Some designers focus on objects. Others focus on systems. Joachim Froment focuses on the relationships we have with products. Not just between form and function, but between people, materials, and the world they inhabit.
"My approach remains fundamentally the same across different industries. I start by analyzing the industry and the broader ecosystem surrounding the product. From there, I envision the ideal relationship between the product, the user, and its environment, considering both functional needs and the desired experience."
His work moves seamlessly between furniture, luxury goods, consumer electronics, and mobility, guided by the same principle: understanding how things connect.
"Once this vision is clear, I tackle technical challenges, often drawing inspiration from solutions in other sectors as well as artistic influences. The next step is translating this vision into tangible forms—moving from sketches to 3D modeling, prototyping, and iterating quickly across different mediums."
For Joachim, innovation happens when disciplines intersect. "There’s beauty in every scientific element you can see. In nature, it's [the] complexity of engineering in reality or science or physics... When you transpose that reality into another reality… you suddenly open up new discussions."
He believes that too many designers overlook the technical aspects of a product, when in reality, engineering itself can be a source of creativity. "If you are intrigued by the technical aspect, it can become quite a source of inspiration. And I think it’s super helpful..."
This philosophy of cross-industry inspiration drives his approach, whether he’s designing electric bikes, furniture, or entirely new product ecosystems.
"Understanding is one thing, but then it’s how you transform it."
And at the core of all of it, design is about relationships.
"You create a relationship between products, people and the environment... You need to understand how this relationship is going to happen. Every line you take, every function you put, every material you decide to use will have an impact on that relationship. And you want to make it a harmonious relationship."
For Joachim, this process is deeply intuitive. "It’s a lot of intuition. It’s a lot of understanding of people’s needs, of the environment’s needs also. Understanding is one thing, but then it’s how you transform it."
One of those transformations is the Shanti Chair, a meditation chair that challenges the idea of what a public space can offer.
"The biggest challenge was integrating a lightweight yet robust structure with the cocoon-like design. The goal was to maintain the essence of a chair in its open form while enabling the wellness function with minimal material usage and maximum performance. Ensuring a seamless user experience without compromising aesthetics was key to achieving this balance."
The Shanti Chair’s innovative design has not gone unnoticed. In 2024, it was awarded a Good Design Award, recognizing its thoughtful balance of simplicity, comfort, and contemporary elegance.
For Joachim, design is more than the object itself. It’s about its purpose, the experience it creates, and the way it interacts with the environment.
"A product is obviously directly related to humans and in relationship with humans and their environment. What you do as a designer is to create a relationship." Joachim sees design not only as a tool for human-centered solutions but as a way to reshape entire ecosystems.
He sees the future of design moving toward holistic product ecosystems and circular systems.
"I believe the biggest shift will be the move toward holistic product ecosystems and the design of regenerative, circular systems to create truly sustainable products."
"I believe the biggest shift will be the move toward holistic product ecosystems and the design of regenerative, circular systems to create truly sustainable products."
For Joachim, sustainability isn’t just about reducing waste—it’s about designing systems that regenerate, rather than deplete. He believes in shifting the focus beyond just human needs to consider the entire ecosystem in which products exist.
"It is something that is important for me. I explain that I want to create a relationship between humans and products, but also between the environment and products, and the environment and people. We often hear about human-centric design. I think it is [a] more ecosystemic-centric design. It is probably a word I like to use better, in the sense of the whole cycle."
As part of his commitment to sustainability, Joachim actively participates in organizations that promote circularity and eco-design.
"I think it is going to be circular. I am part of different boards and organizations working on this—especially in the plastic industry and other industries where eco-design is important. Plastic is not always a bad thing. Plastic has amazing properties. But you have to use it for the right reason, in the right way, within a system. That is even more important. If you use plastic without thinking of the system, it fails."
Beyond sustainability, another major force shaping the future of design is artificial intelligence
"AI will likely play a major role in shaping these systems, alongside advancements in battery materials and biomaterials for single-use products. Additionally, additive manufacturing has been accelerating over the past five years and is expected to grow even more rapidly."
Artificial intelligence is already influencing the creative process, but it still has limitations.
"AI is already influencing the design process, but it is not yet optimized for 3D modeling in a way that offers designers full creative control. Currently, the transition from AI-generated concepts to engineered products remains a challenge."
The evolution of AI won’t replace designers, but it will change the way they work.
"As AI evolves, it will likely become a powerful tool rather than a replacement for designers. This shift may lead designers to take on more artistic and creative direction roles, focusing on defining vision while leveraging AI as a tool."
With the industry moving toward automation, sustainability, and new materials, it is the next generation of designers who will shape what comes next.
"Younger generations bring fresh perspectives, a deep understanding of emerging tools and technologies, and a strong connection to contemporary societal needs."
His advice to them is simple."I think they should design really with the heart. I think it's important. Design with the heart for others. So, if you take it as a relationship for unconditional love, if you say it, you design it for the beauty of giving. So, I think if you design that way better, try to challenge yourself. Designing better is this way, with the heart. I think you do more, you bring more, better impact."
For those already leaders in the industry, awareness beyond the immediate market is key.
"Their biggest responsibility is to be enough aware of not [only] the trends of their markets right now, but also tomorrow. It's a tricky thing, not to only be aware of the trends today and of people's needs today, but also tomorrow." He sees the need for a shift in perspective.
"Stop thinking in this polarized way. They have to be more nuanced in the decisions they take and the analysis they do. They should analyze with more nuances and make decisions. Work more with a larger spectrum and work with more people."
Design is evolving. The systems it operates within are evolving. The people shaping it have an opportunity—and a responsibility—to evolve with it.
Thread of Thought
Legislation such as the Ecodesign for Sustainable Products Regulation (ESPR) marks a turning point for the textile and furniture industries. It no longer merely encourages sustainability—it requires it. Companies are now legally obliged to focus on durability, reusability, repairability, and recyclability from the earliest stage of a product’s life: the design phase. This shift means that businesses must fundamentally rethink how products are conceived, manufactured, and managed throughout their lifecycle.
While this transformation is necessary and urgent, it does not come without its challenges. Rethinking product design and production processes requires investments, new skills, and cross-sector collaboration. Yet, at present, what is often missing is a clear and viable business case. Regulations demand change, but they must also help create the conditions that make this change economically feasible. Without financial incentives, policy support, and a fair competitive framework, the sustainability transition risks undermining the competitiveness of European companies—rather than strengthening it.
As Joachim Froment rightly reminds us, design doesn’t exist in isolation—it operates within a system. Every material, every line, and every function must account not only for how a product is made, but for how it can evolve, and what it becomes next. At Fedustria, we firmly believe in this ecosystemic thinking. Ecodesign is no longer a trend; it is a shared responsibility. Products must be designed for disassembly—because if a product cannot be dismantled, it cannot be reused or recycled. No disassembly means no second life. And without a second life, we cannot speak of sustainability with any integrity.
This is precisely where legislation and creativity must meet. European regulations are raising the bar for sustainable design—but they must also ensure that companies are not left to bear the burden alone. Designers and manufacturers must move from passive compliance to active transformation, supported by coherent policies that provide financial levers, innovation frameworks, and market-based solutions.
And as we rethink our products, we must equally rethink our production processes. Emerging technologies like AI, robotics, and automation are not just accelerators of efficiency—they are enablers of smarter, more adaptable systems. From inventory-counting drones to machines that run continuously with minimal energy waste, these innovations are not abstract visions of the future. They are already reshaping our industries today.
