A Q&A with Packaging Designer Loreta Haaker
Spotlight articles shine a light on designers we admire, asking leaders in the field about their work and their design journey. In this interview we spoke with industrial designer and packaging design expert Loreta Haaker. From Lima to New York, Haaker has carved a distinctive path in the world of design, blending ingenuity with poetic storytelling. Her work—spanning furniture, soft goods, packaging, and food design—reflects a deep connection to her Peruvian roots, childhood memories, and the real as well as the magical elements of Latin American culture.
A graduate of Pratt Institute and Pontificia Universidad Católica del Perú, Loreta’s design philosophy fuses contemporary trends with an intuitive sense of materiality and form. Her approach is both precise and playful, crafting objects that evoke powerful experiences. Recognized early in her career as one of Cosas Design magazine’s top emerging designers, her work has since been showcased in Lima, Milan, Miami, and New York. We know all about Loreta’s talent here at Interwoven Design as she works on our social media team, creating the fantastic graphics you see on all our platforms, especially Instagram! We asked her about the collaboration between graphic packaging design and structural packaging design, where she sees innovation in the market, and where she looks for inspiration.
Q:
How did you get into packaging design?
A:
My journey into packaging design began in 2018 with a role as an industrial designer specializing in structural packaging at Ammunition, a leading design studio in California. Their Brooklyn studio in DUMBO focused exclusively on packaging, making it the perfect environment to dive in.
There, I learned that packaging design isn’t just about protection—it’s about the experience. I explored how packaging could extend the product’s story, incorporating innovation and sustainability. I soaked up every bit of knowledge I could. You have a preview of what packaging design is like at school, but it’s way more than you expect. That was my first experience, that was the first time I heard the term ‘structural packaging.’ It involves engineering because there are constraints around capacity and dimensions. If you just hear ‘packaging designer’, it might mean either graphics or structure, or both. Usually an industrial designer will call themselves the structural packaging designer, which is everything that’s not the graphics.
Later, in 2021, I began consulting for a beauty and cosmetics company in Peru. Over the past three years, I’ve worked on diverse packaging solutions: glass fragrance bottles, plastic makeup containers, and limited-edition cardboard boxes. Structural packaging design involves close collaboration with engineers, as factory production requires meeting technical specifications and restrictions.
Q:
You are part of the IW design team but you work remotely from Peru—could you tell us how that came about?
A:
Yes, I started with Interwoven Design right after graduating from the MID program at Pratt. I worked full-time during the summer of 2017. After that, I stayed in touch, collaborating on projects in New York on different occasions between 2018 and 2020. Since 2021, I’ve been working with IW remotely as a freelancer, and it’s incredible to think it’s been almost seven years since I first joined the team! The story actually began even earlier, in 2016, when I took Rebeccah’s Soft Goods class at Pratt. It was my first real exploration into soft materials and sewing, and it turned out to be one of the most memorable and impactful electives I’ve ever taken. She was doing a lot of technology components with other students in my class but I’m not that techie, so for me it was a perfect start in soft goods. I really like products made of fabric. That project was super interesting for me because I had never worked on a soft goods project before, even though I did my undergrad in ID.
I got my master’s in design at Pratt because the field had expanded so much around 3D printing and technology for prototyping between 2010 and 2020. After that semester, I partnered with Interwoven Design on a soft goods project, then it was in the summer and I stayed involved, working on different projects. At that point it was mostly conception or research. When I started working remotely, we already had a strong relationship.
After my master’s degree and after the pandemic, it was easier to work remotely. I could take advantage of that flexibility and be home [in Peru] while staying in touch with my clients. So that was great: that I could be back home but still have the rush of working in a global market in New York.
Q:
What are some of the other types of work you do?
A:
As an industrial designer, my skills range from design thinking and concept development to hands-on exploration and making. While I’ve become a bit of a packaging expert—creating out-of-the-box experiences for consumer products—I’m always open to new opportunities and projects.
The fields I’ve explored include furniture, soft goods, accessories, food design, beauty and cosmetics, structural packaging, and product photography. I do a lot of cosmetics and beauty packaging. I don’t know why but I started getting a lot of clients who need packaging. I think packaging is something that moves a lot. Many of the branding companies I work with don’t have an in-house structural designer, and that caught my attention. I realized that I could offer structural packaging to different design studios. Some people call structural packaging secondary packaging, while primary will be something that touches the product. Then secondary packaging would be the box around the primary container.
