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The Miracle of Flight

20 Years of Hudson-Powell · Words by Michael Bierut · IDEA Magazine issue 412, 2026

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As boys growing up in the late nineteenth century, Wilbur and Orville Wright were restless and energetic. They liked making things, and they liked taking them apart even more. When Wilbur was 11 and Orville was 8, their father gave them a toy helicopter made of paper, bamboo and cork and propelled by a rubber band. The two boys played with it incessantly until it broke. Then they built their own. Over the next few years, they would build many things, including bicycles and at least one printing press. They were obsessed with the idea of flying and studied birds, weather patterns, and Leonardo da Vinci. Finally, on 17 December, 1903, on a remote stretch of sand dunes in North Carolina, they made the first sustained, human-controlled flight of an engine-powered aircraft, and changed the world. Wilbur and Orville Wright each made unique contributions to the invention, but in public they always shared credit equally. They were brothers.

I was thinking of Wilbur and Orville while listening to designers Luke Powell and Jody Hudson-Powell talk about their own childhoods. They demonstrate the same energy, the same ceaseless inventiveness. “We’re brothers,” Luke told me, as if that explained everything. Sons of an artist mother and a photographer father, they opted out of the world of fine art for one of skateboarding, ramp building, videogames and club flyers, an endless banquet of DIY culture suddenly there for the taking in the 1990s. This same resistance to borders and limits, to disciplinary definitions, has informed their practice ever since. Their ethos, then and now, was simple: “Let’s just make a thing.”

Though three years apart, they both found themselves in college at London’s Central Saint Martins, similarly absorbing the conventional rules and then rejecting them. Subverting processes and combining handmade craft and new technology, they both stretched the boundaries of conventional design and orchestrated collisions between analogue, digital and conceptual.

After graduation, Luke found a home at creative studio and music scene mainstay The Kitchen, while Jody continued with an MSc in Virtual Environments at the Bartlett School of Architecture, building immersive worlds not from brick and mortar but from points and pixels. Shortly after starting work at Nokia, Luke invited Jody to embark on the brothers first truly collaborative project, co-directing the music video for PJ Harvey's song ‘Shame’. Over the course of a very intense four day period which involved setting up a temporary studio in Luke's living room and inviting friends to work alongside them, the project combined the pair's shared interests in experimentation, collaboration, and in analogue and digital creation. This marked the beginning of Hudson-Powell.

“We grew organically,” Jody told writer Adrian Shaughnessy. “We didn’t have a plan and worked on projects that interested us. We had three portfolios – one for directing, one for interactive, and one for graphic design. Depending on what the project was, we’d take one or the other of the portfolios to meetings. This was because back then we couldn’t convince people that we could deliver all three disciplines.” As the demarcations between those disciplines blurred, Hudson-Powell’s reputation grew. They alternated working for small clients (“friends who had set up clubs, record labels and restaurants,” Luke recalled later) and collaborating with large agencies who were trying to marshal the radical forces then revolutionizing the field of traditional branding. The brothers proved to be perfect guides.

One of the agencies that discovered Jody and Luke was the legendary consultancy Pentagram. Founded in 1972, Pentagram was conceived as a creative collective, a place where independent designers accustomed to hands-on involvement in projects could retain that control while operating within a larger international support structure. It was the perfect structure for individual designers seeking a larger stage. Jody and Luke were invited to join as partners in Pentagram’s London office. The arrangement was unprecedented. Not because of the diversity of their practice — Pentagram had been multidisciplinary from the start — but because the offer was made to two brothers who were used to working as one. The model would be, in effect, a partnership within a partnership.

The experiment began in 2015 and it has, by every measure, been a success. Their work has expanded and deepened, with genre-smashing branding projects for clients from natural language processing pioneers Cohere and machine-learning startup Graphcore, to the UK’s most disruptive public service broadcaster Channel 4, to highly-visible cultural projects including Frieze and London Fashion Week.

In contrast to these larger scale projects, Jody and Luke maintain their commitment to working on a diverse range of smaller, experimental projects. These act as a creative playground and test bed for future work, and feed the brothers’ appetite for invention. These range from the digitally-grown mushroom typeface ‘Hypha Hypha’ for an exhibition at Somerset House, to a contemplative mobile game ‘Almost Light’ that served as Pentagram’s 2024 Holiday card, and — returning very much to the analog world — a series of ceramic tiles designed for Huguet in Majorca.

