cultures is a widened lens — a deep well of references and hybrid thinking. But it can also mean navigating a lack of infrastructure or community around highly experimental, AI-driven design work — especially when the work doesn’t fit easily into commercial or traditional academic frameworks. Still, that friction becomes part of the process. It’s what gives Formzee its sense of displacement and mystery — design that feels like it comes from somewhere both familiar and entirely new.
DI: How do you work with companies?
ABS : Formzee is not structured as a commercial studio, so I don’t work with companies in a traditional service-based way. However, I’m open to collaborative dialogues — especially with organizations interested in experimental design, AI research, or future-facing aesthetics. In those cases, the work is framed as a creative or conceptual exchange, not as production or branding. If there’s alignment in values — such as a shared interest in computational aesthetics, speculative design, or interdisciplinary thinking — I’m open to contributing to broader cultural or research initiatives. But the core of Formzee remains non-commercial and exploratory by intent. It’s a space for discovery, not delivery.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
ABS : I would suggest that companies look beyond portfolios and aesthetics, and instead ask: What kind of questions does this designer ask? A good designer isn’t just someone who delivers polished visuals — they bring curiosity, perspective, and systems thinking to the table. The best collaborations happen when companies are open to process, experimentation, and even moments of uncertainty. I also believe companies should choose designers whose values align with theirs — not just stylistically, but ethically and conceptually. Do they care about long-term impact? Are they interested in innovation for the sake of meaning, not just novelty? My suggestion is: treat designers as creative partners, not just executors. Give them room to explore, and trust that deep, reflective design work may not always follow a linear path — but it often leads to something truly resonant.
DI: Can you talk a little about your design process?
ABS : My design process begins with a question, not a product. I’m less interested in solving predefined problems and more drawn to exploring what happens when intuition, computation, and narrative intersect. With Formzee, the process often starts by gathering references — not just visual, but conceptual — from architecture, fashion, mythology, and systems theory. From there, I work with custom-trained AI models and generative tools, many of which I’ve built using a curated dataset of over a million images. I treat these models not as instruments, but as collaborators — capable of surprising, diverging, or even resisting direction. The design emerges through a feedback loop between me and the machine, through iteration, selection, and refinement. At each step, I focus on resonance — does the form evoke something meaningful, unfamiliar, or poetic? The final outcomes are often speculative: digital garments, architectural visions, or conceptual artifacts that reflect Formzee’s core aim — to explore design as a living, evolving intelligence rather than a commercial product.
DI: Can you describe a day in your life?
ABS : A typical day in my life is structured around focused solitude and creative immersion. I usually begin in quiet — no notifications, no noise — just sketching ideas, organizing references, or writing thoughts about a design question I’m currently exploring through Formzee. Late mornings are often dedicated to technical work: training or testing AI models, refining datasets, or generating visual iterations. I work with a combination of tools — from coding environments to design software like Blender or Grasshopper — and alternate between precise control and open experimentation. Afternoons tend to be more intuitive. I curate, select, and refine images, not just for visual quality but for emotional tone. I might collage, animate, or structure outputs into a narrative — a sequence that tells a story or proposes a new design language. Evenings are for reading, observing, and reflecting — often through architecture books, fashion editorials, or mythology. At night, I feel the most creative. That’s when everything quiets down and the dialogue between me and the machine feels the most alive. It’s a day shaped less by tasks and more by attention — to form, to meaning, and to what wants to emerge.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
ABS : To young designers, I’d say this: Don’t rush to define your style — focus first on your questions. Design is not just about what you make, but why and how you think. Cultivate curiosity across disciplines: study systems, stories, structures, even outside design. Everything becomes material. Learn the tools, but don’t be ruled by them. Whether you’re working with pencils or AI models, remember that the most powerful tool is still your perspective. Use technology to expand your imagination, not replace it. Most importantly: allow for mystery. Some of the most meaningful work won’t make immediate sense — even to you. Trust the process. Let failure teach you, and let discomfort stretch you. The goal isn’t to be fast — it’s to be true. And above all: protect your wonder. That’s the part no one can teach — and the part that keeps your design alive.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
ABS : One of the greatest positives of being a designer is that you get to imagine new worlds. You’re constantly translating thought into form, shaping how people see, feel, and interact with reality — often in subtle but powerful ways. Design allows you to connect disciplines, express emotion, question systems, and explore futures that don’t yet exist. It’s deeply creative, endlessly evolving, and filled with moments of discovery. But it also comes with challenges. One of the main negatives is the pressure to constantly produce — especially in a world that often values speed, trends, or commercial visibility over depth. It can be hard to protect time for experimentation, reflection, or failure — all of which are essential to meaningful design. There’s also the emotional weight of caring deeply about your work in a system that may not always understand or support it. Still, for those who are driven by curiosity and vision, the rewards go far beyond recognition. Design becomes not just a career, but a way of living — a lens through which to see and shape the world.
