Design That Feels: merging sustainability with sensory experiences in packaging


In an era when consumers expect packaging to be far more than just a protective shell, designers are reimagining how a box, a bag, or a label can foster connections and spark delight. As a result, one emerging challenge has become particularly urgent: how can we craft packaging that both enriches our sensory experiences and aligns with the critical need for sustainability?

This question drives the work of Katie Kubrak, a designer specialising in CMF (Colour, Material, Finish) and material-first strategies. Having been trained at Central Saint Martins by prominent figures such as Chris Lefteri and Rob Thompson, Kubrak is now seeking ways to harness colour, material, and finish to captivate the senses while staying firmly rooted in environmental responsibility when designing brand experiences.

Part of her role as President of the UAL Sustainable Alumni Network involves urging creatives and businesses to move beyond superficial aesthetics and commit to ethical, regenerative design. For the last eight years, Kubrak has also worked at London-based agency Nirvana CPH, collaborating with world-leading brands, from Pangaea, Burberry, and Dunhill to Bang & Olufsen, Bodyform, and Fortnum & Mason.

She believes in promoting a balanced, material-driven approach and, together with the rest of the Nirvana CPH team, is convinced that the colours, materials, and finishes mindset is vital for the brands of tomorrow.

So, can packaging be simultaneously sustainable and sensorial? Why are both important and how can design enable them to coexist without compromise?

The role of sensory design in packaging

"Packaging design isn't just about containment; it's about creating an emotional connection between the product and its consumer," says Kubrak.

In her view, sensory design taps into our innate human tendencies to explore the world through touch, sight, sound, smell, and even taste. "Think of the soft matte exterior of a premium product box or the crisp crackle of layered tissue paper - these elements enrich the unboxing, transforming it from a routine moment into a memorable and multi-sensory experience," she explains.

Kubrak pinpoints that when done right, sensory design builds brand identity, fosters consumer loyalty, and, most importantly, differentiates products in a crowded market. Last May at Clerkenwell Design Week, Kubrak brought this notion to life through her 'Tactility Speaks' exhibition, exemplifying how subtle sensory choices can be both sustainable and impactful.

Collaborating with Fedrigoni UK on behalf of Nirvana CPH, she showcased a range of FSC-certified papers - each with distinct textures and finishes - alongside an ASMR-style video exploring their auditory qualities. "Even seasoned designers were surprised by how these conscious material selections elevated the emotional resonance of packaging," she adds.

The sustainability imperative

According to Kubrak, there is an increasing need for designers to be "acutely aware of the environmental impact of their creations", especially since "the design industry has long faced criticism for its over-reliance on single-use plastics and non-recyclable materials".

She said, "Our job is no longer to dazzle the customer; it is to design a better tomorrow."

In her view, sustainability is not merely reducing waste but designing regenerative systems that keep materials circulating within the economy. Having a material-first mindset means considering an entire lifecycle, from sourcing and manufacturing to disposal and end-of-life infrastructure.

Through her focus on renewable, compostable, and easily recycled substrates, Kubrak is trying to demonstrate that designers can still deliver engaging designs that meet today's environmental challenges.

Core to her process is posing questions that cross brand strategy and supply chain logistics. Where does this material come from? How is it manufactured or produced? What is the end-of-life infrastructure like in the intended market? Can it be reused, repurposed, or easily recycled? This is what all designers should ask before even starting to design a packaging solution.

"Sustainability in packaging goes beyond the choice of materials; it extends to the systems in which those materials exist," says Kubrak. The move toward circular design principles means products and packaging should be easily disassembled, reused, or recycled.

For instance, Nirvana CPH's packaging for Kleos+Klea used a mono-material construction that simplifies recycling while still projecting luxury. Another project for TP Vision/Philips involved developing a material calculator that scores various substrates on their environmental impact, providing a roadmap for designing more responsibly across multiple product lines.

Bridging sensory design and sustainability

It's no secret that some brands have been put off by the stereotypes of sustainable packaging, driven by a belief that it can't be as high-impact or luxurious as its less eco-friendly counterpart. However, Kubrak's work proves otherwise.

