In just six years, PORTO ROCHA has become one of the most recognisable names in global design.
The New York-based studio’s portfolio spans work for PAC NYC, Brazilian art museum MASP, and Nike Run – an identity so widely seen and celebrated that it was virtually impossible to miss.
But beyond the big-name projects and industry recognition, founders Felipe Rocha and Leo Porto are extremely thoughtful about the design industry, and the type of business they want to run.
In conversation, they bring a rare candour – honest, unguarded, and unafraid to say it as it is. They don’t hide behind polish or posture, and that openness makes them not only compelling collaborators but also excellent interviewees.
As they gear up to open their London studio next month, we spoke to the co-founders about what has changed since they first opened their doors, their insistence on demystifying the idea of a “design hero,” and their hope that the studio’s success gives other queer, immigrant designers permission to dream bigger.
You’re now entering your sixth year as PORTO ROCHA. If you look back to when you started in 2019, what feels most different about you as founders today?
Felipe Rocha: Honestly, everything feels different. The past six years have been constant learning – things we could only understand by actually running the studio.
Every new industry we work with brings a new kind of knowledge, and I feel I’m a much more well-rounded designer now, even though I’m less hands-on than before.
I also have a deeper appreciation for the client side – their perspective and expertise – which I knew in theory before, but now really value in practice.
At the same time, I’ve also become more sceptical. I know now that a sustainability campaign won’t change the world, and that a Pride campaign is often performative. Experience helps me see what has real potential to create change, and what doesn’t.
Leo Porto: I agree with Felipe. When we started, it was just the two of us – we were designers, project managers, client leads, everything. Now we’re a team of 36, with amazing designers, project managers, and operations staff.
That shift means our role is less about being hands-on makers and more about leading – inspiring, delegating, creating the right environment, and making sure the quality of our work stays high.
The hardest part has been letting go of that designer instinct to control every file, and instead learning how to lead an entire studio.
PORTO ROCHA’s brand for Nike Run
When you launched, what did you want PORTO ROCHA to bring to the industry that you felt wasn’t there at the time?
Leo Porto: We always felt there was a gap at the intersection of design, culture, business, and strategy.
At the time, clients often had to choose between smaller design studios, which delivered beautiful craft but lacked strategic rigour, or big agencies and consultancies, which brought the strategy but not the same caliber of design.
Our idea was to bring those two worlds together – to deliver design at scale without losing quality.
Another big part of it was rethinking the role of the designer. Traditionally, designers were seen as the executors of ideas that came from strategists or directors.
We wanted designers to be seen as strategic thinkers themselves, with a real seat at the table. That mindset shaped how we’ve structured the studio, with a more horizontal way of working.
At the same time, we’ve always been against design that exists in a vacuum, is self-serving, or that makes itself the protagonist. We see design more as a vehicle – a platform to engage with people and respond to culture and the world around us.
Felipe Rocha: I don’t think design “shapes” culture; that feels pretentious. For us, it’s about translating and amplifying culture that already exists, and staying aware of our surroundings. That’s the most exciting part.
PORTO ROCHA’s work for Kunsthalle Basel
You’ve spoken about wanting to demystify the idea of the “design hero.” How do you actually embed that philosophy into the way PORTO ROCHA runs day-to-day?
Leo Porto: This ties directly to giving designers a real seat at the table. Traditionally, you had a “superstar” creative director whose vision trickled down to everyone else. Our structure is much more horizontal.
Of course, we have different titles and levels of experience, but we want the intern to feel just as free to speak up as the design director. We create space for disagreement, for questioning why things are the way they are.
In many agencies, that kind of questioning isn’t welcome – but we think it’s essential to getting to great work.
Another way we do this is through creative direction. Instead of pretending we have the perfect solution, we give focused feedback – what’s working, what needs to improve – and then let the team explore solutions.
It’s not about me being a “design hero” who comes up with an idea on the spot and says, “This is it.” It’s about trusting the designers to push the work further.
At the end of the day, creative directors aren’t heroes; they’re just people who’ve had more time and experience. And honestly, some creative directors who get to the top aren’t that great either.
