How Can Designers Collaborate? Philip Wadewitz Explains

Philip Wadewitz is an Australian multidisciplinary designer with a holistic approach to design. He combines strategic and critical thinking with a strong conceptual and design execution to produce thoughtful and appropriate creative outcomes that are meticulously considered and crafted.

Having won several awards for his design work, including an honorable mention of Best Type Design at Fast Company’s Innovation by Design Awards 2024, as well as several gold medals from Sydney Design Awards, Wadewitz’s approach stands out in his field.

“A holistic approach means considering how all the moving parts work together—whether it’s a brand’s voice, its visuals, or the context in which it’s experienced,” he said. “It’s about designing with the big picture in mind while still sweating the small stuff. I think of brands as ecosystems, where consistency and adaptability are equally important. This mindset helps ensure that every touchpoint, from a billboard to a social post, feels connected and contributes to a larger narrative.”

Wadewitz has worked with top design agencies, like Re Agency, which is part of the M&C Saatchi group, R/GA, Turner Duckworth, and Hulsbosch, an independent Australian agency with an incredible legacy. As a designer, Wadewitz has an exceptional understanding of and experience in brand identity, from brand strategy to brand architecture and brand design, he is accustomed to working in development and roll-out across digital, print, environment and experiential touch points.

Probably best known for his strong art and design direction skills, with experience managing and working with designers, producers and artists. “My role has often been about connecting the dots between strategy, design, and execution to bring big ideas to life,” said Wadewitz. “Whether it’s leading identity systems, crafting comprehensive brand guidelines, or developing motion principles, I’ve helped brands navigate complex challenges by focusing on clarity, cohesion, and creativity.”

He adds: “My ability to immerse myself in the client’s world, coupled with a strategic approach, ensures that every deliverable is not only visually compelling but also meaningful and impactful.”

Designers need to stay inspired in order to produce good work. “I’m inspired by icons who pushed boundaries while staying true to their vision, designers like Paul Rand and Massimo Vignelli, with their timeless focus on simplicity and function, have always been touchstones for me.”

When it comes to strong brand design, Wadewitz defines it in one way: “Good brand design today is about being consistent but flexible and without losing integrity,” he said. “It’s no longer enough to create a brand that only looks good on a billboard or packaging; a brand has to be dynamic, interactive, and adaptable for every screen size, platform and conversation.”

While print media is still relevant, mobile is increasingly important. However, he points to how print remains relevant in today’s fast-paced world.

“Print is still relevant—but its role has evolved,” said Wadewitz. “Print offers something tactile and enduring that digital can’t replicate. A beautifully designed annual report, packaging that feels as good as it looks, or a bold environmental graphic can create moments of connection and authenticity. In a world dominated by screens, print can serve as a memorable counterpoint, anchoring a brand in something physical and tangible.”

Wadewitz’s portfolio includes working with key clients like ANZ Bank, Citi, the Commonwealth Bank of Australia, City of Sydney Council, Jet Aviation, and others. He graduated with a Bachelor of Design in Visual Communication at the University of Technology in Sydney, followed by a Certificate in Brand Strategy and Development at AFA AdSchool.

Most recently, he worked as a Design Director at Turner Duckworth, a prestigious branding agency in New York City known for their work with Amazon, Camplell's and Coca-Cola. This is where Wadewitz developed a branding design system for layout, infographics and motion, developed partnerships and mentored a team of designers.

However, working in-house as a designer at a big agency requires skill and diplomacy. Wadewitz has worked with tons of different stakeholders, and alongside architects, photographers and illustrators. “To be honest, in the beginning I really struggled; I felt like a tiny cog in a big wheel,” he said.

“I also struggled with not having complete ownership over every part of the process,” said Wadewitz. “But I soon realised the power of collaboration. It wasn’t about having complete control; it was about bringing the best out of everyone involved and trusting the process. Working with different stakeholders—whether they’re architects, photographers, illustrators, or internal teams—taught me that great design isn’t created in isolation.”

His advice to young designers is to learn how to listen, adapt, and align everyone’s efforts around a shared vision. “Streamlining these collaborations comes down to clear communication, setting expectations early, and creating systems that allow flexibility without losing focus,” he said. “Over time, I’ve come to see those initial struggles as invaluable lessons, as they’ve shaped my ability to balance creativity with strategy and manage complex projects with confidence. The best outcomes always come from blending diverse perspectives into something cohesive and impactful.”