"The challenge lies in balancing sensory richness with environmental responsibility," she says, mentioning Nirvana CPH's collaboration with Nanushka as a striking example of how this works in practice. Kubrak notes how the project began with in-depth material research and sustainability audits, mapping colours, materials, and finishes to align with Nanushka's aesthetic and environmental ambitions.

By opting for sustainable paper handles and an elegant black gloss foil logo - while remaining a fully recyclable mono-material solution - Kubrak's team showed that sustainability and premium branding can successfully converge.

Kubrack adds: "Similarly, Burberry's packaging under Christopher Bailey blended tactile cues from the brand's iconic trench coat into its boxes, bridging heritage and modern design. This textural homage evolved under Riccardo Tisci and then under Daniel Lee, maintaining a consistent brand identity while utilising the highest percentage of recycled fibres to date."

The role of CMF in sustainable sensory design

CMF design is a niche discipline that merges aesthetics, sensory expression, engineering, cultural relevance, marketing storytelling, legislative compliance and environmental responsibility. It is about much more than colour swatches and finishing touches; it's a strategic approach that can help a brand with up to 90% of its product and packaging's environmental impact, according to Kubrak.

"No other discipline within the creative industry brings all of these topics into one conversation so seamlessly," she says.

By creating "material toolkits," Kubrak and her team aim to enable multi-departmental collaboration across design, brand, procurement, marketing, procurement, and logistics. This holistic approach was developed to ensure that aesthetics, function, and sustainability are addressed from the outset, preventing last-minute compromises while allowing design teams to lose themselves creatively with curated materials.

Kubrak adds that it also lays the groundwork for the industry's "next wave of leadership roles". She envisions a future where a 'Chief Material Officer' is a standard presence in major global businesses.

Practical tips for a material-first mindset

Through the lens of Colour, Material, and Finish, Kubrak offers some advice on making choices that align with a material-first mindset.

When it comes to colour, opting for natural dyes or low-impact pigments and considering hues inspired by nature is a good way to start. For example, she notes how Gmund Biocycle's 'grass' colour is vibrant yet sustainable. She adds that "strategic designs and use of graphics and print can reduce resource use".

For the material element, she suggests investigating emerging alternatives, like mushroom-based packaging, seaweed films, and fibres derived from food waste fibres (e.g., cherries, cocoa beans, and lavender). "Uncoated kraft papers and recycled boards in mitred edge constructions add texture and character without extra finishing processes," says Kubrak.

Finally, with the finish, Kubrak advises replacing petrochemical-based laminates with water-based coatings, adding that "embossing and tactile patterns introduce sensory depth without adding extra layers of unsustainable material".

Challenges and opportunities

"Of course, designing at the intersection of sustainability and sensory experience comes with its challenges," says Kubrak, reflecting on how "sustainable materials often have limitations in terms of availability, cost, and scalability".

She adds that some materials might also lack "the tactile or aesthetic qualities designers are used to working with".

What we can't forget is that a challenging landscape is the perfect breeding ground for innovation. These constraints often lead to breakthroughs like mycelium-based packaging or algae-derived bioplastics, as well as new constructions and production methods.

Kubrak also points to Product IDs, QR codes, and other technologies that can extend the story beyond the product, enabling brands to track materials, promote reuse, and build deeper consumer engagement.

A collaborative conversation

"'Design that feels' does more than indulge our sense of touch - it brings together ecological integrity and sensory richness, creating packaging experiences that honour both people and the planet," says Kubrak. From her work with Nanushka and Burberry to her forward-thinking initiatives for TP Vision/Philips and Canada Goose, Kubrak has demonstrated that sustainability and sensory delight are not mutually exclusive and can be achieved by embracing a material-first approach.

She will delve deeper into these themes at the free-to-attend Paris Packaging Week later this month, offering more practical guidance for designers and brands eager to embrace the future of packaging.

"It's important to be part of key industry events like this. It's how we come together to make better things,"
says Kubrak. As the conversation shifts to regenerative solutions, designers and strategists should be looking to prove that packaging can be as engaging to the senses as it is respectful to our environment.