Design history · 2010s contemporary practice

Jessica Walsh

The RISD graduate who made partner at Sagmeister's at twenty-five, founded a studio at thirty-three, and built a global mentoring network along the way.

Jessica Walsh (born 1986) is the American graphic designer who became partner at Sagmeister Inc. at twenty-five (Sagmeister & Walsh, 2012–2019), then founded her own New York studio &Walsh in 2019. Her 40 Days of Dating viral project (2013), her Ladies, Wine & Design mentorship network (active in over 250 cities) and her studio's identity work for Adobe, Snapchat, Levi's and The New York Times place her at the centre of 2010s–2020s contemporary design practice.
Jessica Walsh, American graphic designer
Official Sagmeister & Walsh press headshot by Mario de Armas (mariodearmas.net); vertical/portrait orientation; explicitly marked for editorial use with photographer credit.

Key facts

Born
30 October 1986, New York
Nationality
American
Era
Contemporary practice · Branding systems · Social-first design
Studios
Print magazine (intern) · Pentagram New York (intern) · Sagmeister & Walsh (partner, 2012–2019) · &Walsh (founder, 2019–present)
Education
B.F.A. Graphic Design, Rhode Island School of Design (2008)
Known for
Sagmeister & Walsh partnership (aged 25) · 40 Days of Dating project (2013) · Ladies, Wine & Design network · &Walsh studio · extensive editorial and identity work for Adobe, Snapchat, Levi's, The New York Times

01

Biography

Jessica Walsh was born on Long Island in 1986. She taught herself HTML at eleven and was building websites for local businesses by fifteen. She studied graphic design at the Rhode Island School of Design, graduating in 2008 — the same recession year that cut entry-level design hiring dramatically.

After internships at Print magazine and Pentagram New York, she joined Sagmeister Inc. as a designer. In 2012, at twenty-five, she became Stefan Sagmeister’s partner and the studio was renamed Sagmeister & Walsh. The partnership produced identity, editorial and exhibition work for Adobe, Snapchat, Levi’s, The New York Times and Aizone, among others.

In 2013 she published 40 Days of Dating — a collaborative online project with her friend Timothy Goodman in which they dated for forty days and published daily reflections with original illustration. The project attracted over 5 million unique visitors in its first year and was optioned by Warner Brothers, though film rights subsequently lapsed. It was among the first designer-led content projects to go fully platform-native.

In 2016 she founded Ladies, Wine & Design in response to the AIGA gender statistics showing women dramatically underrepresented in creative-director positions. The network is now active in over 250 cities worldwide and is a structural contribution to the profession rather than a design project.

In 2019 Sagmeister & Walsh was dissolved amicably, with Sagmeister returning to solo practice and Walsh founding &Walsh in the same New York office. She teaches in the M.F.A. Designer as Author program at the School of Visual Arts.

02

Design philosophy

Walsh’s position is that design should be maximalist, colour-first and human, pushing back against the clinical minimalism that dominated 2010s tech and lifestyle branding. Where a decade of brand identity had reduced to Helvetica in grey, Walsh’s practice re-opened colour, lettering and emotional texture.

“If design is about communication, then design should be allowed to be as emotional as the human beings it communicates to.” — Jessica Walsh, 2019

Three commitments define her studio. First, social-first visual language. Projects like 40 Days of Dating, the &Walsh launch campaign and recent Instagram-centric client work are designed assuming social platforms are the primary publishing surface — not an afterthought on top of a print or web deliverable.

Second, design as structural intervention. Ladies, Wine & Design is the clearest statement. Rather than treat the under-representation of women in design as an external problem, Walsh built a network to fix it. The studio’s hiring practices, internship programme and mentorship structure operate on the same principle.

Third, author-designer continuity with Sagmeister. Walsh is explicit about her lineage — Sagmeister as teacher, and Tibor Kalman’s M&Co legacy flowing through him. The author-designer model (taking commercial work to fund self-initiated projects) is carried forward directly at &Walsh.

03

Key works

Sagmeister & Walsh studio identity (2012) — photographic identity showing both partners in unposed emotional states. The first major public marker of Walsh’s working approach; a deliberate rejection of neutral studio-identity conventions.

40 Days of Dating (2013) — online project with Timothy Goodman combining dating, journaling and illustration. Over 5 million unique visitors in its first year; Warner Brothers film option (rights subsequently lapsed). One of the first design-led content projects to go fully platform-native.

Ladies, Wine & Design (2016–present) — global mentorship network in 250+ cities. Not a design project in the conventional sense, but widely cited as Walsh’s most structurally important contribution to the profession.

Adobe MAX identity (2013) — identity for Adobe’s flagship MAX conference, made by Sagmeister & Walsh in a single 24-hour live-design session. One of the studio’s most-discussed commercial commissions.

&Walsh studio identity (2019) — identity for Walsh’s solo studio. Deliberately exuberant, personality-forward, with hand-drawn typographic elements — widely referenced across studio and conference-identity work in the years that followed.

