Benjamin Hubert

Benjamin Hubert is one of the most influential contemporary industrial designers in the United Kingdom. He is the founder and creative director of LAYER, a renowned design studio based in London that specializes in experience design, technology, product development, and brand strategy. With a design mindset focused on making a positive impact on people’s lives, Hubert’s projects are deeply rooted in research, advanced technology applications, and timeless humanism.

From a personal-named studio to an international design brand, Benjamin Hubert’s journey is a testament to the seamless blend of creative thinking, strategic management, and a strong commitment to sustainability. NOTES had the opportunity to speak with this designer about his creative philosophy, how he defines the value of contemporary design, and his observations on the creative context in Vietnam and the region.

Hello Ben, what does a typical workday look like for you?

I start my day at the studio with a packed schedule: meeting clients, coordinating projects, reviewing design work, and holding meetings with specialist teams. Sometimes I need to travel internationally to address project issues. Most of our work is currently in the U.S., with growing presence in Asia and Europe.

What inspired you to become a designer? And why industrial design?

I love solving problems. Design allows me to identify weaknesses in products and find ways to improve them. I’m particularly interested in the user and always strive to meet their real needs. Industrial design spans physical and digital products as well as experiences, which suits our team’s adaptability. This field also opens opportunities to engage with diverse cultures.

Was there anyone who influenced your design perspective and thinking?

There isn’t one specific individual, but my experiences working at different companies and then starting my own business have had a significant impact. Practicing design and collaborating with my team has shaped me. Developing the studio, from founding it to expanding it, has been a profound personal journey.

Why did you choose the name LAYER DESIGNS for your studio?

Originally the company was called BENJAMIN HUBERT LIMITED. But I wanted a name that represented a larger, more diverse scale. “LAYER” reflects the multi-layered, multi-stage process of product development. The name change also helped the studio detach from a personal identity and take on a more professional image when working with major brands.

Some people say everything has already been designed. Do you think we should stop creating new products, like chairs?

I think about that a lot. But everything can be done better: smarter, more sustainable, more beautiful. The world is constantly changing, and design must adapt. A chair designed today could become obsolete next year. We always have a reason to improve.

In your view, do people depend on design or does design depend on people?

Both. Design exists to serve people, but it’s people who constantly redefine design’s meaning and value.

Which project has left the most emotional impact on you?

LAYER is the most emotional project, as it is tied to my personal journey. I’m also very proud of our chair collaboration with MDF Italia and the “Connectivity Concept” tech product line for Deutsche Telekom. Each project brings different emotions because we operate across many fields.

What is your perspective on sustainable design?

Sustainable design isn’t just about materials or technology; it’s a series of questions: Do users actually need it? How can we extend its lifespan? Can it be recycled or decomposed? I don’t always have the answers, but that’s what drives us to create more responsibly.

Some say LAYER carries the spirit of Dieter Rams. But what drives you personally?

My biggest motivation is the ability to imagine what could be created. We love combining tech strategy and new behaviors with craftsmanship. Technology, to us, is a tool to enhance the elegance and human depth of craft.

Is there an object you’ve always wanted to design?

I’d love to work in developing communities, designing products that help them access clean water, sustainable energy, or food. As a designer, I believe in adding value to life, and I’m open to collaborating with humanitarian organizations. We don’t limit our scope. If someone has a compelling idea, we’re always willing to participate. I particularly enjoy working with artisans and exploring materials—it’s a way to connect deeply with local cultures.

What future design trends should we not miss?

We should create things that connect people and embody humanity. The world has already seen too much division and crisis. Now is the time for design to heal and care for the planet.

Have you ever been to Vietnam?

I’ve traveled to Vietnam three times at different moments. It’s a rapidly developing country with a vibrant creative market. Everything feels new and exciting to me.

Is a seemingly chaotic context like Vietnam a fertile ground for design?

I don’t see that as negative. Every place has its movement and uniqueness. For designers, it’s a chance to make a positive impact. Vietnam has huge potential from traditional craft villages. If leveraged correctly, it can boost both commerce and cultural identity internationally. This is truly a golden opportunity for designers.

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