Exploring design and media with Cecilia Camacho

What defines good design today? Is it about aesthetics, storytelling, or the way it interacts with culture? In a time where digital media accelerates trends and reduces design to fast consumption, how do you create something that lasts?

Cecilia Camacho has been navigating these questions for years. As a journalist, editor, and founder of CC/magazine, a Spain-based publication that explores design, architecture, and contemporary culture, she has built a platform that goes beyond surface-level inspiration. Her career started in independent media, contributing to publications like El País and NEO2, before she decided to create her own editorial space—one where curation, context, and craftsmanship matter.

CC/magazine reflects her perspective: a mix of cultural insight, visual storytelling, and a strong connection to creative communities. In this interview, we talk about her journey, the challenges of running an independent magazine, and how the way we engage with design is constantly evolving.

Blasón by BURR, Photo: Maru Serrano

How did your journey in the design world begin? Were there any pivotal moments that shaped your creative path?

Since I was very young, my parents always encouraged me to be creative in various ways: drawing, painting, making collages, reading, inventing, playing… My parents were very sensitive to creativity, design, and beauty. As a result, both at home and in the extracurricular activities I participated in, they always motivated me to be curious, to imagine, to learn new things, and to always engage in critical thinking.

Later on, as a teenager, I was certain that I wanted to pursue a career in some form of design. However, when the time came to choose a university degree, my teachers advised me to study Law or another field “with better prospects.” At that time, graphic design, interior design, or industrial design weren’t considered promising career paths, at least not in Spain. Even so, I decided to study Advertising and Public Relations, as well as Business Communication. It wasn’t design or architecture—which I ruled out because of “the numerical part” (maths aren’t my thing, haha)—but it was the closest I could find to something creative.

Nevertheless, on my own and in a self-taught manner, I started learning design software and studying great designers from different eras, such as Le Corbusier, Ray & Charles Eames, Mies Van der Rohe, Frank Lloyd Wright, Alvar Aalto, Tadao Ando, Renzo Piano, Frank Gehry, and the designers and architects of the Bauhaus movement. At that time, when I was barely 20 years old, I used to buy lots of interior design magazines and thoroughly enjoyed reading them and admiring the designs.

During university, I began collaborating with independent magazines, writing opinion pieces, and gradually expanded my contributions to more prominent outlets, such as El País, TimeOut, NEO2, El Duende, and l’Officiel, among others.

A milestone in my career was creating my blog: Lachicadelflequillo. I started it in the mid-2000s while living in Brighton. I kept it active for over 10 years, and it brought me many joys, connections, and served as a professional springboard.

Almost six years ago, I decided to close it and launched CC/studio along with my own magazine, CC/magazine, where both the content and design play a central role.

What aspects of design and architecture resonate most with you personally?

The aesthetic I’m most drawn to is industrial and brutalist, as well as contemporary art and design. I love concrete, minimalism, high ceilings, the “unfinished” look, functionality, and elements that evoke factories and industrial spaces. Some great examples, in my view, include Ricardo Bofill’s La Fábrica and Xavier Corberó’s house-studio—two spaces I’m passionate about—as well as the entire body of work by these two architects. Other favourites of mine are the Barbican Centre and Tate Modern in London; the Goetheanum in Dornach (Basel); Les Tres Xemeneies in Barcelona; the Bauhaus school building in Dessau; and the Boros Foundation or Bauhaus-Archiv Museum in Berlin.

Goetheanum in the heart of Dornach, a small Swiss town near Basel

On the other hand, my favourite city is Copenhagen. Besides being absolutely stunning and filled with beautiful design wherever you look, it also has a neighbourhood I adore: Refshaleøen. This area is home to the Copenhagen Contemporary Museum and some of Denmark’s best restaurants, such as Noma and Alchemist. It’s a former industrial site that once housed one of the largest shipyards in the world, B&W.

