Sana Iqbal

What led you to start Studio Sana? And how has your vision for the studio evolved since its start?

Honestly, not getting a seat at the table forced me to make my own table. I was tired of the corporate glass-ceiling and job rejections, and my mentor pointed out I was running my own studio without even realising it. I was so focused on getting a job, I forgot to see what other doors had opened for me.

Since then, I've channelled the rejection into a tenacious energy, working with big clients such as AmplifyChange, UK Labour Party, and SOS-UK. I always think of that infamous Lady Gaga quote: “I had a boyfriend who told me I'd never succeed, never be nominated for a Grammy, never have a hit & hoped I'd fail. I said to him someday, when we're not together, you won't be able to order a cup of coffee at the f****** deli without hearing or seeing me.”

For me, the boyfriend was basically many industry leaders.

In addition to your design work, you're also a writer and a member of 26 (writing organization). How do you transition between different forms of creative expression?

I often start my design projects with writing, figuring out the strategic position and narrative. It helps me make sense of my thoughts and deconstruct complicated issues into something more digestible.

Your studio shows a commitment to causes like sustainability and reproductive justice. How do your personal experiences influence your desire to work on these social issues?

My existence is political. I'm a South-Asian Muslim woman whose grandparents endured the horrors of Partition. These issues are lived experiences, whether that's fighting against misogyny within our community or facing violence from the far-right. I won't sit quietly and allow these systems to oppress myself and others. Instead, I channel that fight into constructive energy by actively becoming a better person and being selective with who Studio Sana works with.

How do you stay informed and connected to the issues you're designing for?

Attending events and talks around these issues and being a part of activist movements.

How do you approach designing for activism while ensuring the message remains accessible and engaging to the audience?

Activism should always be accessible and engaging. You are failing the cause if you make it exclusive.

The magic ingredient I bring into our activist-led work is storytelling. People are emotional beings, we engage with human stories better than facts. It's not one or the other, but I'm seeing a lot of campaigners being surprised that their data-led campaign doesn't inspire action. They need to appeal to people's hearts and minds.

Working on projects for change can be really intense. How do you handle the emotional toll of working with heavy topics, and what keeps you motivated to keep going?

I'm still working out how to balance the two. This year has been difficult because of the ongoing genocide in Palestine. Last October, I decided to dramatically pivot towards working on the UK general election and Palestinian humanitarian campaigns, because so much was at stake. I was anxious about how this would affect Studio Sana, but my values will always take precedence over financial gain. We live and breathe our values.

I'm learning to balance these heavier topics with 'lighter' projects, and it's been a beautiful knowledge exchange. I bring my strategic experience into sectors like the arts, and then the craftsmanship skills from these projects are brought into the movement space.

Can you share an example where you used both design and writing to build a cohesive message that contributed to a cause?

In every brief, I'm always looking at the copy! I know if I create a good design and the copy is off, the whole thing won't be as effective. Clients really appreciate this additional value. When working on election campaigns, I joke that I’m the working-class test for copy—if I don’t understand it, the masses probably won’t either!

In projects like your work with Students Organising for Sustainability, what is your understanding of design's power in advocacy?

The world is full of problems, but also solutions. The problem many progressive organisations have is how to communicate their cause. Many think design is a nice-to-have and wonder why their data-heavy, complicated campaigns don't connect with people. When working with SOS-UK on the RACE Report visual identity, I interrogated the brief and realised the brand had to ultimately speak to CEO's. The identity had to feel approachable and professional with a touch of activism, so leaders would feel confident to take part in the DEI report. Effective design understands the tone and motivations of the audience.

Could you tell us about a piece of work you’re particularly proud of?

In the new year, I'll be launching the brand refresh for AmplifyChange, a sexual and reproductive health and rights fund. It was a mammoth task, from audience research to brand strategy to design roll-out across print and digital. It's a proud moment for Studio Sana, showing our capability to take on large-scale projects. It's a beautiful brand too, bringing South Asian and African patterns into the human rights space.

Looking ahead, what are some personal goals or areas of design you're excited to explore?

I'd love to work with more cultural and environmental organisations to really inspire action around the climate crisis to make the arts more accessible. Working with South-Asian artists and musicians, like Priya Ragu, would be a DREAM.

I also admire the business model of Asma Khan's Darjeeling Express—put them on your foodie list. Her restaurant only hires women, many of whom are often excluded from the restaurant industry. I would love to grow Studio Sana to be a place where other women can come and thrive.

Finally, what is your favourite South Asian sweet?

Gulab Jamun warmed up!