The brothers continue to be passionate about the thinking and process behind a design as much as, if not more than, the design itself. And behind every assignment is an open-ended question: “Wouldn’t it be cool if…?”

Since the advent of written language, the way we communicate with each other has been firmly anchored to technology as it evolves from era to era, from carved inscriptions to movable type to digital displays. Two brothers, sharing an appetite for invention, a suspicion of boundaries and a willingness to make up their own rules, are discovering new ways to leave these earthbound conventions behind. With each fresh challenge, Luke Powell and Jody Hudson-Powell continue to find new ways to defy gravity.

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The interview

Interview text courtesy of IDEA Magazine

Q Looking back over 20 years of working together, which early projects or aspects of your relationship stand out most?

Luke Powell

There’s no single standout project really. Our practice is the project.

Jody Hudson-Powell

I agree. It’s basically a 20-year experiment in collaboration—being brothers definitely shapes how we work too. The outcome is for the client, but the process is for us. That’s where we find the joy, and hopefully that comes through in the work.

Luke Powell

There were standout projects that helped us come to this conclusion and took us from feeling like ‘jack of all trades’ working across typography, motion, print, code, 3D, towards realising that the combination of, and experimentation within these mediums was what made our practice.

Jody Hudson-Powell

Responsive Type was an early example of this. We built a dynamic system where text could shift from a simple body font to an ornate headline as you typed. The idea was that letters could eventually be defined by behaviour, a typeface that responds to the weather, to emotion, to time of day so it’s always legible. That was around 2005, long before variable fonts were a thing. It was early projects like this that started to join mediums and ways of working together—and ultimately became foundational to the way we now work and build larger scale projects.

Q How has your collaborative style developed over the years?

Jody Hudson-Powell

If we mean the way that our work looks, then we’ve never had a style per se.

Luke Powell

Our thinking has always been that the idea leads to the aesthetic and visual solution, and so whilst there might be stylistic crossover, we never discuss style outside of the context of its relevance to the idea.

Jody Hudson-Powell

But if we’re talking about the ‘style of collaboration’ as opposed to a ‘collaborative style’, then yes there is a shared approach.

Luke Powell

We interrogate each other’s thinking a lot. Most likely because we’re brothers, but we’re able to be very honest about work and ideas without it being too personal, or at least if it is personal, we get over it pretty quickly.

Jody Hudson-Powell

Being brothers ties into us having always had quite a profound level of shared creative ownership. Yes we still bicker and argue about details, but ideas move freely between us, which has had a liberating effect on the way we work with our team and clients. I’m often leading one project and Luke is leading another, but there is almost always some type of cross-pollination within any one project.

Q In what ways do you complement each other?

Luke Powell

There are differences between us in terms of skill set and the places our brains tinker that enable us to build on and play with each other’s ideas. It’s somewhat of a false difference as we both think in terms of type, code, motion, 3D, etc. But Jody will lean slightly towards coding, motion and 3D and I will lean slightly more towards typography, physical and 2D stuff—and these slightly different angles enable us to build and create richer projects. LP There are differences between us in terms of skill set and the places our brains tinker that enable us to build on and play with each other’s ideas. It’s somewhat of a false difference as we both think in terms of type, code, motion, 3D, etc. But Jody will lean slightly towards coding, motion and 3D and I will lean slightly more towards typography, physical and 2D stuff—and these slightly different angles enable us to build and create richer projects.

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p.12410 Years at Pentagram

Q You joined Pentagram as partners in 2015. What were your thoughts and challenges at that time?

Luke Powell

We ran a really, really lean business at Hudson-Powell. It was just Jody and I sharing a studio with some friends.

Jody Hudson-Powell

We had a desk, a laser printer and a couple of laptops, our overheads were non-existent. We needed to be flexible as we never knew which discipline we were going to be working in so we built temporary teams of friends and freelancers around projects. Also, between us we could cover most skillsets needed in a project.

Luke Powell

Pentagram gave us autonomy and enabled us to build our business in the shape we wanted whilst also giving us a massive platform to build from—so it was everything we needed at that moment. We were worried whether our small practice way of working which was largely built around; ‘let’s do lots of experimenting and small projects and take those learnings into bigger, more commercial projects’ would still work at a larger scale—but ultimately it did, which is testament to the flexibility that the Pentagram model gives.

Q How has your work at Pentagram changed compared to your previous studio experience?