Q:
Your Advent Calendar project won an award at the Latin America Design Awards last year. Could you tell us about it?
A:
Yes! It was a holiday unboxing experience for the beauty brand ésika—a limited-edition Advent Calendar. I was the structural packaging designer lead and collaborated with graphic designer Sandra Lanfranco. She added all the vibrant colors and finishing touches to the project. It was an advent calendar in the shape of a 5-sided Christmas tree that unfolded into a 360 degree display with 25 beauty products inside.
We had a lot of freedom because a calendar isn’t a traditional product, the packaging silhouette isn’t predetermined. We decided to play around with the shape, asking, How it could be a box without being a box? The only thing we needed to keep in mind was that we had to have 25 items and 25 ways to open it to access those items. Besides that it could be whatever you wanted. We were thinking about how we could make it a more contemporary structure, something that could display or be unboxed in different ways that could surprise you or give you a different feeling when you open it. Maybe it comes flat, and as you open it becomes a 3D structure.
We made a lot of mockups, small ones. We realized we could fit a lot of sections if we thought about a 360 degree shape with pockets all around. As we were breaking down 25, we thought 5 sides would make sense. We wanted it to be so beautiful that you would want to leave it standing even once it was empty, and bring it out every Christmas. When you work together with the graphic designers, the concept is so much better, and the process invites more innovation. That really helped the strength of the project as a competition submission. We also created a mini version with three sides, each highlighting a best-selling beauty product.
The project was recognized by the Latin America Design Awards 2024 in Brazil and the Pentawards 2024 in London, earning bronze in both competitions for Brand Identity and Connected Packaging. This was my first time submitting a packaging project, and receiving this recognition was such an honor!
Q:
You do both industrial and graphic design. How do you integrate structural and graphic elements in packaging?
A:
I do both, but my graphic skills are more intuitive—a way to communicate and reinforce ideas. While I don’t have formal training in graphic design, I’ve always had a strong visual sense and a love for it. For larger or more complex projects, I collaborate with graphic experts to co-create the best results.
Here’s how I see the relationship:
Structural packaging is the blueprint: it ensures the product is protected, functional, and user-friendly. Structural packaging offers protection for transport and display, functionality and ease of use, efficiency for display and logistics, and sustainability in materials and recyclability.
Graphic design gives the package its personality. It helps products stand out, communicate key benefits, and build emotional connections. Graphic design attracts attention, establishes brand identity, communicates product benefits, evokes emotions, and builds loyalty.
For me, a successful package seamlessly combines both elements. It’s vital to consider structural and graphic design together from the very start.
Q:
How does that collaboration go if you are working with a graphic design team?
A:
For the advent calendar project we were on a team together from the beginning. We decided, Okay let’s prioritize the structure, the visual 3D form, and then we’ll work on the graphics. We did do that, but that whole time I was in conversation with the graphic designers, showing them my work. They started creating graphic design moodboards around my early ideas, and ideating alongside me even though the design isn’t finalized. That’s one way to do it.
Another example is a project for a jewelry designer client of mine, a sculptor who’s doing jewelry. I was designing boxes for her. She already had her branding, her logo, and things like that. She had the vision of what she wanted and then I asked, What’s the best way to apply that graphic content, that is already developed, to new packaging? I’m thinking about her brand: she’s working with her clients all the time. I thought we could do something artistic, like an origami box that could unfold flat so she could hand draw on it. Then on the other side would be the logo and business information. She was an artist and she sketches like crazy, so that was one of my suggestions, We could use a super nice paper, we won’t add any glue, and then why not try to draw on it to personalize it and see what happens? I finalized the project with that idea for future personalization, and now I see those personalized boxes on her Instagram, whenever she has a special item she creates this beautiful artwork on the packaging and it’s exactly how I envisioned it. It’s so amazing.