Felipe Rocha: Yeah, and it’s a fine balance. Giving space doesn’t mean “anything goes.” We’re actually very demanding about the quality of the work and making sure it represents who we are. But it’s about being clear without being authoritarian.
Leo Porto: Exactly. We’re not design heroes. We’re just really annoying creative directors.
PORTO ROCHA’s brand for PAC NYC
When you opened, you set out to bring a Brazilian touch to your work. Has that cultural grounding become sharper, looser, or more layered as your practice has grown globally?
Felipe Rocha: I think “layered” is the best way to describe it. Of course, we’re Brazilian, and we do have other Brazilians on the team, but PORTO ROCHA today is truly international.
What makes the work strong is not one culture dominating, but a mix of perspectives, which is the only way to solve complex problems for global brands.
That said, I do think Brazil is often reduced to this idea of vibrancy, warmth, irreverence. And while that’s true, it’s also a simplification.
Another aspect of Brazil is this obsession with finding the best solution – being resourceful, cost-effective, and creative with what you have. That’s a cultural trait I really identify with.
Leo Porto: It’s hard to put into words how Brazil influences our work because it’s more of a way of thinking than an aesthetic.
On the one hand, you don’t have endless resources, so you’re forced to be creative and resourceful. On the other hand, Brazil is an incredibly rich cultural place, so if you know how to navigate it, amazing things can come out of that mix.
It’s like we have just enough to do something great, but not so much that we ever get comfortable. That tension often produces the best ideas.
PORTO ROCHA’s brand for PAC NYC
As Latin and queer immigrants, you’ve occupied spaces that weren’t always open to you. Do you feel the industry has shifted since you started, and how do you think PORTO ROCHA has contributed to that shift?
Felipe Rocha: I’d like to think PORTO ROCHA has contributed a little, but I also feel we’re more of a reflection of our time.
In the past, you had to be associated with a big agency to be “seen.”
Becoming a Pentagram partner, for example, was considered the peak of a career. I don’t think that’s true anymore. Clients are interested in us precisely because we’re independent and nimble, because we can tackle problems differently.
Leo Porto: It would be pretentious to say we changed the industry. We’re more a reflection of the changes already happening.
But hopefully we serve as proof that it’s possible. That someone like us – queer, Latin, immigrants – could make it. And if we can, then younger designers can see a path forward too, even if they don’t come from privilege or the “right” networks.
Felipe, you’ve recently spoken about not sounding like a “typical” design founder, and argued that design leadership is too often shaped by a narrow set of voices. What needs to change for the industry to really embrace different kinds of leaders?
Felipe Rocha: That’s a hard question, but to simplify – I think the issue isn’t about being invited into leadership roles, it’s about being trusted in them. There’s a big difference.
Too often, someone who looks or sounds different is included as a kind of gesture, but not truly empowered. What needs to change is moving from symbolic inclusion to real trust – trusting that different perspectives actually add value.
At the end of the day, I’m not here because of my accent or my background; I’m here because of the work I bring. That’s what leadership should be judged on.
Leo Porto: We’ve sometimes lost work because we didn’t look or sound like the “typical” design leaders.
We’re two relatively young Brazilians, presenting to boards of much older executives, and some clients have told us directly, “We love your work, but you don’t project the authority we need.”
Felipe Rocha: And my response to that usually is – the only things I can’t change are my age, my accent, and my background.
Leo Porto: But what we can do is prove ourselves through the work. When clients see the results and keep coming back, that’s what ultimately shifts perceptions of what a design leader looks and sounds like.
PORTO ROCHA’s identity for Brazilian art museum MASP
How would you describe your leadership style – both as individuals and as co-founders?
Leo Porto: I don’t think we’ve ever really described our leadership style before, but I’d say we’re very different as individuals while being very aligned in vision. We rarely disagree on priorities.
It always comes back to two pillars – doing great work and taking care of people.
As leaders, we’re both very direct and ambitious. We come from design, not business, so a lot of our decision-making has been intuitive – following our gut about what feels right or wrong.
Of course, now we have a finance team and models to validate things, but at the core, we still lead with instinct and heart.
For the team, I’d describe our style as setting a really high bar while being extremely empathetic. We recognise that everyone gets to the finish line differently – some fast, some slower, some needing more support.