Similarly, my city, Barcelona, also has an industrial past and an unconditional love for design. It boasts many industrial-style buildings, especially in the Poblenou neighbourhood, as well as countless internationally renowned artists, designers, brands, and design projects, such as BD Barcelona, RS Barcelona, Hereu, Santa&Cole, Marset, the Elisava design school, Oscar Tusquets, Antoni Arola, Miguel Milá, Jaume Plensa, and André Ricard, among others.

I’m also fascinated by interior design, and I’m particularly drawn to Danish and Swedish brands like Frama, HAY, HEM, &Tradition, Fritz Hansen, and Karakter, along with others such as VITRA, Tylko, BD Barcelona, Santa&Cole, Nani Marquina, and Sancal.

Furniture by HAY

What inspired you to start CC/studio and CC/magazine? How do they reflect your personal vision of design and creativity?

As I mentioned earlier, after many years contributing to other media outlets and following my positive experience with the blog, I decided—after completing a Master’s in Creative Industries—that I would create my own magazine. It had always been my dream, and I felt the time had come.

From the very beginning, I was clear that both the content and the aesthetics of the magazine would be key. With that in mind, I made the following decisions:

1. We would not accept traditional advertising, as it disrupts the carefully curated design and hinders a seamless reading experience.

2. Content curation would be essential to maintain a coherent editorial line aligned with our values.

3. We would produce two editions, with content available in both English and Spanish.

4. The focus would be on topics I’ve always been passionate about: culture, art, design, architecture, interviews, hotspots, hotels, and destinations.

Regarding CC/studio, I have to go back to the moment I decided to close the blog and create the magazine, as it was at that same time that I also decided to rename my studio and redefine the portfolio of services it offered. Back then, the studio was named after the blog—Lachicadelflequillo—as that was how brands in Spain knew me, and the name’s positioning was very strong at the time. However, as I began working with more international clients, I realised they found it impossible to pronounce, haha. That was one of the reasons I decided to restructure both businesses and start a new chapter that was more aligned with my values and new goals.

Can you share one project or collaboration that you feel deeply connected to, and why?

Over the years, I’ve worked on many projects, and there are always clients you connect with more deeply and projects you enjoy the most. One such example is The Unusual Travel Guides, a personal project born out of two main passions: my love for the editorial world and my desire to create a printed editorial project, as well as my affection for the two cities—Barcelona and Madrid—where I’ve been living alternately for nearly 15 years.

The Unusual Travel Guides are two design-focused guides featuring over 400 recommendations, organised by neighbourhoods, and including contributions from artist Jaime Hayon (Madrid) and filmmaker Isabel Coixet (Barcelona). In terms of content, The Unusual Travel Guides are more than just travel guides; people often describe them as a hybrid between a magazine and a guide, which is something we’re incredibly proud of.

As for the format, I’ve paid close attention to the details. Both guides are printed entirely on Fedrigoni papers and produced in an FSC-certified printing house. The packaging—one of their most distinctive aesthetic features—is made with multilayer PET plastic that is fully recyclable, vacuum-sealing each guide for preservation. We’re now on the third edition, and we’re thrilled with the positive reception they’ve had.

Another project I’d highlight is the work we’ve done with Lynk & Co. We’ve been collaborating with them for a while now, creating unique and creative content. It’s an absolute pleasure when a client gives you creative freedom, shares your aesthetic sense and values, and truly trusts you.

How do you stay inspired and continue to evolve in your creative endeavors?

For me, CC/magazine is a source of joy. I’m passionate about my work; it makes me incredibly happy, and I’m fortunate to enjoy it every single day. It’s a job that demands many hours and a great deal of dedication, but all the time I invest feels rewarding. I don’t see it as a sacrifice but rather as a daily process. To connect this with your question, it’s the creation of my own magazine that keeps me constantly inspired. My natural state is curiosity, and that drives me to always be reading, discovering, and creating. I like to draw inspiration from a wide variety of sources—everything from essays and novels to films, documentaries, exhibitions, artists, television, social media, magazines, music, and the people around me. Everything counts, everything adds value. Even things that seem far removed from my interests often contain something fascinating or worthwhile, something that could spark an idea or lead to a detail that, at another time, might take me somewhere completely unexpected.