Another way to work with graphic designers is through brand agencies that decide, Okay let’s go full circle with this rebrand. I was working with an agency that was doing a rebrand for a bakery. They said, Let’s create a new look and feel, and we definitely need packaging because we want to stand out. For bakeries, everything looks the same, on the market. Everything looks the same. In this case we were looking for something super minimalistic. I had a small brief for the project, so the look and feel was already kind of set. They didn’t know how they wanted the packaging to look but they knew how they wanted it to feel. I was creating a system of packaging, where each size has a different purpose. I was thinking about the proportions that would make sense. The tiny one is a perfect square. The second one will be the same height but twice as wide. The third and fourth would be proportionally related, scaling up. There was a look and feel but I had a lot of freedom around the dimensions. They already had a logo, so we played around with the best way to apply that logo, and the best colors. There were requirements in place, and the packaging needed to look good with the assets they already had. I went back and forth with the graphic designers to make sure that all of the elements were harmonious. If the teams are too independent, you can get graphic and structural designs that don’t look good with each other.
Q:
What role does unboxing play in your design considerations?
A:
Unboxing is one of the most exciting aspects of packaging design. It’s the moment when the user interacts with the product for the first time, and it sets the tone for their overall experience. I always aim to make this process smooth and enjoyable, elevating the product inside. There’s something special about unboxing—whether it’s the anticipation or the reveal—and I always keep that emotional connection in mind.
Q:
How do you test the functionality and durability of your packaging designs?
A:
The process starts with mock-ups to test basic concepts and usability. Afterward, prototypes are created for more detailed evaluations. On a larger scale, an engineering team often steps in to conduct rigorous tests on materials and structural performance, ensuring the packaging meets all functional requirements.
One of the biggest challenges today is addressing the environmental impact of packaging. Designers must be mindful of reducing waste, avoiding single-use plastics, and eliminating excessive materials.
To tackle this, I focus on sustainability by selecting eco-friendly alternatives and exploring innovative designs that optimize efficiency. It’s about finding solutions that balance creativity, functionality, and environmental responsibility.
Q:
Where are you seeing innovation in the market? What role does sustainability play?
A:
Absolutely! I’m particularly inspired by the increasing use of biodegradable and renewable materials. Plant-based options are becoming more common—they’re not only environmentally friendly but also have a forward-thinking aesthetic that resonates with modern consumers.
Examples of sustainable innovations include materials designed to disappear, such as algae-based solutions, from seaweed, and naturally grown packaging like mycelium, from mushrooms. These solutions represent a significant shift towards sustainability and demonstrate how nature-inspired designs can shape the future of packaging.
Q:
How do you approach the design process for packaging compared to consumer products or furniture?
A:
The process is largely the same: research, ideation, conceptualization, exploration, design development, 3D modeling, technical drawings, and prototyping.
What’s different with packaging is the need to consider the product it contains. I typically receive a brand brief from the client and technical specifications from engineers. From there, I create mood boards and develop concepts that connect the product and its packaging in a cohesive way. Everything starts with research. Research everywhere. The farther from your starting point, the better. Take the bakery packaging example, I had seen a lot of different packaging solutions that are not related to bakeries, for example cosmetics, but there can be a nice relationship between the two. For beauty there is a lot of harmony with science, so cross-pollinating can work well. One idea for future development that I suggested for the bakery packaging was an external element, I pulled out some beautiful off-white shoelaces I had and tied it onto the smallest box. It made these tiny beautiful desserts feel special. They weren’t sure about it but they really loved the idea.
Q:
Where do you look for inspiration?
A:
Inspiration is everywhere, especially in everyday objects. Recently, I noticed a minimalist packaging solution at a bakery—a chocolate bear box with a locking detail shaped like a little bow. It was such a small touch but made all the difference.
I also find inspiration in books. My favorite is the “Packaged for Life” series published by Victionary, which celebrates packaging that brings joy to daily life. I own the Coffee & Tea, Scent, and Chocolate editions. Chocolate is my favorite!
Another book I treasure is How to Wrap Five Eggs: Traditional Japanese Packaging by by Hideyuki Oka. It’s a stunning exploration of natural materials and traditional craft techniques, and it’s a constant reminder of the beauty in simplicity.
For me, nature is the ultimate source of inspiration. Spending time outdoors helps me reset and sparks new ideas. When I find something particularly special, I capture it with my instant camera and keep it as a memento—these snapshots often become seeds for creative exploration later on.
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