Origin®
Brand Studio, DubaiDubai

Journal

Journal

Journal

We kept the studio to one room.

We kept the studio to one room.

We kept the studio to one room.

One room at Lime House, north light, and a wall we keep repainting.

One room at Lime House, north light, and a wall we keep repainting.

One room at Lime House, north light, and a wall we keep repainting.

Topic

Studio

Published

Reading time

2 minutes

Written by

Portrait of Robin Valmadrid, Packaging and Printing Designer

Robin Valmadrid

Packaging and Printing Designer

·

Origin®

Topic

Studio

Published

Reading time

2 minutes

Written by

Portrait of Robin Valmadrid, Packaging and Printing Designer

Robin Valmadrid

Packaging and Printing Designer

·

Origin®

Topic

Studio

Published

Reading time

2 minutes

Written by

Portrait of Robin Valmadrid, Packaging and Printing Designer

Robin Valmadrid

Packaging and Printing Designer

·

Origin®

Three people in white, cream and brown leaning on a green vintage car on a hillside, with mountains behind.

Three of us on the yearly away day, the only week the room sits empty.

Three people in white, cream and brown leaning on a green vintage car on a hillside, with mountains behind.

Three of us on the yearly away day, the only week the room sits empty.

Three people in white, cream and brown leaning on a green vintage car on a hillside, with mountains behind.

Three of us on the yearly away day, the only week the room sits empty.

Origin works from one room at Lime House, in Al Quoz. Five desks, one long table, a lamp for checking print, and a wall we keep repainting. We have been offered a second room twice. Both times we said no, and we would again.

The reason is not rent. One room means everyone hears every project. When a printer calls about a Toki tin, the person drawing the Sunbase tube hears the answer, and the next proof goes better for it.

North light

The windows face north. North light is steady all day, with no hard sun across the table. We judge every swatch and proof by daylight, and this light shows ink the way a shelf will.

I check colour at the window end of the long table, between ten and three. A green that looks right there will look right in a shop. A green that only works under the lamp goes back to the printer.

The lamp is for the evening and for checking finish: a gloss lid, a foil edge, an embossed name. It is not for deciding colour.

Two Toki matcha cups on a dark wooden tray on a table, with a lamp and a dark plant softly blurred behind them.

Toki cups on the long table, the print lamp behind them.

In one room, nobody has to forward me the printer's email. I hear the problem when it arrives, and I can answer it before lunch.

Portrait of Robin Valmadrid, Packaging and Printing Designer

Robin Valmadrid

Packaging and Printing Designer

·

Origin®

The wall

The long wall holds the work in progress: proofs, contact sheets, dielines, swatches taped next to the pack they replace. There are never more than four projects on it, because we take four at a time.

Clients see it on calls. We turn the laptop round and walk the camera along it, so a founder sees their pack next to the others, at the size it really is. It is the quickest way to show where a project stands.

When a project ships, it comes down, and the tape takes some paint with it. So we repaint. A clean wall tells us the next project has room.

What one room costs

It is loud on shoot days. When Carlisle has a product set on the studio floor, the rest of us work at the far end of the long table, and calls move to the yard.

It also caps the studio. Five desks means five people, and five people can do four projects properly. We have turned down work to keep it that way, and the work we kept was better for it.

One room is a limit we chose. Most days it is the reason the work holds together.

Portrait of Robin Valmadrid, Packaging and Printing Designer

Robin Valmadrid

Packaging and Printing Designer

·

Origin®

Builds the dielines with your printer and stands at the press check, so the first run matches the mockup.

Builds the dielines with your printer and stands at the press check, so the first run matches the mockup.

A woman in a white top, a pleated denim skirt and patched jeans stands in a dark studio in front of large embossed REFORM letters.

Up next

Identity

2 October 2026

Why Reform's wordmark lives on the hem.

Reform cuts its garments from salvaged denim. The mark had to survive being cut too.

Portrait of Mara Hollis, Design Director

Mara Hollis

Design Director

·

Origin®

A woman in a white top, a pleated denim skirt and patched jeans stands in a dark studio in front of large embossed REFORM letters.

Up next

Identity

2 October 2026

Why Reform's wordmark lives on the hem.

Reform cuts its garments from salvaged denim. The mark had to survive being cut too.

Portrait of Mara Hollis, Design Director

Mara Hollis

Design Director

·

Origin®

A woman in a white top, a pleated denim skirt and patched jeans stands in a dark studio in front of large embossed REFORM letters.

Up next

Identity

2 October 2026

Why Reform's wordmark lives on the hem.

Reform cuts its garments from salvaged denim. The mark had to survive being cut too.

Portrait of Mara Hollis, Design Director

Mara Hollis

Design Director

·

Origin®

Start from the origin point.

Every brand we build begins with one conversation. This is where yours would.

Book a call

Start from the origin point.

Every brand we build begins with one conversation. This is where yours would.

Book a call

Start from the origin point.

Every brand we build begins with one conversation. This is where yours would.

Book a call