"There is still a lack of a strong culture that respects and protects the profession."
"To promote small-size brands and position them effectively, overcoming the barriers they face when compared to larger brands" is the mission of Delma, the studio of designer Delma A. Arias de Saavedra, whose philosophy is based on honesty and adaptation to each client's project.
What led you to be a designer?
Chance—or perhaps causality—has been my compass. As a child, I was fascinated by TV commercials and spent hours poring over any printed material I could lay my hands on: from the El País Semanal supplement to supermarket brochures. Later, I studied artistic photography and then video; both disciplines taught me how to frame stories and understand light. When the opportunity to pursue a degree in Design presented itself, I simply took it.
Since then, I've continued to educate myself to understand where brands come from: programs like Branding Pro, Masterbrand, and Master Expert in Visual Identity have helped me delve deeper into brand strategy and expression, and I'm convinced I'll never stop learning. This journey fuels a continuous process of exploration to discover what kind of designer I want to be and what I can contribute to each project.
Who are your role models?
Chema Madoz, for his ability to transform the everyday into visual poetry.
Javier Jaén, because his intelligent humor shows that the idea is king.
Pati Núñez, master of the balance between elegance and functionality.
Local talent I greatly admire: Cabello × Mure and Superfluido, studios from my homeland that show how far Andalusian design can go.
Working from Jaén, is it a handicap?
Since the pandemic, I've been working 100% online, so Jaén is simply my physical base: thanks to videoconferences, I can collaborate seamlessly with brands from all over the world. I enjoy working remotely, but if the project is born in Jaén, I'm happy to come; that proximity always helps.
When is it necessary to carry out a brand consultancy?
Simple: when no one is dedicated to the brand on a daily basis, it's time to create one. This isn't the first—nor will it be the last—time a client comes in asking for "new packaging" and the project ends up being reversed because I advise them to review some details of their identity. Sometimes we've even had to rethink the naming because it didn't fit with the rest of the proposal. A brand must be cared for and nurtured; it must be crystal clear at every point of contact with the consumer.
What is the most important thing when designing a product's packaging?
The key is to thoroughly understand the project: where it came from, what it is, and what it aspires to be. Only by respecting that essence can I translate it into an image that ultimately becomes the banner and symbol of the business.
You recently won an Arcapack Award for La Oveja. Tell us about this project.
La Oveja is the result of a 7-8 month process in which each piece fit together like a choral work.
First, the idea and the client. It all started when I proposed to Javi, from Vida Transhumante, the idea of his oil literally “becoming” a sheep: the animal that cares for the olive groves within the natural park where no chemicals are allowed.
Second, the sheep bottle. Finding the right glass took us a while; we needed a flat, small, and reclining shape that, when resting on its "legs," evoked the animal. I hadn't seen an oil bottle like that before, and many buyers use it as a decorative piece.
Third, the wool that crowns it. The meeting with Ana and Francis was decisive: they created an exclusive fabric made with unspun, simply washed wool from the transhumant sheep themselves. To the touch, it's like stroking fleece and transforms the cap into the animal's "head."
Fourth, the legs and logo. A local carpenter carved the wooden legs, which when joined together form the Vida Transhumante logo, completing the silhouette.
Finally, fifth, design and minimalism. In the graphics, we stripped everything down to a minimum so the sheep symbol would shine without distractions.
The result is something that customers no longer define as “a bottle of oil,” but simply “the Sheep”: a piece that combines craftsmanship, territory, and narrative.
Can you mention any other packaging work you do?
Rabitos Royal, a line of chocolates for which we create cases that enhance the gourmet personality of the product.
Also, the new Los Silvestres bottle (upcoming launch), a striking container consistent with the wild essence of the brand.
For Fierro (a Michelin-starred chef in Valencia), we created packaging for a special gift that the restaurant gives out at the end of the menu.
Regarding visual identity projects, Malak (a chef from Jaén, also with a Michelin star) stands out. This brand was developed before he received the star, so it was a very successful evolution.
Another work worth highlighting is Aventura Hernán Pelea, an identity based on an iconic image of mountains and sun that captures his adventurous spirit.
Do you think the design sector in Spain is in good health?
I would describe it as an ecosystem with exciting progress, but still fragile. Awards like Arcapack are exciting, confirming that major brands now understand the strategic value of design and are partnering with professional studios to revamp their packaging; just look at recent examples from chains like Lidl, Alcampo, and Ahorramas.
But the many incidents in which design work ends up being compromised or dismissed without transparency are worrying. The most notorious example in recent months is the logo of the Spanish Space Agency: after an impeccable competition—75 agencies entered, a professional jury, and a clear winner (the proposal by CruzmásCruz and Rubio & Del Amo, paid €6.000)—the identity was shelved and replaced, without public explanation, with a second logo commissioned directly by management. If this happens to such renowned studios, what can't happen to ordinary designers?
A solid culture that respects and protects the profession is still lacking. Design requires research, simplifying the complex, and conveying clear values to the general public; when budgets or deadlines aren't met, that quality suffers.
In short, the talent and opportunities exist; now we need more education, transparency, and respect for all professions dedicated to image, design, and art, so that both established studios and independent professionals can work with stability and recognition.
Your portfolio includes several projects for eco-friendly companies. How do you implement sustainability criteria in your projects?
The first step is to choose materials consistent with the brand's values: recycled paper, lightweight glass, water-based inks, vegetable-based glues... When branding is based on sustainability, the rest flows: the final product becomes responsible almost naturally, because every decision—from packaging to logistics—is filtered through this criterion. In other words, if the brand is sustainable from the heart, sustainable design emerges naturally.
What are your short- and long-term projects?
In the short term (this year 2025), my agenda revolves around two major brand projects.
RK ACM – Real Estate Management is committed to continuing to position itself as the leading real estate agency in Jaén, strengthening both its identity and its presence in digital and local channels.
And to Lo Viajo and Aventura Hernán Pelea, both promoted by Yolanda Vircaena, a mountain woman, pure entrepreneurship, travel, and humor. I've been involved from the ground up—strategy, naming, visual identity, and digital marketing—and I'm confident they'll become the success stories of the year.
In the long term, I want to continue creating brands and products that excite me; reaching the end of each project and being able to say "it was worth it." My measure of success is when the client—who almost always ends up being a friend—sees their dream come true and grow thanks to design and creativity, while still remaining their project.
