Trained as a designer, she has led international teams in Chile, China, and Spain, developing a deeply strategic business vision in which creativity, technical feasibility, and profitability go hand in hand. Today, as head of industrial development and sourcing at Lippi Outdoor—and having made unconventional decisions, such as starting a business in Shanghai or putting her career on hold to study Chinese—she offers a unique perspective on how to build a global, non-linear career in the industry.

• You trained as a designer, but you’ve built your career in operations, sourcing, and product development. At what point did you realize that your place was at that intersection between the creative and the industrial?

The turning point came when the company I was working for in Chile offered me the chance to go to China for a year to set up a design team and take full control of development and production. I didn’t hesitate. Being on the ground, in direct contact with factories and suppliers, I realized that the technical foundation of design is much more than just a creative tool: it’s a real strategic advantage. That year was decisive. I realized that what I’m truly passionate about is having a complete vision of the product, from concept to factory.

ASIA AS A VOCATIONAL SCHOOL

• You’ve been working in Asia for over 15 years, particularly in China. What has Asia taught you that would be difficult to learn in Europe or the Americas?

On the one hand, it has helped me understand a way of communicating that is completely different from the Western approach. In addition, I’ve learned a great deal through direct contact with the factories: visiting the production line and solving day-to-day problems on the ground are experiences that simply can’t be replicated from a distance. Those fifteen years have not only given me technical knowledge, but have also helped me develop my own approach to leading teams and working with suppliers.

• Asia is often discussed solely in terms of production. In your experience, what strategic or creative aspect of the Asian ecosystem is typically underestimated?

What is most underestimated about Asia is the innovative capacity of its suppliers. In the West, we tend to view Asian suppliers as mere executors of our designs, but the reality is quite different. The most established suppliers have their own R&D teams, develop new materials, and propose technical solutions that often go beyond what you had imagined. They are strategic partners, not just executors. Knowing how to leverage that capability is a huge advantage.

• In your current role, you serve as a bridge between design and manufacturing. What tends to go wrong most often when design and manufacturing aren't properly aligned?

The biggest problem lies with the product: quality suffers, time is wasted, and what arrived at the factory as an idea with potential ends up hitting the market with compromises. But the root cause isn’t technical; it’s structural. What’s missing is integration across departments, and that integration depends on a key figure who is often underestimated: the business unit director, who is responsible for ensuring that design, development, production, and sales work in alignment from the very beginning.

• How do you think the role of the designer or product professional should evolve in today's industry?

Today, a designer or product professional can’t rely solely on creativity. They need to understand planning and operations and have a business acumen that allows them to make decisions while knowing how those decisions impact prices, margins, and competitiveness. The reality is that most design programs do not address these topics with the necessary depth. The best way to acquire that knowledge is on the job, though I am aware that not everyone has access to that experience. That is precisely why universities have a huge responsibility: offering production courses with real depth is not a luxury—it is a necessity.

STRATEGY, OPERATIONS, AND BUSINESS

• Your work has a direct impact on the product's commercial viability. How do you balance creativity, technical performance, and profitability?

Balance starts with technical expertise. When you understand materials, fabric performance, and quality standards, you can assess a product, immediately determine which market tier (segment) it fits into, choose the right supplier for that level, and optimize margins without compromising the product’s identity. The goal isn’t to lower quality, but to understand that within a single brand, you can have products in different categories, each with its own commercial logic, and that each can be a star in its own tier.

• What sourcing or development decisions can make a strategic difference for a brand today?

One of the most strategic decisions is to build a solid supplier base: categorizing suppliers by tier and specialty, not by volume. And that process begins before placing any order: visiting the factory, reviewing its track record, seeing which brands it works with, what certifications it holds, how its quality controls work, and what its actual production capacity is. A supplier that does everything is a risk; one that specializes in one or two categories—and that you know inside and out—gives you consistency and control.

• Given the current landscape of global supply chains, what are the biggest risks today, and how do you manage them in your role?

The biggest risks are geopolitical. Manufacturing in Asia always involves longer lead times, which explains why many European brands keep part of their production in closer locations such as Portugal or Morocco. In my role, management involves constantly monitoring these external factors, expanding our supplier base, and always having a Plan B. A large part of my job is keeping headquarters informed so they can make strategic decisions in a timely manner, such as bringing forward purchases in anticipation of price increases. Diversification isn’t just a risk-mitigation strategy; it’s a way of doing business.

LEADING GLOBAL TEAMS

• You currently manage international teams remotely from Spain. What is the biggest challenge of leading teams spread across Europe and Asia?

The biggest challenge is building trust from a distance. When you can’t be there day-to-day, your team becomes your eyes and ears, and that requires training them well: they need to know the processes, understand the criteria used to make decisions, and have the autonomy to act with confidence. The key isn’t remote control, but rather the strength of the team you build before stepping back. A well-trained and aligned team ensures that distance ceases to be an obstacle.

• How do you adapt your leadership style to such diverse cultural contexts?

My approach always starts with teaching: identifying each person’s potential, establishing clear procedures, and giving the team the tools to make decisions independently. Cultural adaptation changes everything: in the West, we tend to think a lot before taking action, while in China, they take action. Once you understand that and learn to give clear, actionable instructions, everything flows in a completely different way.

STOP TO MOVE FORWARD

• At one point in your career, you decided to take a three-year break to study Chinese. What led you to make that decision?

From the very first day I arrived in China, I knew I wanted to learn the language, but I also knew that to do it well, I had to commit fully. You can’t learn Chinese to a high level in less than three years, and without real discipline, it’s very easy to give up halfway through. There was also a strategic aspect: I’ve always thought in terms of long-term goals, and I knew that Chinese would not only boost my career in Asia but also open doors for me anywhere in the world. It was an investment in myself.

• You’re currently enrolled in ISEM’s PADEM program. What led you to choose this program, and what have you been getting out of it now that the course is well underway?

When I learned that our chapter in China was coming to an end, I knew it was time to tackle what I still had left to do: the business side of things. Everything I know about operations I learned on the job, and that experience is incredibly valuable, but I wanted to supplement it with formal training. After doing some research and comparing options, I chose the PADEM program at ISEM, University of Navarra, and it has exceeded my expectations. The quality of the faculty, the methodology, and the interaction with my classmates have been extraordinary. I feel that the program is transforming my professional profile into something truly cross-functional.

• What advice would you give to someone who wants to build a non-traditional international career?

Build your foundation step by step and don’t limit yourself to design alone: patternmaking, materials, processes, and operations. That knowledge is what gives you real authority when it comes to making decisions. Never lose your desire to learn, soak up as much as you can when you travel, and stay organized, because this role requires managing many processes simultaneously. And to companies, I would say to invest in so-called “smart creatives”—profiles that combine a creative foundation with business acumen, a concept I explore in depth in an upcoming article. They are rare, but they are exactly the type of professional the industry needs today.