Speaking at London Packaging Week, the visionary behind iconic road cars for Ferrari, McLaren, and Maserati explores how emotionally intelligent design is redefining modern luxury.
At the heart of luxury lies a delicate balance between desire and accessibility, something not necessarily needed, but undeniably aspired to. Pursuing higher standards, refinement, and quality draws people toward luxury goods. But what truly makes these items desirable and, more importantly, achievable is the emotional pull that good design evokes. Frank Stephenson, renowned designer, will address this idea at London Packaging Week, as part of its thought-provoking conference agenda. In his discussion, he will emphasise that the allure of luxury is more than a product’s function—it’s about creating an immediate and undeniable connection.
For Stephenson, design is both a science and an art, where function must never be sacrificed for beauty, but where beauty is essential to the experience. He argues that the real magic of design lies in crafting something that stirs emotions and sparks a connection from the very first encounter. Whether in the sleek lines of an automobile or the intricate detail of luxury packaging, the goal remains the same: to evoke that unmistakable feeling of “love at first sight.” The true challenge, he says, is designing a product that doesn’t merely meet expectations, but exceeds them—drawing consumers in with its magnetic, emotional appeal.
Today, Stephenson continues to push boundaries through Frank Stephenson Design, a studio that fuses innovation, sustainability, and emotional intelligence across a wide range of industries—from mobility to consumer goods. His focus on biomimicry and future-facing design shows how cutting-edge creativity can be grounded in natural principles and human emotion. At London Packaging Week, he will illustrate how these philosophies translate directly into luxury packaging, where the box, label, and tactile experience must echo the product’s essence. In the luxury market, packaging isn’t just a wrapper—it’s a story, a signal of value, and a bridge to the consumer’s desire. It’s not about extravagance, but about subtlety, uniqueness, and attention to detail. For Stephenson, good design is not about overcomplication but about achieving perfect harmony between form and function—creating something timeless that resonates deeply, emotionally, and intuitively.
The allure of luxury design
Luxury is often seen as an aspirational goal, something beyond immediate necessity. As Frank Stephenson puts it,
“luxury is not something anybody needs. It’s desirable—something that many people strive for in life—because we all want to raise our standards and quality of living.”
Yet, the path to luxury is not always achievable, and therein lies the intrigue. What makes luxury both desirable and attainable? According to Stephenson, the key lies in the emotional aspect of design.
“Design, in my view, is more of a science than an art,”
he notes, highlighting that while design is a balance of both, the true magic happens when design functions impeccably while evoking an emotional response. This blend of science and emotion is what ultimately brings desirability to life.
In Stephenson’s perspective, the moment of connection is immediate, not gradual.
“The real trick is designing something desirable. And desirability shouldn’t develop over time—it should happen almost immediately. That moment of attraction, that first impression, is crucial.”
This instantaneous connection, this “love at first sight,” defines successful design in his eyes. He emphasises that a product shouldn’t require time to warm up to.
“You shouldn’t need time to adjust to the look or feel of a product. That connection should be instant.”
For Stephenson, this instant attraction is the true mark of a design that stands out and stirs something within the consumer and compels them to act.
Packaging, too, plays a central role in this emotional connection and desirability. As he prepares for his talk at London Packaging Week, Stephenson has noticed how critical packaging is for luxury items, noting,
“The more I prepare for this event, the more I notice how important packaging is for luxury items.”
But he cautions that luxury packaging doesn’t have to be extravagant—it just has to be thoughtful and purposeful.
“Take whiskey, for example, one of my passions. It’s not always the bottle that sells the whiskey. Of course, you’re paying for the liquid inside, but the bottle design—the packaging—is incredibly well considered, debated, and executed.”
This attention to detail and the seamless fusion of product and packaging are vital to a consumer’s experience and decision-making process. As Stephenson says,
“Product and packaging have to speak the same language, and both must be equally strong.”
Packaging can elevate a product’s desirability when done right, making it not just about what’s inside but the entire experience.
