Max, your career as a designer has taken you from studying in Vienna to working at various agencies in Berlin, and eventually founding NEW STANDARD.STUDIO. When did you first realise that design is about more than just aesthetics?

That awareness didn’t dawn on me all at once; it was a gradual process. While freelancing in Berlin, particularly in retail and experience design, I began to notice how much effort and resources went into projects that were often short-lived and ended up in the bin. This realisation fundamentally changed the way I think. Design is about more than just aesthetics — it shapes our consumption patterns, social norms and our relationship with resources.

So how did New Standard.Studio start?

We launched New Standard Studio in 2020, right in the middle of the pandemic. I co-founded it with a friend I’ve known for a long time. From the outset, we were determined to set our own standards in terms of how we work, how we organise ourselves and how we engage with clients. To us, sustainability isn’t an add-on, but an integral part of strategy and design. We quickly realised that sustainability needs to be considered from the outset, not just in communication but also in strategic and product development. That’s the only way to achieve real systemic change.

We documented our standards at the time, and they are still available to read on our website and in our annual Impact Report.

What does your team look like today?

By now, we’re about 15 people—permanent designers, communications strategists, copywriters, and project managers, alongside freelancers we bring in for specific projects. Our office is in Berlin-Neukölln. We value a relaxed, open atmosphere—something that’s reflected in our shared rituals like team lunches. We make sure everyone shares the values of New Standard Studio and communicates openly.

How has your portfolio evolved?

We began by working on traditional communication projects for the public sector, as well as for businesses and brands that were already making significant progress in terms of sustainability. For example, the bag manufacturer FREITAG approached us directly. We were one of the first external agencies they collaborated with, based on a clear, values-driven decision. They knew we were a good fit.

Since then, we have worked with a wide range of clients, from SMEs to international corporations. The public sector remains a core focus, especially in Berlin. We also regularly collaborate with NGOs.

Do you often turn down projects?

Yes, absolutely. We’re very selective. We’ve deliberately declined many projects that didn’t align with our values. It’s not always easy, but it’s important to us in order to stay authentic and credible.

What is your approach consulting?

We work across disciplines at the intersection of design, sustainability, and communication. We analyse the production of products, the resources involved, and their fate after use. Based on this analysis, we develop circular solutions, which may take the form of services, communication strategies, or entire brand ecosystems.

Our approach goes beyond technical data and life-cycle assessments to consider the user perspective, including acceptance, behaviour, and emotions. After all, a well-designed circular product is useless if no one uses it or understands how it works.

What is your assessment of the current state of communication surrounding circular economy?

There are two major challenges: First, communication is often too technical—with complex graphics and jargon that puts people off. Second, there are overly simplified messages like “100% recycled,” which don’t tell the full story. Both extremes make it harder to make the topic truly accessible and understandable. That’s why we developed the concept of Circular Storytelling.

What exactly does “Circular Storytelling” mean?

To us, Circular Storytelling is more than just communication. It’s about narrating complex, systemic relationships in ways that are accessible, understandable, and emotionally engaging.
We’ve defined four key principles: accessibility, acceptance, awareness, and affordability.
Accessibility means removing barriers that prevent people from engaging with circular solutions. A product shouldn’t just be sustainable—it needs to be affordable, easy to understand, and emotionally relatable.

Acceptance arises when people not only understand a product but identify with it and enjoy using it.

Awareness means users understand why circular action matters and how it works.
Affordability means sustainable options must not be more expensive than conventional ones, to gain broad traction.

These principles are interconnected. Real change happens when something is understandable, appealing, and within reach.

How can circular storytelling be implemented?

One of our core tools is our workshop format, which empowers companies and teams to develop their own effective circular storytelling strategies.

The workshops are interactive and practical. First, we analyse how a company or product currently communicates, identifying any obstacles and the stories being told. We then introduce the principles of Circular Storytelling using concrete examples. Together, we develop new narratives and creative approaches that make complex issues understandable and emotionally resonant.

The goal is for participants to be able to independently tell compelling and credible circular economy stories, both internally and externally.

Could you share an example of where design, storytelling and the circular economy have worked particularly well together?

The ‘Roku’ shoe by Camper is a prime example. It consists of just six parts that can be combined in different ways and individually replaced if needed. This makes the shoe durable, repairable and highly customisable. What’s key: Camper doesn’t emphasise sustainability in its marketing; it places its focus on creativity, uniqueness, and design. This creates an emotional connection based on the joy of design rather than sacrifice. This is exactly the kind of storytelling that fosters acceptance.

Although many brands promote sustainability, they are often accused of greenwashing. How do you approach this issue?

We work with clear standards and are part of the Ethical Agency Alliance. Transparency is key for us: no exaggerated claims, just honest communication and reliable data when needed. Circular economy is a process, not a fixed state—no one is perfect. We help companies be transparent about where they stand and how they’re evolving.
Greenwashing, in our view, is when only the good is communicated and the bad is completely ignored or glossed over. When communication is honest, it builds trust—and greenwashing becomes irrelevant.

The EU is introducing new regulations like the ESPR and the Digital Product Passport. Do you advise your clients on these topics?

We do—particularly those for whom the topic is highly relevant, often early adopters or companies that want to lead the way. These new rules are a big challenge for many.
We recommend engaging with them early, rather than waiting until the last minute.
We support companies through workshops, strategic impulses, and lifecycle analyses to understand and optimise environmental impacts. It’s about taking a holistic view of the process—from product development to branding to distribution strategy. That’s how companies can prepare effectively and implement lasting change.

You say: ‘The strongest brands of the future will be enablers’ What exactly do you mean by that?

Brands that empower their customers to act circularly—to repair, share, buy second-hand, or pass things on—will be the strongest in the future. These brands don’t just take responsibility themselves; they activate their customers to do the same.
They make the circular option the best option—in price, usability, and image.
Design has fulfilled its purpose only when circular solutions are actually used.

What might a true ‘new standard’ look like in five years’ time?

It should become normal to buy second-hand items, such as clothes, electronics and furniture. Not out of necessity, but out of conviction. The idea that every new product consumes resources should become second nature. Second-hand items should be seen as desirable, high-quality and easily accessible. Then circular design will have reached the heart of society. That would be real progress.