Jody Hudson-Powell

I think scale is the change, right? We haven’t changed our way of working at all, but the scale of projects we can apply our ideas to—and the budgets to develop them—have grown. Pentagram was the logical next step, letting us take our cross- disciplinary approach into much larger projects.

Luke Powell

In the early years we were making digital tools and generative work in the background, often at our own expense, just to prove what was possible. Over time, clients started to see the value, and now that way of working has become central to many of our projects.

Q As a duo acting as a single partnership, how do you feel you contribute to Pentagram projects?

Jody Hudson-Powell

Diversity across partners is one of Pentagram’s strengths. Each new partner adds something different to the mix, and when we joined it was partly for our focus on the craft of design and how it meets technology. That felt like an area the office wanted to expand.

Luke Powell

Early on we worked on a project for AI company Graphcore who were developing new silicon hardware for machine learning. We created a dynamic typeface, a pattern-generation tool, and a design language that moved across print, digital and physical product. It was a chance to show how design and technology could work together across different mediums. LP Early on we worked on a project for AI company Graphcore who were developing new silicon hardware for machine learning. We created a dynamic typeface, a pattern-generation tool, and a design language that moved across print, digital and physical product. It was a chance to show how design and technology could work together across different mediums.

Jody Hudson-Powell

That project set the tone for us at Pentagram. Over time, that approach— combining craft with computation—became our signature.

p.125Approach to Projects

Q Could you share some of the most memorable or challenging projects you’ve worked on?

Luke Powell

Lots of our projects are challenging—we like solving big problems, understanding what is at the core and finding simple solutions to make brands and designs communicate better and easier to work with. One common challenge is brands that have grown organically and as a result are all over the place. Alongside the conceptual part of design and branding we enjoy joining those dots and creating functioning systems.

Jody Hudson-Powell

That’s true—but we do also get a bit too invested in the work and make life quite hard for ourselves trying to break new ground constantly. We don’t do shortcuts and go through a rigorous process where we challenge ourselves to nd something that we think is distinct and uniquely interesting.

Jody Hudson-Powell

Channel 4 was memorable—it’s such an integral part of UK culture and switching on the TV and seeing your work was a great moment. Also I think Cohere and Graphcore really pushed us forward in terms of our integration of technology and other people recognising them as being standout, it felt like those projects created a tiny gravitational dent in design.

Luke Powell

And then I think there are other projects that we’re just proud of—Frieze, as simple as it was, and the work we did for London Fashion Week was just creatively really fun.

Q How do you generate ideas and make design decisions during a project?

Jody Hudson-Powell

We don’t really have a single defined process. I think one thing that’s true for us is if you can’t write the idea down or draw it, then it’s not an idea yet. We’re still a bit college days about the way we like to work—sketchbooks, drawing, talking, keeping it in that space for as long as possible. Some people nd that strange. You’ll get a freelancer come in and be like, ‘We’re still in a really philosophical place with this, when does the design start?’ But you just have to stay with it until something feels genuinely interesting.

Luke Powell

You know a project is starting to work when the elements start to connect; it makes sense strategically and conceptually, it ts with the design vision, it solves the practical challenges, etc. Once that happens, you know whatever you make visually will work. That’s what helps us make decisions. You can always look back at the idea and ask, does this make sense, is it serving the intent? LP Whatever the medium, we’re incredibly focused on the detail of the craft. We’ve built a very mixed team, and that comes from how we started. Jody and I could both animate, do 3D, draw, code—we did everything ourselves. It means we’re as likely to design in 3D or through motion, time, rhythm, or code as we are in 2D. That’s still how we work now, just with a team. Ideas can happen in any of those spaces, and the medium itself can shape how something looks. I think that’s quite unique.

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p.126Design Today and Ways of Working

Q The design field is changing due to digitalisation and AI. How do you think the attitude and role required of cutting-edge designers has evolved?

Jody Hudson-Powell

I don’t think digitalisation is rapidly changing, design has been digital for a long time. We’ve just got new tools that have created new ways of working. The collaborative nature of new design tools affects how people work in both positive and negative ways, and in relation to AI I think the real implications aren’t clear yet.

Luke Powell

Design is still design. It’s still trying to do the same thing in the world. Our role hasn’t changed in that sense—it’s still about understanding a subject and visually communicating it. The way we work constantly evolves, and always has, I don’t think we can fully predict where it’s going.