“Desirability stems from the complete package—not just the product itself,”
he concludes, underscoring the importance of both product and presentation in luxury design.
The creative essence of design
In today’s world, consumers are overwhelmed by choices. Frank Stephenson observes,
“The modern consumer has been exposed to so much already. You walk into any supermarket, shopping mall, or retail space and find countless versions of products that essentially do the same thing, just packaged or designed differently.”
This abundance of options has made design, not just function, the deciding factor for many. However, the creativity of designers continues to stand out, pushing boundaries in a way that, according to Stephenson, AI cannot replicate.
“What AI still can’t replicate is the unique creativity of the human mind,”
he argues, emphasising the crucial role that human ingenuity plays in design. AI may excel in generating ideas, but the human touch produces truly memorable designs.
Unfortunately, Stephenson believes this creative potential is often stifled in the design process, particularly due to shortcomings in education.
“Right now, we’re seeing a lot of work that’s different—but shockingly unappealing,”
he points out. This partly stems from a flaw in the design education system, where there is a lack of emphasis on fundamental design principles such as uniqueness, character, and proportion. As digital tools become more dominant in design, there is a growing risk of homogenising creativity, reducing the distinctiveness of each designer’s work.
“In the past, you could often recognise a designer’s ‘thumbprint’ on a product,”
says Stephenson, citing examples like Ross Lovegrove’s packaging designs. Yet, this signature touch is becoming less common.
“We’re losing that recognisability, that human touch,”
he laments, highlighting how the commodification of design through digital tools erodes the essence of what makes a luxury product luxurious.
For Stephenson, the solution lies in a return to the organic and natural forms that inherently appeal to human sensibilities.
“We’re inherently drawn to organic, natural forms,”
he explains. Biomimicry, or design inspired by nature, is something he frequently incorporates into his work, recognising that nature’s beauty is universally appreciated.
“You can’t go wrong designing something inspired by nature—no one can easily say it’s ugly.”
In the world of luxury design, he advocates for “uniqueness and subtlety”—designs that remain desirable without resorting to shock value.
“Shock value rarely works,” he warns.
“The goal should be to push boundaries while staying within the limits of what people can immediately connect with.”
This balance of innovation and accessibility, encapsulated in the design principle of MAYA (“Most Advanced Yet Acceptable”), remains the sweet spot where truly impactful, luxurious designs are born.
The essential role of packaging design
Stephenson stresses the importance of considering the full experience when discussing packaging design. He notes that packaging is a profession in itself. I don’t think anyone serious about design creates packaging without considering the full experience: who the consumer is, what kind of product it is, and how the packaging contributes to the overall impression.
” For Stephenson, packaging is not just about containment; it’s about creating an emotional connection with the consumer. He argues that packaging should not feel disposable or unimportant. A great designer considers whether the packaging is something the consumer would want to keep. “In some cases, it’s not even something you can separate from the product—the packaging becomes an essential part of the design.”
This level of design, according to Stephenson, requires constant attention to detail and an openness to new technologies.
“Technology is now opening up new possibilities—especially with things like 3D printing,” he explains. “You can create complex forms without overthinking manufacturing constraints.”
He points to groundbreaking designs like Ross Lovegrove’s Ty Nant water bottle as an example of how simplicity and innovation can elevate a product.
“It was stunning in its simplicity, and to me, it’s a design icon,”
says Stephenson, highlighting how the bottle’s packaging became just as significant as the product itself. The evolution of materials and production methods also means that luxury is no longer defined by rarity alone.
“Now, luxury might involve sustainable materials—biodegradable leathers, Kevlar, or innovative composites,”
he observes, illustrating how the definition of luxury is shifting to include environmental consciousness.
For Stephenson, this shift toward sustainability is deeply tied to the designer’s responsibility to improve the world. He believes that design involves working within boundaries, including considering the environmental impact of materials and production methods.
