Creating timelessness: Martin von Freeden on the design of V-ZUG

Do you remember the moment you realised design would be your life’s work? 

I think it all started when I was a kid. I loved scale models and was always building something — planes, cars, motorbikes, boats. I even created my own designs, crafting planes out of balsa wood and integrating electric components, remote controls, and motors. At school, I was passionate about art classes and often made drawings on behalf of my classmates. Despite enrolling in a business administration program at university, I kept dreaming about design. It was only after a trip to Europe that I finally made the switch, and began studying Industrial Design.  

You had a formal education as an Industrial Designer. What were the most valuable lessons you learned during that time? 

Approaching things differently and thinking outside the box. For example, if you need to redesign a bottle, don’t start with the bottle itself. Instead, begin with the fundamental need — whether it’s a container for water or a way to transport it from A to B. This mindset often leads to entirely new solutions, which is essential for a designer. Another valuable lesson I learned is the importance of storytelling: every product should have a story behind it. 

Did your education emphasise technical skills, creativity, or a balance of both? How has that shaped your perspective? 

It was a balance of both. When I start designing, I begin by asking myself “what are the customer’s needs?”. Then I sketch ideas. So I would say my approach is both creative and technical. I try to remain open-minded while also thinking about implementation, costs, or feasibility. 

What are the qualities of a good designer?  

Passion, above all. But that applies to any career, you have to truly love what you do because you’ll be doing it for a long time. Curiosity is just as important. Staying up to date about what’s happening in the world — history, social movements, finance, fashion, furniture design, car design, everything.  

You studied in Buenos Aires and later moved to Switzerland. How are these two countries different from a design perspective? Do you think this unusual combination has influenced your approach?  

I like to say I’m a product of both worlds, they’ve both shaped my mindset and personality in profound ways. In Argentina, design philosophy is quite similar to what you’d learn at Politecnico di Milano — more emotional, with a strong focus on aesthetics. In Switzerland, the approach is more rational, cleaner, and closer to Bauhaus principles, even though Bauhaus has influenced all design movements. Southern design is more rebellious and less perfectionist, and I love playing with these two influences. When I joined V-ZUG, I brought an emphasis on beauty. I often say that beauty is a function. Beauty and emotion are essential.

Who have been your biggest inspirations or mentors in the design world? 

Dieter Rams, most of all. In car design, Giorgetto Giugiaro is among the greatest, alongside Marcello Gandini and Flaminio Bertoni. Giugiaro created many masterpieces of industrial design, including the Volkswagen Golf and the Fiat Panda — he even saved a company with his ideas, which is incredible. Then there’s Achille Castiglioni, Charles and Ray Eames, Zumthor and Max Bill. And, of course, Jony Ive from Apple. I also admire fashion designers, particularly Yohji Yamamoto. 

You often mention Dieter Rams. Are there design principles or ideas you learned early in your career that you still rely on today? 

Yes, his motto "Less, but better” is perfectly aligned with V-ZUG’s philosophy. One of my guiding principles is to create value for customers by designing products that bring lasting satisfaction, something they can appreciate every day and take pride in owning. I recently bought a new sofa, and there’s no fundamental difference between an ugly sofa and a beautiful one. They both have a structure, they’re both covered in fabric, but the approach behind them is completely different.  

To you, what makes a design timeless and emotionally engaging? 

Timeless design comes from reduction — fewer parts and production steps, simpler shapes, a limited palette of colours and materials, minimal graphic elements. Less gives you more. Ease of use is just as crucial. If something is too complex, people abandon it quickly. For a product to be emotionally engaging, it must be beautiful. Beauty comes from material quality, finishes, soft shapes, and a well-designed user interface. Our ovens, for example, are both timeless and emotionally engaging because we focused on the materials, engineering and details — like the handle and slider. The interaction is smooth thanks to the user interface — we call it the “joy of use.” 

How did you come to join V-ZUG, and what drew you to the company? 

I joined the company nine years ago. Before that, I worked for design studios and startups in design and engineering. My first job in South America was for a home appliance company very similar to V-ZUG. I never wanted to work for a large corporation: V-ZUG is the perfect size, not too big, not too small. It is a remarkable brand with strong values: Swiss precision, aesthetic sensibility, and exceptional quality. I was also drawn to its international expansion strategy and the modernisation of the brand in Switzerland, transforming a well-established name in its home market into a global presence. But above all is the team. I particularly enjoy collaborating with colleagues across disciplines — product management, engineering, production, testing laboratories, software, sales, and marketing — to find the best solutions for our customers.  

How do you balance the creative and strategic aspects of your role? 

I take on different perspectives, much like in Edward De Bono’s Six Thinking Hats method, shifting between creativity, production, business, and marketing. Engaging in discussions with diverse teams and considering different points of view also helps in finding the right balance.

How much of your personality do you think is reflected in V-ZUG’s products? 

I think about this a lot. Of course, there’s the company history, guidelines, and established identity, but I’m convinced that if someone else were my role, the design would be different. Take Louis Vuitton, for example: the brand remains the same, yet Virgil Abloh’s style was distinct from Pharrell’s. It may be a small percentage, but it makes a difference. I believe that 80% of the design comes from the company’s core DNA, while the remaining 20% reflects the personal touch of the art directors. 

How do you see design evolving in the home appliance industry over the next decade? 

The first major shift will be sustainability — on every level. No matter what anyone says, I believe it’s crucial. Companies can reduce emissions, rethink linear production to make it circular — like we’re doing at V-ZUG. The second shift is AI. Right now, it’s a buzzword, but I don’t think it’s a bubble. We already use AI in our work, it brings massive value every day. The next step is figuring out how it can do the same for our customers and make their lives easier. 

What do you think will remain constant in design, no matter how technology or trends change? 

A clear design direction — the certainty of where you’re headed. One design for the oven, one for the steamer, one for the washing machine, one for the refrigerator. With variations, of course, but always within a single, cohesive design language across all categories. It’s the golden bullet — one shot, the right one. Few companies manage to achieve this. It may sound simple, but maintaining consistency requires a great deal of effort. I believe we’re succeeding, thanks to strong teamwork and a clear company vision.