DI: What is your "golden rule" in design?
ABS : My golden rule in design is: Let the process teach you something you didn’t know you were looking for. I believe great design doesn’t come from control alone — it comes from dialogue. Between idea and form, human and machine, structure and intuition. Whether I’m working with AI, code, or pure concept, I always try to stay open to surprise. If the outcome is exactly what I expected, I know I didn’t go far enough. Design, for me, is not about proving what you already know — it’s about discovering what you didn’t yet know you believed.
DI: What skills are most important for a designer?
ABS : I believe the most important skills for a designer go beyond tools or trends. First and foremost, a designer needs the ability to see systems — to understand how things connect, behave, and evolve across time and context. That kind of thinking allows you to design not just objects, but worlds. Equally important is curiosity — a constant desire to explore, question, and unlearn. Design thrives on experimentation, and that means being comfortable with ambiguity and failure. From a technical standpoint, visual literacy, material sensitivity, and computational fluency are increasingly important — especially as design becomes more integrated with AI, digital tools, and speculative processes. But those are only powerful when paired with conceptual clarity, narrative thinking, and the ability to translate abstract ideas into resonant forms. Most of all: adaptability. The field is evolving quickly. The best designers aren’t the ones who master one thing — they’re the ones who know how to keep learning.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
ABS : My toolbox is both digital and conceptual — it holds not just software and hardware, but also systems of thought and inspiration. On the software side, I work extensively with: Blender for 3D modeling and rendering Grasshopper for parametric and generative form-making Photoshop and After Effects for post-processing and visual sequencing Custom AI tools, including diffusion models and neural networks trained on my own datasets, built using platforms like PyTorch and ComfyUI For hardware, I rely on a high-performance workstation with multi-GPU support for model training and real-time rendering. I also use 3D printers and occasionally experiment with fabrication tools to prototype physical forms. On the conceptual side, my references are vast and curated. I maintain a private database of over 1 million images, texts, and sketches — ranging from architectural archives and fashion photography to mythology, sci-fi cinema, and natural formations. This archive fuels Formzee's custom AI training and visual DNA. Books are essential too — I often revisit works on design theory, computational aesthetics, cybernetics, mythology, and visual semiotics. They help me stay grounded in ideas, not just outcomes. Ultimately, my most important tool is the feedback loop — between machine outputs, human intuition, and iterative refinement. My process isn’t about finding quick answers, but about building spaces where new questions can emerge.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
ABS : Design is absolutely time-consuming — especially when the work is exploratory and generative, like what I do with Formzee. But I see time not as something to manage, but as something to shape. My process depends on entering a state of deep focus where intuition and iteration can unfold without pressure to rush. To create that space, I structure my time around energy rather than strict hours. I block out long, uninterrupted periods for experimentation, and separate technical work (like model training or 3D rendering) from more intuitive tasks like visual curation or conceptual writing. I also embrace slowness when needed. Some of the most important breakthroughs come not from speeding up, but from allowing space — space to question, reflect, and be surprised. Deadlines exist, but I don’t let them dictate the soul of the work. So rather than controlling time, I try to honor it — as part of the process itself.
DI: How long does it take to design an object from beginning to end?
ABS : So a purely digital study might crystallize in two to three weeks, while a research prototype that demands fabrication and multiple AI retraining loops can stretch to two or three months. Even then, I rarely think of a design as finished—I see it as a waypoint in an ongoing dialogue between human intuition and machine emergence.
DI: What is the most frequently asked question to you, as a designer?
ABS : The most frequently asked question I get is: “Did you design this, or did the AI?” It’s a question that reveals how people are trying to understand authorship in this new space — and it opens up a conversation I love to have. Because in my work with Formzee, the answer isn’t binary. The design emerges from a collaboration: my intuition, my dataset curation, my visual judgment — shaped in dialogue with machine logic and generative unpredictability. That question also points to something deeper: people are curious about how creativity is evolving. Who gets credit? What counts as original? What does it mean to design when the tools themselves can produce? These are exactly the questions that keep me inspired — and that I think the future of design will continue to wrestle with.