“Design, by its very nature, involves working within boundaries,” he states. “Without limits, you’re just creating art—free expression without constraints.”
This perspective aligns with the growing awareness among consumers who are increasingly informed and responsible when it comes to environmental concerns.
“It’s our job to exceed expectations—not just to meet them,”
he says. For Stephenson, design is not merely about replication but innovation—creating products that didn’t exist before, shaped by a responsibility to future generations. With his unique global upbringing and exposure to diverse cultures, he brings a broad perspective to his work, fostering a deeper understanding of people and the world. This perspective undoubtedly shapes the thoughtful and intentional designs he’s known for.
The emotional and ethical role of packaging design
Stephenson stresses the importance of considering the full experience when discussing packaging design. He notes that packaging is a profession in itself. I don’t think anyone serious about design creates packaging without considering the full experience: who the consumer is, what kind of product it is, and how the packaging contributes to the overall impression. For Stephenson, packaging is not just about containment; it’s about creating an emotional connection with the consumer. He argues that packaging should not feel disposable or unimportant. A great designer considers whether the packaging is something the consumer would want to keep.
“In some cases, it’s not even something you can separate from the product—the packaging becomes an essential part of the design.”
This level of design, according to Stephenson, requires constant attention to detail and an openness to new technologies.
“Technology is now opening up new possibilities—especially with things like 3D printing,” he explains. “You can create complex forms without overthinking manufacturing constraints.”
He points to groundbreaking designs like Ross Lovegrove’s Ty Nant water bottle as an example of how simplicity and innovation can elevate a product.
“It was stunning in its simplicity, and to me, it’s a design icon,”
says Stephenson, highlighting how the bottle’s packaging became just as significant as the product itself. The evolution of materials and production methods also means that luxury is no longer defined by rarity alone.
“Now, luxury might involve sustainable materials—biodegradable leathers, Kevlar, or innovative composites,”
he observes, illustrating how the definition of luxury is shifting to include environmental consciousness.
For Stephenson, this shift toward sustainability is deeply tied to the designer’s responsibility to improve the world. He believes that design involves working within boundaries, including considering the environmental impact of materials and production methods.
“Design, by its very nature, involves working within boundaries,” he states. “Without limits, you’re just creating art—free expression without constraints.”
This perspective aligns with the growing awareness among consumers who are increasingly informed and responsible when it comes to environmental concerns.
“It’s our job to exceed expectations—not just to meet them,”
he says. For Stephenson, design is not merely about replication but innovation—creating products that didn’t exist before, shaped by a responsibility to future generations. With his unique global upbringing and exposure to diverse cultures, he brings a broad perspective to his work, fostering a deeper understanding of people and the world. This perspective undoubtedly shapes the thoughtful and intentional designs he’s known for.
As Frank Stephenson prepares to take the stage at London Packaging Week, his talk promises to offer a deep dive into the future of luxury design. Titled Driving the Future of Luxury: Crafting Exclusivity Across Industries, Stephenson will draw on his extensive experience with iconic luxury automobiles such as Ferrari, McLaren, and Maserati to discuss the evolution of luxury and its intersection with packaging. His talk will explore how design principles rooted in craftsmanship, innovation, and exclusivity are shaping the world of automotive design and the luxury retail sector.
Stephenson’s unique perspective as a lead designer for some of the world’s most prestigious brands allows him to anticipate future trends in luxury. His insights will shed light on how 
luxury products—whether cars, packaging, or consumer goods—are evolving to meet the needs of an increasingly discerning audience. At the heart of his talk is the notion that true innovation comes from a forward-thinking approach that pushes boundaries while remaining deeply connected to timeless values like craftsmanship and emotional resonance. With his vision for the future of design, Stephenson continues to redefine what luxury means in a world of ever-expanding possibilities.
Join Frank Stephenson at London Packaging Week on 15 & 16 October – register now to secure your place and be among 70+ visionary speakers shaping the future of luxury, packaging, and design.