Jody Hudson-Powell

If you see yourself as a cutting-edge designer, especially one interested in technology, I think your role is to participate in creating the tools, not just to use them. There’s a role for design within AI to help shape and craft the technology in a way that empowers us. The role of the designer is to participate rather than passively accept whatever comes down the line. There are lots of tools out there now that claim you can ‘do anything with design’ using AI, but that’s not really true. A lot of the output is faster, more efficient, but it’s not great design unless it’s being shaped and controlled. The design we do comes down to craft, and with craft you need control. At the moment, these tools don’t give you that—they’re obsessed with the final asset, whereas most of design is process. So I think the role of the designer is to participate in building new tools and ways of working.

Q How do you balance the independence of individual partners with the cohesion of the overall group?

Jody Hudson-Powell

I think the simple answer is that we are each independent and there are no structures or systems that define how any of us should work. Once you’re a partner, the work you do and how you do it is completely up to you.

Luke Powell

Pentagram’s strength is in the different approaches of each individual partner. Each of those partners being outstanding within the kind of design they do, rather than being similar in their practices.

Q What core skills do you think young designers will need in the future? LP It depends what kind of designer you want to be. The mediums and tools will always change, I think the constant skills are; being inquisitive, being ideas led in the work you do, being experimental in how you think, and not following trends.

Jody Hudson-Powell

And I think those things are only going to get more and more important as the world and design become increasingly homogenised. There’s this big fixation on output—on seeing image after image, and now AI generating image after image— and all of that is kind of void of design’s core, which is to communicate and to serve some purpose in the world.

Luke Powell

Exactly. I think design is a lived experience, it’s a medium that’s multi- dimensional. Designers over-focusing on final look and feel, chasing trends, miss the real craft—the process of creating your own way of working, your own language.

Jody Hudson-Powell

That’s the thing I love about what we do—it’s invention. Design as invention. Building new ways of working, creating systems that feel alive. I almost see our processes as contraptions, each producing its own visual output.

p.127Creative Technology and Experiential Design

Q You have worked on projects that combine technology and design, such as augmented reality and immersive experiences. What approaches do you prioritise in these types of projects?

Luke Powell

We’re quite pragmatic in how we approach projects that mix technology and design. We talk a lot about experimentation and ideas, but there’s always a practical side too—how is it going to work, how will people interact with it, and what technology do we use to make it happen? Understanding those constraints is part of how we shape an idea. Once we understand that, we start experimenting. We look at what’s viable and what’s new—maybe it’s a technology we haven’t used before—and we begin integrating the technical learnings with creative ideas.

Jody Hudson-Powell

I think we’re pragmatic but also instinctive. We grew up playing with technology, and often try to show the world something a little bit new, even if it’s just a small shift in perspective. We like to subvert technology a bit, to reframe it so people see it differently. When I was studying at the Bartlett, early AR felt really academic—you’d point at a page and get a 3D model. We asked, what if this could be more reflective, more human? That became a project where people saw themselves as characters in public space—a rabbit, a frog, a box head—playing and reacting together. It was about turning the technology into something social.

Q How do you think using technology and new forms of expression can transform brand or exhibition experiences?

Jody Hudson-Powell

Technology isn’t something separate from everything else. All of our clients are responding to technology—it’s already a part of the stories they want to tell. LP Technology for its own sake is a folly. Many exhibitions try too hard to be interactive when there’s no need. The way we approach it, even when it feels inventive or foregrounded, it’s always in service of an idea or experience. Sometimes our work can be very traditional because it doesn’t require technology. We’ve both been frustrated by immersive experiences or websites that overcomplicate things. We often go to great lengths to simplify what we’re doing to make sure it works and is usable.

Jody Hudson-Powell

Graphcore was like that—the type dynamically changed because the brand had two distinct voices, one more academic and engineering-based, the other more public. We wanted a typeface that could visually signal who they were talking to. We also made a tool because they weren’t going to hire designers, so we needed a system that worked practically for them.

Luke Powell

Yeah, often the role of technology comes from something very practical, and that’s where its power lies—solving something normal in a dynamic, useful way. When it’s used for its own sake, it becomes disruptive.

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Channel 4 Identity, 2023P.128-129

p.128Looking Ahead

Q After 20 years of collaboration and 10 years at Pentagram, how have your perspectives on design and your work changed?