In your previous answers, you highlighted your love for industrial and brutalist aesthetics. What is it about these styles that you find so compelling, and do you think they still hold relevance in today’s evolving architectural landscape?

Absolutely. Industrial and brutalist aesthetics captivate me because of their rawness, honesty, and functionality. I’m drawn to the way they embrace materials in their purest form—concrete, steel, exposed brick—without unnecessary ornamentation. There’s something incredibly powerful in structures that showcase their essence without pretense.

These styles are still deeply relevant today, perhaps more than ever. In a world where design often leans towards excessive refinement or digital perfection, the rough edges and authenticity of brutalism offer a refreshing contrast. Additionally, industrial spaces have proven to be highly adaptable, which is essential in contemporary urban planning. Many of them are being repurposed into cultural hubs, creative studios, or hybrid living-working spaces, demonstrating that their functionality and aesthetic appeal continue to evolve with the needs of modern society.

Ricardo Bofill, Taller de Arquitectura

You mentioned your admiration for spaces like Ricardo Bofill’s La Fábrica and Xavier Corberó’s house-studio. If you could design your ideal living or working space, what key architectural and design elements would it include?

If I had the opportunity to design my ideal space—whether for living or working—it would undoubtedly embody the essence of industrial and brutalist aesthetics, combined with a sense of warmth and harmony. High ceilings, expansive open spaces, and an abundance of natural light would be fundamental. I love the idea of raw materials such as exposed concrete, steel, glass, and reclaimed wood coexisting in a way that feels both structured and organic.

Nature would play a crucial role. I admire how Xavier Corberó’s house integrates courtyards and voids, allowing light and shadow to shape the environment dynamically. Similarly, I would include lush indoor greenery, perhaps with an interior patio or a greenhouse-like structure that enhances the sense of tranquility.

Xavier Corbero, Casa Taller

Minimalism in form, but not in character. I’d want the space to feel curated yet lived- in, filled with carefully selected design pieces—timeless furniture from brands like VITRA, &Tradition, or Frama—alongside unique art and personal objects that tell a story. In essence, it would be a space where architecture and design blend seamlessly with emotion and function.

Frama Studio Store

CC/magazine focuses on design, architecture, and culture. With digital media evolving so rapidly, do you think the way people consume and appreciate design is changing? How do you see the role of digital publications like yours in shaping design conversations today?

The way people consume and engage with design has undoubtedly changed. Digital media has made design more accessible, immediate, and global than ever before. Platforms like Instagram, Pinterest, and TikTok have transformed the way we discover aesthetics, while online magazines and newsletters allow for in-depth storytelling beyond traditional formats. However, while this digital evolution has created exciting opportunities, it has also posed a challenge: how do we ensure that design appreciation goes beyond quick, surface-level consumption?

That’s precisely where publications like CC/magazine play a crucial role. Our goal is not just to showcase beautiful images, but to provide context, analysis, and storytelling—elements that are sometimes lost in the fast-paced digital landscape. We believe in curating content that sparks meaningful conversations, whether through in-depth interviews, deep dives into architectural movements, or thoughtful explorations of contemporary design challenges.

Additionally, digital platforms allow us to connect with a global audience in ways that print alone never could. We can create an interactive dialogue with readers, share exclusive insights, and adapt content dynamically. However, just like in architecture and design, balance is key. While we embrace digital tools, we are committed to maintaining the integrity and depth of traditional editorial craftsmanship. Ultimately, good design deserves more than just a scroll or a like—it deserves discussion, reflection, and engagement. That’s what we strive to cultivate with CC/magazine.

The intersection of architecture, fashion, and art is becoming more pronounced, with brands and designers blending disciplines. Do you see this as a natural progression, and are there any collaborations in this space that particularly inspire you?