That’s why the company is built around flexibility and trust. People know what’s expected of them, but how they get there is up to them. We don’t micromanage. In fact, we’re probably the opposite of micromanagers.
The PORTO ROCHA team
Many studios struggle with scaling while keeping their culture intact, and PORTO ROCHA has grown quite quickly. How have you managed that?
Leo Porto: Honestly, it comes down to hiring the right people. We look for people who share the vision of PORTO ROCHA, but that doesn’t mean a monoculture – our team is diverse in background and personality.
What unites us is a shared commitment to the work, and that’s helped us build strong retention. Many of our team members have been with us for years, which creates a sense that we’re building something together.
Felipe Rocha: That said, it definitely gets harder as you scale. When we were smaller, closeness happened naturally.
With 36 people, we have to consciously create those moments of connection – whether that’s shared lunches, time together in the studio, or longer creative reviews where everyone can contribute.
It takes effort, but for us, maintaining that sense of closeness is just as important as the work itself.
You place a lot of emphasis on openness, whether in sharing your own journey or demystifying design culture. How does that translate into how you collaborate with clients?
Leo Porto: For us, openness with clients really means honesty. We always remind ourselves that the goal is to solve the challenges the client has brought us, and if something gets in the way of achieving great work, we’ll be vocal about it.
A lot of agencies operate on “the client is always right,” but we don’t think that serves anyone. We’re flexible, but we’re also not afraid to disagree or to question things if we believe it’ll make the work stronger.
True collaboration is about both sides being equally open; we’ll listen deeply to what clients say, but we also want them to listen to us. It’s not about people-pleasing; it’s about having the kind of respectful disagreements that actually push the work forward.
Felipe Rocha: If you think about it, there are two extremes – on one side, the “design hero” who dictates the solution and doesn’t let the client in; on the other, the studio that just acts as a vendor, executing whatever the client asks.
We try to stay away from both. Real collaboration sits in the middle, and yes, that means there will be conflict sometimes, but that’s where the best work happens.
PORTO ROCHA’s identity for Church
As co-founders, how do you navigate the balance of being creative leaders versus strategic business leaders?
Leo Porto: The two roles are extremely connected. Every business decision directly impacts the creative output. For example, if you accept an unreasonable timeline just to win a project, you end up straining the team and rushing the work, which hurts quality.
So, as business leaders, we want to keep work coming in, but as creative leaders, we want to make sure the team has what they need to succeed – and often we’re negotiating between those two sides.
Sometimes that means saying no to projects because the circumstances aren’t right; other times it means taking on something challenging because we need it. That’s the balance.
But one thing that sets us apart is that we’re designers making business decisions.
In a lot of agencies, business leaders don’t really understand design, so their decisions are purely about numbers and profitability, and then the work suffers. For us, the business and the creative are inseparable.
Looking back, what’s been the most challenging aspect of running PORTO ROCHA?
Felipe Rocha: Figuring out how to grow sustainably – for us, our clients, and our team. Timelines keep getting shorter, budgets are often tighter, and the industry as a whole feels like it’s moving faster and faster. That pressure changes how we work and forces us to constantly adapt our process.
Leo Porto: In just six years, so much has shifted, from how people collaborate, to the tools we use, to the relationship between agencies and clients. The challenge is making sure we’re always up to speed and not becoming obsolete.
On top of that, our business model is project by project, so we’re always thinking about keeping the pipeline strong, ensuring people are paid, and making sure the work meets our standards. That responsibility is constant.
PORTO ROCHA’s brand for Nike Run
And looking ahead, what’s the next frontier for the studio?
Felipe Rocha: In the short term, our focus is on London. We’re officially launching there in November, and that feels like the next big step.
We’ve always worked globally, but having a base in Europe will shift perceptions and open up new opportunities, especially in industries we haven’t been as present in.
Another focus is strategy. We became known for our design work, but over the past four or five years, we’ve built a really strong strategy team.
That work is already shaping everything we do, and now we want to make it more visible – to be recognised as much for strategy as for design.
Leo Porto: Looking further ahead, we want to keep questioning the industry and fostering an environment where people can do their best work. If we can keep doing that while growing globally, I think we’re on the right path.
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