Luke Powell

Our approach has always been ideas-led and process-led, and that’s still the same. The world around it has changed—the mediums, the tools, the technologies— but the way we work with ideas hasn’t. We’ve never been led by trends or a single piece of technology. It’s always about how we use them, not being defined by them.

Jody Hudson-Powell

I think what has grown is how we collaborate. We’ve always been collaborative, but now that’s expanded—with larger teams, more people, more moving parts. A big part of our role now is supporting others, helping the people around us realise bigger, more complex projects.

Luke Powell

That’s true. It’s shifted from just the two of us doing everything to something more pastoral. We’re more focused on lifting the team up, treating everyone as collaborators. We’ve always been porous with ideas, and we try to keep that energy.

Jody Hudson-Powell

How we see things and how the world is are closer now, but there’s still plenty of runway ahead.

Q Finally, please share a brief message for IDEA readers.

Luke Powell

Stay radical.

Jody Hudson-Powell

Yeah, stay radical. I hope there’s something in the way that we work that people can take on or learn from. It’s a fun way to exist in the world. We get a lot from it, and I think the work does too. Design takes a lot out of you—we put a lot of ourselves into it—so it needs to be rewarding. I feel like we’ve found something that gives back as much as we put in. JHP Yeah, stay radical. I hope there’s something in the way that we work that people can take on or learn from. It’s a fun way to exist in the world. We get a lot from it, and I think the work does too. Design takes a lot out of you—we put a lot of ourselves into it—so it needs to be rewarding. I feel like we’ve found something that gives back as much as we put in.

Luke Powell

Yeah, it feels like a life well spent—learning, being curious, exploring. Those are quite innately human things, and we’re lucky to be able to do that every day.

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Hypha Hypha Typeface, 2020 · Richard Nicoll Identity, 2014P.130-131
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Frieze Cork Street, 2021 · Graphcore Identity, 2017P.132-133
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Luke Powell, Central Saint Martins, 1998 · Project Canna, 2018P.134-135
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Jody Hudson-Powell, CSM, 2000 · Almost Light Game, 2024P.136-137
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DIY VR Project, 2010 · M1-ONOLITH, 2023P.138-139
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Studio Louise, 2020 · Jody, Bartlett School of Architecture, 2003P.140-141
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Matt Stokes, The Gainsborough Packet, 2009 · V&A Cartier Exhibition, 2025P.142-143
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Jody, Bartlett School of Architecture, 2003 · Canteen, 2005 · Spiritland, 2016 · TwelveLabs, 2025P.144-145
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Responsive Type, 2005 · Cohere, 2023 · Isomorphic Labs, 2023 · Motion Graphic Arts, 2001 · Hungry Hungry Fat Head, 2009 · Almost Light, 2024P.146-147
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Slate, 2005 · Graphcore Quantized, 2017 · Chatabet, 2025 · Concrete and Glass, 2008 · Watch This Space, 2017 · Spiralled, 2020P.148-149
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p.150Tributes

Paula Scher

Pentagram, USA

Jody Hudson-Powell and Luke Powell are brothers who look absolutely nothing alike. However, they are like-minded and individualistic-brilliant graphic designers and serious technologists, a rare combination of talents.

Jody's work for Cohere raised the expectation of branding for a technology company by creating a fluid, visually gorgeous design language.

Luke combines his passion for technology with broad cultural interests his identity for Channel 4 became an instant icon.

Together they brought a new vision to Pentagram-one that fits perfectly within the firm's creative DNA.

Their work is visually shaped by technology, but always led by ideas first.

Asif Khan

Founder, Asif Khan Architects, UK

I first got to know them because we had neighbouring studios-me a young architect, and Jody and Luke as young designers.

I knocked on their door, was welcomed onto their sofa, and we soon started working on a project together.

Fifteen years later, we're still collaborating, most recently on the Cartier exhibition at the V&A in London.

Their creativity stands out. It moves freely across disciplines, unconstrained by traditional boundaries, and their openness and differences as brothers make their partnership unique and enduring.

In my opinion they've quietly and modestly kept alive, and pushed forward, the lost spirit of graphic design in the UK.

I'm proud to call them my friends, and a little jealous that they can call each other family.

Joe Staples

Representative, Coinbase · Former CCO Wieden Kennedy · Partner at Mother, USA

I spent time with them at St. Martin's in the late 90s. Even then, they seemed obsessed with two things simultaneously: a deep understanding of traditional craft and a wild obsession with technology... technology that, even now, hasn't fully been realised.