Absolutely, this blending of disciplines feels like a natural and inevitable evolution. Architecture, fashion, and art have always been interconnected—each influencing the other in ways that shape not only aesthetics but also cultural and social narratives. Today, we see a more intentional effort to dissolve the barriers between them, creating immersive experiences rather than isolated expressions of creativity. One of the most exciting examples of this is Loewe under Jonathan Anderson’s direction, where craft, architecture, and contemporary art converge seamlessly. Their collaborations with artists and artisans elevate fashion beyond mere clothing, turning it into a conceptual space where materiality and storytelling are as important as form and function.

Similarly, Aesop’s retail spaces are fascinating case studies in architectural identity. Each store is uniquely designed to reflect its surroundings, collaborating with architects like Snøhetta and Vincent Van Duysen to create spaces that feel intrinsic to their location rather than imposed upon it.

Then there’s the brutalist aesthetic in fashion, embraced by brands like Rick Owens, whose architectural approach to clothing mirrors the monolithic presence of brutalist structures. His runway shows often take place in spaces that feel like raw, industrial cathedrals, reinforcing the symbiosis between built environments and wearable design.

These collaborations are more than just aesthetic experiments—they redefine how we experience and engage with creativity in everyday life.

Architecture often shapes the way people experience a city. You’ve lived in multiple places, from Barcelona to Copenhagen. How do you think urban design impacts a city’s cultural identity? Are there any cities you believe are doing an exceptional job at integrating contemporary architecture while preserving their heritage?

Urban design is one of the most powerful yet often overlooked forces shaping a city’s identity. The way a city is structured influences how people interact, move, and connect with their surroundings. A well-designed city creates a rhythm—spaces for pause, for community, for inspiration.

Copenhagen is a perfect example of a city that has mastered human-centric urban planning. Everything feels designed with people in mind: the extensive cycling infrastructure, the balance between old and new architecture, and the seamless integration of sustainability into its urban fabric. Projects like BIG’s CopenHill, a waste-to-energy plant with a ski slope on its roof, demonstrate how functionality and playfulness can coexist in contemporary urbanism.

Barcelona, my hometown, is another fascinating case, where the legacy of Ildefons Cerdà’s grid plan meets cutting-edge contemporary architecture. The city has always embraced bold architectural interventions, from Gaudí’s modernism to the high-tech influence ofJean Nouvel’s Torre Glòriesor the sustainable design of Mediapro’s headquarters by Carlos Ferrater. What makes Barcelona special is that, despite its continuous evolution, it never loses its Mediterranean essence.

Berlin also stands out in the way it repurposes industrial and brutalist structures for contemporary use. Spaces like Boros Collection (a WWII bunker turned into a private contemporary art gallery) or KINDL – Centre for Contemporary Art (a former brewery transformed into an exhibition space) showcase how a city can honour its past while redefining its future.

Boros Collection

The cities that do this best understand that heritage isn’t static—it’s something that can be reinterpreted and adapted without being erased.

Lastly, what’s one design trend you believe will define the next decade, and what’s one you think should disappear?

I think circular design and material innovation will define the next decade. We are moving towards a future where sustainability is no longer optional—it’s imperative. Designers are increasingly experimenting with biodegradable materials, modular construction, and repurposed elements, making sustainability an inherent part of the creative process rather than an afterthought. Brands like Tylko (which produces made-to-order, zero-waste furniture) and designers like Jeanne Gang, who integrates ecological systems into her architectural projects, are paving the way for this shift.

Furniture by Hem

On the other hand, a trend that I think should disappear is hyper-curated, Instagram-driven interiors—the kind of spaces that look visually perfect but feel completely lifeless. Design should be about creating spaces that evolve, that have character and history, rather than ones that exist purely for social media aesthetics. Some of the most inspiring spaces are those that don’t follow trends at all, but rather embrace authenticity and personal expression.


__

Photos provided by Cecilia Camacho