DI: What was your most important job experience?
ABS : One of my most important experiences wasn’t a job in the traditional sense — it was the moment I began developing Formzee as an independent, research-driven design project. It marked a turning point where I moved away from predefined roles and began constructing my own space between fashion, architecture, and artificial intelligence. This process challenged me to become not just a designer, but also a researcher, curator, and system builder. I trained custom AI models using my personal image archive, developed experimental workflows, and explored design as something generative, responsive, and living. It wasn’t client work — it was self-initiated, open-ended, and transformative. That experience taught me how to build with uncertainty, how to listen to the machine, and how to trust process over product. It continues to shape everything I do — not just how I design, but why.
DI: What type of design work do you enjoy the most and why?
ABS : I enjoy the kind of design work that feels like discovery — when the process leads me somewhere unexpected and slightly mysterious. I’m most drawn to speculative, generative design that blends architecture, fashion, and narrative — where the outcome isn’t predefined, but emerges through a dialogue between human intention and machine behavior. What I love most is designing systems that generate form — training AI models, crafting parametric logics, or curating datasets that allow meaning to unfold organically. It’s not just about making an object — it’s about constructing a language, an atmosphere, or a myth. I enjoy this kind of work because it challenges authorship, expands my own imagination, and allows me to design not just things, but worlds.
DI: What are your future plans? What is next for you?
ABS : My future plans center around deepening and expanding Formzee as a long-term research project — pushing further into the space where AI, fashion, architecture, and narrative converge. I’m developing new custom models trained on even more curated visual and conceptual data, with the goal of evolving a kind of general design intelligence — one that doesn't just replicate styles but proposes entirely new design languages. I’m also interested in creating more immersive formats for sharing this work — exhibitions that blend digital and physical prototypes, interactive archives, or even performative environments that allow audiences to experience design as a living, evolving system. Ultimately, I’m not aiming for a commercial outcome, but for a body of work that challenges how we think about design, authorship, and the role of machines in creativity. What’s next is not a product — it’s a new phase of exploration.
DI: Do you work as a team, or do you develop your designs yourself?
ABS : I primarily work alone — Formzee is a solo-led research project. But I don’t see myself as the only creative force. Much of my work involves collaborating with non-human intelligence: custom-trained AI models, generative systems, and computational workflows that respond to the inputs I give them in surprising, often poetic ways. While I handle all aspects of the design — from concept to dataset curation, model training, and visual refinement — I consider the process deeply dialogic. The machine isn’t a tool I control; it’s a partner I learn from. So in a sense, I design by myself, but never entirely alone. This method allows me to move fluidly across disciplines while preserving a highly focused and personal vision.
DI: Do you have any works-in-progress being designed that you would like to talk about?
ABS : Yes — I’m currently working on a new body of research within Formzee that explores the idea of myth-making through machine logic. It involves training a series of custom AI models on visual, symbolic, and material references drawn from architecture, costume history, and speculative fiction — with the goal of generating a new design language that feels both ancient and post-human. One direction focuses on digital garments that behave like rituals — forms that seem to carry forgotten stories or ceremonial codes. Another track explores architecture as living memory — structures that feel self-aware or shaped by unseen forces. These works are still in development, but they reflect where Formzee is headed: toward design that doesn’t just look new, but feels like it comes from a world we haven’t fully imagined yet.
DI: How can people contact you?
ABS : I’m always open to thoughtful dialogue, collaboration inquiries, or discussions about experimental design, AI, and creative research. The best way to reach me is through my official contact channels linked via my portfolio or social platforms. You can connect with me on Instagram [@yourhandle] or reach out via email at: [your email]. Since Formzee is not a commercial studio, I don’t take on client work — but I’m always interested in exchanging ideas, participating in cultural conversations, or contributing to research-based initiatives.
DI: Any other things you would like to cover that have not been covered in these questions?
ABS : I’d just like to highlight that Formzee is not a brand or a business — it’s a long-term, non-commercial research practice that explores what design can become when we treat it as a form of living intelligence. I’m less interested in final products and more fascinated by process, transformation, and emergence — especially in collaboration with AI. Much of my work sits outside traditional categories. It’s speculative, layered, and sometimes difficult to define — and I think that’s where its strength lies. I hope projects like Formzee can expand the conversation about design: not just what it looks like, but what it means, how it thinks, and who or what gets to create. Thank you for giving space to this kind of work — work that doesn’t always fit into conventional molds, but still seeks to shape meaningful futures.