For me, this combination is what has made their work over the last 25 years both timeless and timely-a truly rare and special quality.

Sean Perkins

Partner, Director, North Design, UK

I've known Jody since he left college and later collaborated with him and Luke when they founded Hudson-Powell.

"Experimental" describes them perfectly-they were the go-to team for innovative, technology driven design solutions.

Jody... having worked with him most closely has always impressed me with his "dreaming of a different tomorrow" approach-constantly exploring and experimenting with new tech, asking what if...

He seems most at home as a native of the future and encourages his team and clients to join him there.

Simon Taylor

Co-Founder Tomato, UK

They consistently look at culture and technology and they've understood how these two forces intertwine as expressions of who we are and how we live.

This is what I see when I look at Luke and Jody's work-the core quality that makes them vital and always relevant.

Kotoko Koya

Regional Manager D&AD, Japan/Singapore

Visionary designers Luke and Jody move fluidly through the worlds of design, technology, and space.

Their work merges logic and emotion, code and craft, to reveal new rhythms of brand and form.

Within design's established order, they provoke collisions that grow into new expressions-a living testament to curiosity, experiment, and the harmony that defines tomorrow's design.

Marina Willer

Partner Pentagram, UK

I have worked with Jody and Luke probably for as long as they have been working together.

I proposed them to be partners at Pentagram, have loved seeing them grow in their careers and enjoyed working with them every step of the way.

Jody and Luke have always inspired me for their incredible talent and passion for innovation, experimentation and creativity.

The freshness of their approach combined with their humble personalities have transformed the culture of Pentagram.

I am very grateful to have them as partners.

Maxime Plescia-Buchi

Creative Director, Tattooist, USA

I have been following the work of Hudson-Powell since the mid-2000s, and for me they have always walked the fine line between technological inspiration, graphic tradition, and culture.

British design already balances these well, but Hudson-Powell manage to do it more tastefully and effortlessly than most.

Maholo Uchida

Director The Museum of Narratives, Japan

My curation theme was the fusion of wisdom, beauty, and the emotion of humanity-in other words, it perfectly embodied their creation.

I feel so fortunate to have witnessed the moment when deeply philosophical, intellectual and humorous conversations gave rise to the most powerful, intelligent, and beautiful design.

Thank you for giving shape to an identity that looks toward the future-a future we will continue to shape together.

Zak Kyes

Creative Director Zak Group, UK

Familiarity with a form breeds obedience-you begin to respect its limits. Luke and Jody never did.

They operate as generalists, practising DIY at scale, asking how one discipline might pollinate another.

Their work and our friendship share a fundamental condition: curiosity as a method.

In the early days, when we shared a studio space, I saw it firsthand-thinking out loud, constructing by questioning.

That refusal to specialise, that persistent openness, remains their most radical position.

Hugh Miller

Partner Pentagram, UK

I've known Jody and Luke for over 20 years, and in that time they've quietly carved out their own path within the design scene-seamlessly blending technologies and crafting fresh solutions through their unique lenses.

Humble and all-round great humans, a joy to witness the magic up close as a fellow partner at Pentagram. Together,

they continue to push forward as one of the UK's most respected creative partnerships.

Fergus Purcell

Artist and Designer, UK

I can't speak directly to Jody and Luke's influence or achievements, but I do know that whenever we stop and chat, there's always an interesting conversation to be had-whether it's about a band they've seen or a random thought from last week.

It's that chat-those moments and that way of thinking-that make their work their work.

Rory McGrath

Director OK-RM, UK

I remember going downstairs into Hudson-Powell's studio and seeing wobbly, pulsating, colourful shapes through a smoky haze. We were young, all striving and Jody and Luke had already understood that design was about solving problems and more about a way of being in this world, and with each other.

Francesca Gavin

Editor in Chief, EPOCH Review and Founder at Art Present Future, UK

From the first time I met Luke and Jody the conversations were big but immensely easy. We met through skate friends but also overlapped in the art world, talking about fat topics like technology, weirdness and aesthetics. We came from creative backgrounds and shared that sense of oddness. The first time we collaborated was on a Dazed magazine festival, I invited the pair to create an installation in a window in East London. I remember a modernist take on styrofoam. From that moment I knew whenever I had an out there project, they would be the dream collaborators.

We have since put together the book Watch "This" Space in 2017, and curated Mushrooms: The Art, Design and Future of Fungi at Somerset House.

