Journal
BOND with Jesper
It’s hard to believe that 15 years have passed since we founded Bond, a journey that has been as challenging as it has been rewarding. At Bond, I’m deeply involved in projects, working hands-on to ensure we deliver innovative and impactful branding solutions for our clients. At the same time, I oversee our exceptionally talented team, whose dedication and creativity continue to inspire me every day.
Our team operates across five dynamic locations—Helsinki, Dubai, Tallinn, New York, and San Francisco—making us a truly global presence. Representing 24 nationalities, our team brings together a remarkable diversity of perspectives and ideas, enriching everything we do. It’s a privilege to collaborate with such an extraordinary group of designers who continually push the boundaries of creativity and innovation.
“Our team spans five locations and represents 20 nationalities—it’s a privilege to work with such incredible talent.”
“Design and typography were always hot topics at our family dinner table”.
What are some of your earliest creative memories, and what led you into design?
I’m a fourth-generation designer, so it almost feels like design is in my DNA! My great-grandfather worked at Päivälehti (now Helsingin Sanomat), which is Finland’s largest newspaper. Back then, his role involved designing how the paper looked, laying it out, and choosing the typography. So, design and typography were always hot topics at our family dinner table.
There’s also a funny story from my childhood. My parents had guests over, and they were pretty shocked to see that I had blocks with Helvetica letters hanging above my crib. Helvetica might’ve been one of the very first things I ever saw!
When did you fall in love with design, and how did you get started?
I practically grew up in my father’s design studio. As a kid, I spent countless hours there, making my own little magazines. When I was about five or six, I even got to pick colors for some of his magazine covers! I loved experimenting with Letraset and playing with the copy machine—this was all before computers came into the picture.
Where did you study, and what were some of your first jobs?
I studied at the University of Art and Design in Helsinki (now Aalto University) and Central Saint Martins in London. My first design “gig” was in fifth grade, designing Christmas cards that we sold to fund a school trip.Later, when I was studying, some friends and I started a magazine called Bulgaria (don’t ask me why we chose that name!). It was this artsy lifestyle magazine that became quite successful and was sold worldwide. Through that project, I connected with Diesel and their creative director, which led to my first professional design job—working at Diesel in Italy. There, I did everything from T-shirt prints to advertising campaigns. It was a pretty incredible experience for a young designer.
What does a typical working day look like for you now?
There’s no such thing as a typical day! It usually involves client meetings, hands-on creative work (solo or with the team), brainstorming sessions, and project reviews. I also spend a good amount of time presenting ideas to clients and catching up in internal meetings. Every month brings new challenges and opportunities, which keeps things exciting.
Who are your top five design crushes right now?
Alexey Brodovitch was a master of editorial design and art direction. He changed the way people thought about magazine layouts, using bold and creative ideas for photography and design. His work was ahead of its time and set a new standard for design. It’s amazing to think about how he did it all without the computers we rely on today—it must have taken incredible skill and imagination.
Anna Kulachek. I just really like Anna Kulachek’s style. It’s very simple, but still incredibly creative with how she uses color and composition. Her work, like the Calvin Klein packaging, is just pure gold.
“There’s no such thing as a typical day, and that’s what keeps it exciting.”
“Simple ideas are often the most powerful.”
What’s your favorite work done at Bond?
It’s definitely the project we did with the University of the Arts Helsinki. It was a well-planned and collaborative process. We had a very close relationship with the client, involving students and university professors in the process. We even held small workshops and co-creation sessions to gather diverse perspectives. In the end, we wrote the design brief together, agreeing on the ambitious task of creating a symbol for art itself.
Designing a symbol that represents music, theatre, and fine art was not an easy challenge, but I believe we came up with a bold and distinctive solution for branding the university. The response was incredible—not just the positive feedback, but also the debate it sparked. I remember major newspapers writing multiple articles criticizing the new identity. However, over time, the reception turned much more positive.
Now, 12 years later in 2024, I must say that the identity still looks fresh and works effectively in practice. It’s rewarding to see how something we created continues to hold up and serve its purpose so well.
What do you look for in a great portfolio?
Creativity, attention to detail, and a strong concept behind the work. It’s not enough for a portfolio to just look good—it needs to have a clear idea driving it. Simple ideas are often the most powerful. I love when a project has that “aha” moment, where the concept clicks and everything makes sense.
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