Iconic works

Sagmeister & Walsh studio identity, 2012

Sagmeister & Walsh studio identity

2012

Self-commissioned identity marking the renaming of Sagmeister Inc. as Sagmeister & Walsh in 2012, the year Walsh joined as partner at twenty-five. Used photographs of both partners' faces in varied emotional states, refusing the neutral corporate studio-identity conventions of the period. The visual system was applied across stationery, print, and digital materials, and was the first major public marker of Walsh's working approach.
Sagmeister & Walsh studio identity (2012). · Announcement photograph from Creative Bloq's coverage of Sagmeister & Walsh partnership; 2012 rebranding announcement. · Museum editorial
40 Days of Dating project, 2013

40 Days of Dating

2013

Self-initiated online project in which Walsh and designer Timothy Goodman dated for 40 days and published daily reflections alongside original illustration, photography, and typographic artwork. The site attracted over 5 million unique visitors within its first year; Warner Brothers optioned film rights in 2013, though rights subsequently lapsed. Walsh and Goodman published an expanded print edition through Abrams Books in 2015.
40 Days of Dating (2013). · Publisher's official book cover image hosted on Abrams Books (Harry N. Abrams, the copyright holder). 304-page book with cover portraits by Henry Leutwyler. · Museum editorial
Ladies, Wine & Design global network, 2016

Ladies, Wine & Design

2016

Global mentorship network for women and non-binary people in the creative fields, started by Walsh after AIGA data showed only around 3 per cent of creative directors were women at the time. The network began with eight women meeting in Walsh's New York apartment and had expanded to over 280 chapters in cities worldwide by 2022. It provides free portfolio reviews, mentorship circles, and professional events, and operates as a structural contribution to the profession rather than a client project.
Ladies, Wine & Design (2016). · Behance portfolio — identity/branding collateral · Museum editorial
Sagmeister & Walsh Adobe MAX live-design session, 2013

Adobe MAX identity

2013

Identity for Adobe's flagship MAX creative conference, made by Sagmeister & Walsh in a single 24-hour live-design session. Working on a game-show set of prize wheels, piñatas and office supplies and filmed start to finish, the studio treated the making of the logo as the identity itself rather than delivering a fixed mark. The performance-as-process approach drew wide coverage and was the studio's most-discussed commission that year.
Adobe MAX identity — Sagmeister & Walsh's 24-hour live-design session (2013). · Still from Sagmeister & Walsh's 24-hour Adobe MAX 2013 live-design session; via Creative Bloq. · Museum editorial
Snapchat Spectacles campaign, 2016

Snapchat Spectacles campaign

2016

Launch campaign for Snap Inc.'s first-generation Spectacles camera product, incorporating a network of pop-up vending machines (Snapbots) deployed at surprise locations across the United States from October 2016. The advertising ran on Snapchat's own channels alongside traditional digital placements. Produced during the Sagmeister & Walsh partnership, it was among the studio's highest-profile consumer-product commissions.
Snapchat Spectacles campaign (2016). · Product shot of first-generation Spectacles with yellow accent elements. Captured Dec 2016, documenting the core product design with the brand's signature yellow highlights. · CC BY-SA
The New York Times Magazine — Resist cover, 2017

The New York Times Magazine — Resist cover

2017

Cover for The New York Times Magazine's February 2017 issue, with the word RESIST hand-knitted in hot-pink wool — the same material as the hats worn at the January 2017 Women's March. Jessica Walsh art-directed the cover with the magazine's design director Gail Bichler. It was among Sagmeister & Walsh's last major editorial commissions before the partnership dissolved in 2019.
The New York Times Magazine — Resist cover (2017). · The New York Times Magazine 'Resist' cover (Feb 2017), art-directed by Jessica Walsh; via the studio's own portfolio, andwalsh.com. · Museum editorial
&Walsh studio identity, 2019

studio identity

2019

Self-commissioned identity for Walsh's solo studio, launched in 2019 from the same New York office previously occupied by Sagmeister & Walsh. Built on hand-drawn letterforms and saturated colour, the system served as the studio's public launch, its positioning statement, and its first major piece of self-authored work. Much agency branding had converged on typographic minimalism by 2019; the identity's exuberant visual language made it a reference point for studio and conference-identity work that followed.
&Walsh studio identity (2019). · &Walsh launch campaign image as published by Dezeen (July 2019); photographer credited on source page. · Museum editorial

04

Influence & legacy

Walsh’s most visible influence is stylistic: the maximalist, colour-first, hand-lettered visual language that dominated late 2010s and early 2020s design across conferences, D2C brand launches and Instagram-native content traces directly to &Walsh. Where the 2000s and early 2010s ran on Swiss-derived reduction, the late 2010s shifted toward a Walsh position.

Ladies, Wine & Design is structurally the more significant contribution. The network has shipped thousands of individual mentorship relationships since 2016 and is now cited as a model for cross-border professional networks in adjacent creative fields — writing, architecture, music production.

For students entering the profession today, Walsh models a continuously-public design career. Instagram, Twitter, conference talks, books, podcasts, the 40 Days of Dating film option, the Ladies, Wine & Design network — all part of a single integrated practice with no clear line between studio work and public-facing personal work.

Learn at TGDS

Walsh’s approach — maximalist identity, social-first publishing, author-designer practice — connects to several modules of our curriculum:

Courses

  • Certificate IV in Design (CUA40720) — covers the typography, identity and illustration foundations that underpin &Walsh-style identity work.
  • Intensive Foundation Course — 11 modules in typography, layout and identity fundamentals. The same craft underpinning the brand systems Walsh builds at studio scale. Certificate of completion, not the Cert IV.

Further reading

Books

  • Jessica Walsh & Timothy Goodman, 40 Days of Dating: An Experiment (Abrams, 2015).
  • Stefan Sagmeister & Jessica Walsh, Sagmeister & Walsh: Beauty (Phaidon, 2018).

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