Whenever I have the chance to do anything with them again I will. Until then, I just have to settle with where we began long, fun conversations over lunch.

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Responsive Type, 2005P.152-153

p.152Credits

Since the foundation of our partnership in 2006, our work has always been the product of collaboration-something which has helped to shape our practice since leaving college. Below, we credit the members of our team at Pentagram-whose work from 2015 to 2025 is represented in this article-along with some of the friends and collaborators we've been fortunate to work with over the past 20 years.

Edited by Pentagram and Idea

Essay by Michael Bierut

Interview by Idea

Design by Stefan van Rijn, Luke Powell, Jody Hudson-Powell (Pentagram)

Translation by Fraze Craze Inc.

JL Team 2015–2025

Albert Sanjuan, Alice Sherwin, Amy Allin, Amy Joycey, Ben Leonard, Ceri Stock, Chris Baker, Eleanor Sutherland, Emma Caamano, Harrie Yoo, Hazal Ozkaya, Helena Postigo Matey, Jack Llewellyn, Jonathan Quaade, Latoya Makenzie, Laura Chan, Luis Gutiérrez, Margherita Papini, Matthew Hii, Myungsik Jang, Navneet Bhatia, Sabrina Maerky, Stefan van Rijn, Tanya Lee

Friends and collaborators

Abbott Miller, Ali Raybold, Andrea Trabucco Campos, Angus Hyland, Anjela Freyja, Annie Hudson, Arthur Carabott, Ashley Johnson, Asif Khan, Ben Lee, Ben Sansbury, Ben Turvey, Bethany Koby, Blue Farrier, Bob Sanderson, Chanwoo Lee, Chemi Isozaki, Chin Han Cheung, Chris Lawrence, Claudia Doms, DJ Stout, Daniel Kozma, Domenic Lippa, Eddie Opara, Elizabeth Neilson, Émilie Rigaud, Emily Oberman, Emmi Salonen, Felix Faire, Fernanda Ruiz, Francesca Gavin, George Plaister, Giorgia Lupi, Grégory Ambos, Hamlet Auyeung, Harry Boyd, Harry Pearce, Hugh Miller, Ishaan Pamnani, James Moriarty, Jamie Kyle, Jamie Rickett, Jan Urbanowski, Jean-Gabriel Becker, Jennifer Whitworth, Jethro Haynes, Joe Staples, Joel Gethin Lewis, John Rushworth, Jon Marshall, Jordan Crane, João Miranda, Juan Costa Paz, Julien Gauchadoat, Justus Oehler, Karl Sadler, Kate Rogers, Katee Hui, Katie Daily, Lena Nalbach, Lou Hisbergue, Luke Hayman, Luke Prowse, Marcus Wendt, Marina Willer, Martin Bell, Masaki Hosotani, Matt Heinl, Matt Willey, Matthew Snow, Matthew Taylor, Michael Bierut, Michael Gericke, Michael Mason, Mike Skrgatic, Monique Kawecki, Naresh Ramchandani, Natasha Jen, Nicholas Myhring, Nick Phillips, Nicola Pecoraro, Nordine Benotmane, Oliver Knight, Patrick Clayton-Malone, Patrick Waterhouse, Paul Jonas, Paula Scher, Pernilla Ohrstedt, Pete Mckenzie, Piotr Woronkowicz, Richard Nicoll, Robin Powell, Rory McGrath, Rosie Emery, Ryuhei Nakadai, Samar Maakaroun, Samuel Diggins, Sarah Fung, Sean Perkins, Simon Browning, Simon Owens, Simon Taylor, Sky Kawano, Suzanne Livingston, Tara Darby, Tero Parviainen, Tom Baker, Tom Phillips, Toshiki Ohta, Tota Hasegawa, Uri Baruchin, Wai Hung Yung, Will Sansom, William Russell, Yehrin Tong, Yuko Kondo, Yuri Suzuki, Yurii Khomovskyi, Zak Kyes, Zuleika Sedgley + many more

Magazine scan, spread P.154-155
Huguet Ceramic Tiles, 2022 · Dazed Live installation, 2011P.154-155
Magazine scan, spread P.156-157
PJ Harvey 'Shame' Video, 2004P.156-157
Magazine scan, spread P.158-159
Huguet Steno, 2022 · Forms of Inquiry Exhibition, 2005P.158-159
Hudson-Powell — Archive