"The challenge is for many companies to continue seeing design as something strategic and not just aesthetic."
Moruba began in 2008 and has become a leading design studio in the world of wine. Its work has been recognized at various national and international festivals, including Cannes, Red Dot, One Show, D&AD, ADCE, and Laus.
How many years ago was Moruba created? To what extent has the packaging design changed in that time?
Moruba was founded in 2008 as a graphic design studio to create innovative projects. Our first wine packaging projects received widespread attention and several awards, leading to a surge in commissions from the wine industry. This naturally led us to specialize in this field, where we truly feel at home.
In these almost 20 years, packaging has evolved at the same pace as the market. In the case of wine, we've seen how certain more creative designs, which worked very well in 2010, are no longer as popular. At the same time, more classic designs, which were once avoided in favor of a more radical approach, have regained popularity and are now fully relevant.
The way we understand packaging has also changed: it used to be seen more as the product's "dress," while today it has a much more strategic value. It must not only attract attention but also convey the brand's identity, connect with the consumer, and differentiate itself in an increasingly competitive market.
Are new technologies helping to personalize proposals? Are they more "analog" or are they embracing AI?
We're quite analog, because we understand that design is, above all, about thinking. Our work isn't just about creating a visual piece, but about finding an idea, building a solid concept, and giving meaning to each project.
New technologies, including AI, can be helpful in certain phases of the process, but the truly important part—strategy, creativity, and decision-making—cannot be delegated. That's where the value of our work lies.
They specialize in the world of wine. What are the distinguishing characteristics of designing for this sector?
Specialization requires a deep understanding of the sector in which you work. In the world of wine, this is even more evident, because it's not just about designing a label, but about understanding everything behind it: the origin, the history, the territory, the positioning, and the target consumer.
We're in La Rioja, where wine is an integral part of everyday life. We're interested in it not just as a product, but for everything it represents: culture, land, gastronomy, and sharing. All of that is part of our understanding of wine and has been built through experience.
After nearly 20 years and over 300 projects, that experience gives us a very clear vision of how to approach each brief. Every wine needs its own visual language, capable of conveying personality and differentiation in a highly competitive market.
Is it difficult to be innovative in such a traditional sector?
It is becoming increasingly difficult to innovate in such a saturated market, with many brands and where differentiation is sometimes minimal.
Innovation shouldn't be an end in itself, but rather a response to a genuine customer need. Not all brands have to be disruptive; each one must understand what role it wants to play.
We've had projects like MATSU in 2008 that were groundbreaking at the time and remain fully relevant almost 18 years later. This demonstrates that innovation isn't always about what's flashy, but about building solid and coherent concepts that stand the test of time.
That's why it's key to understand the client well and for the client to also know what kind of brand they need to build.
Does it make much difference if it's a young wine, aged wine, or non-alcoholic wine?
Each project is unique, not only because of the type of wine, but above all because of the audience it is aimed at.
A young wine can be conceived as a simple product for consumption in the winery or as a wine with a much more elaborate concept, designed for wine bars in large cities.
The product may be the same, but the approach changes completely depending on the positioning.
What is most important: paper, color, typography, illustration…?
The most crucial element is the idea. The concept is what underpins the entire design.
Materials, color, and typography are not isolated decisions; they always have a reason behind them. When that reason is clear, everything fits together. If not, something is wrong with the project.
Do you think consumers often buy wine because of its label?
Choosing a wine is complex and requires knowledge. In such a saturated market, making an informed decision is not easy.
The label plays an important role: it must attract attention, be consistent with the product, and help the consumer understand what's behind it. It's not just about appearance, but about guidance.
Do they take ecodesign criteria into account?
Yes, it's essential nowadays.
Efforts are underway on many fronts: recycled paper, inks, material reduction, and lighter packaging. Some markets even have regulations limiting certain elements.
The challenge lies in balancing it with the needs of the project, but it is becoming an increasingly integrated criterion in the design process.
What other sectors do they work for?
We primarily work for the food and wine sector, both in retail and restaurants. We have developed projects for oils, cheeses, beers, and other gourmet products.
We also work in branding for the hospitality industry, where the brand is key in creating experiences, such as in Fandango and Bollo in Formentera or Plaza Mahou at the Santiago Bernabéu.
Can you tell us about two of your latest projects?
Terramoll, in Formentera, is a Vintae wine project located on La Mola. We developed the visual identity and packaging, aiming to convey the spirit of the island through color and composition. The overhead illustrations function as abstract postcards of the landscape.
Another project is 52–60, by Abel Mendoza, where the concept of interpreting the vineyard is translated into the label through the tempo of a classical adagio. It is a wine that comes from century-old plots in Labastida, within the Rioja DOCa, and speaks of land, time, and respect.
What do the awards represent for Moruba?
The awards have been very important, especially at the beginning, because they helped us position ourselves and gain visibility in the wine sector. They opened doors to many projects.
Beyond the recognition, they also help to highlight the value of design, as clients understand its importance within projects. They are not just an award, but a tool that opens doors and generates opportunities.
What do you think of design in Spain?
The level of design in Spain is very high, with great professionals and internationally recognized projects. We have nothing to envy from other countries.
The challenge lies in getting many companies to continue viewing design as strategic, not just aesthetic. There's a lack of design culture and a failure to understand it as an investment, not a cost.
Are you working on any new projects?
We can't say too much, but we can say that we are working on several white wines.
It's an interesting time for this type of wine, and it's showing in the projects we're developing.
