Adina Nicola

Adina Nicola didn’t plan on a career in tech. Starting out in fashion, after hitting the all-too-familiar wall of unpaid internships and underpaid roles, she began questioning the way creative industries work. That curiosity led her to digital tools – and opened up an entirely new path in creative technology. Now a Creative Technologist at Nothing, Adina is using design, tech and storytelling to shake up how we think about making. In this interview, she talks about switching lanes, pushing for fairer creative work and building a project that makes people look at craft in a whole new way.

What I do

How would you describe what you do?
I’m a creative technologist who uses design thinking to explore new and imaginative ways of interacting with digital tools. My work often combines technology with storytelling and critical thinking, inviting people to rethink how and why we use the systems around us.

What are the main influences and inspirations behind your work?
I’m deeply inspired by the symbolism found in aesthetics – how certain styles, forms, or materials can hold meaning and spark reflection. I often question where our core beliefs come from, and how tradition shapes them. There’s a recurring tension in my work: a kind of push-and-pull between admiration for cultural heritage and a curiosity to challenge it. I also love working with traditional mediums that have been passed down through generations – there’s something powerful about reworking them in a contemporary context.

Would you say you need any specific training for what you do?
My path has been a bit unconventional, which has allowed me to train in both fashion design and creative computing. For anyone interested in fashion, I’d say to get really comfortable with the basics – especially pattern cutting and fabrics. Sketches are great, but understanding materials and construction is essential for strong design.

For creative technology, a lot depends on what you want to use it for. At university, I explored a wide range of software and approaches. Personally, I’ve focused on e-textiles and 3D tools like Unreal Engine and CLO3D. I also work with platforms like Fusion360, p5.js, three.js and machine learning.

What’s been your favourite project to work on from the past year, and why?
Over the past year, I’ve been developing 'Second Coming', which is actually my most ambitious project to date. It reimagines how we engage with independent design by creating a space where people can connect more meaningfully with the materials, makers, and environments behind each piece.

As part of the project, I collaborated with jewellery designers to build custom digital environments that reflect the essence of their work. These interactive spaces not only showcase their collections, but also give insight into their processes, values, and material choices, offering context that often gets lost in traditional retail.

Rather than presenting objects in isolation, 'Second Coming' invites visitors to explore the deeper stories that shape each creation. It moves away from transactional experiences and instead opens up space for curiosity, reflection, and a closer relationship with craft. At its core, the project asks how we might rethink consumption, shifting focus from the final product to the process that goes into creating it.

'Second Coming' is currently on show at Hypha Studios as part of an exhibition curated by Poiesis, a collective formed by my friends and me. The show runs until 25 May, and you can find more details here.

What does a normal day-to-day usually look like for you?
I’m currently working as a Creative Technologist at Nothing, a consumer electronics company. Day-to-day, I collaborate with different teams to explore creative ways technology can shape how we interact with our devices. What I enjoy most is the freedom to experiment – whether that’s prototyping new interactions or rethinking familiar tech in unexpected ways.

No two days are exactly the same. One day I might be analysing competitor products, and the next I’m designing a new gesture or interface that could shift how people use their phones.

Outside of work, I try to stay in tune with what’s happening in the world – culturally, socially, and politically. I think as designers, we have a responsibility to understand the wider context our work exists in, and the influence it can have on the world around us.

How I got here

What was your journey like when you were first starting out?
I started out in the fashion industry, doing a series of internships with both big and independent designers. Most of them came through DMs on Instagram – it was surprisingly effective, and by the end of uni I’d built a strong CV with some well-known names. I assumed that would lead naturally to a full-time role, but reality hit – and shockingly – it turns out it’s much easier to land unpaid internships than it is to get paid work in fashion.

I eventually landed a job at Erdem, but the pay was so low I couldn’t afford to live off it. That’s when I pivoted into trend forecasting for a while, which I enjoyed – but something kept pulling me back to more experimental, digital work. I remembered the Creative Computing Institute and their MSc programme, and decided to apply.

During my master’s, I started job-hunting early because I was burning through savings. Toward the end of the course, I was lucky to secure both an internship and a full-time graduate offer. I chose the latter – and that’s how I joined Nothing as a Creative Technologist.

How did you go about landing your first few jobs, clients and/or commissions?
I really believe that just talking to people can go a long way. I reached out to loads of people on LinkedIn – across different levels and roles – and had a lot of informal online chats. It was through these conversations that I discovered new companies, roles I’d never heard of, and upcoming opportunities.

I also joined a creative technologist community and ended up helping them with their branding, which further helped expand my connections. I would also recommend just to always keep an eye out for opportunities and apply even when you don’t think you have a chance. If you won’t get the job at least you will build experience in interviews and the hiring process.

What has been your biggest challenge along the way?
One of the biggest challenges has been shifting the mindset that, as a creative, I can’t earn a living doing what I love. There’s still a pervasive idea in the industry that creative work is less valuable, and that’s reflected in how poorly it’s often compensated, especially in fashion.

Low pay, long hours and a culture of unpaid internships create unhealthy work environments. People lean into this idea that their role is more important because they have a certain title or work in a “glamorous” industry.

I believe that if unpaid internships were banned and fair wages became standard, it would disrupt this cycle of exploitation. It’s an issue we have to address if we want to build more sustainable and respectful creative industries.

Adina's drawings for the “Eclipse” design

How important are social media and self-promotion to your work?
For me, it’s always been about real-life connections more than an online presence. I prefer applying to offline opportunities – like being featured in a magazine, receiving a fellowship, or exhibiting work in a gallery – as they feel more aligned with how I want my work to be experienced.

I tend to use social media more as a tool for collaboration and reaching out to others rather than focusing on constant posting. Some of my best collaborations have come directly through social media and have led me to some of the most rewarding projects I’ve been part of.

That said, I know social media is something I need to get better at. I’ve built a solid foundation with my website and Instagram, but I struggle with posting consistently or sharing updates in real time.

My advice is: If you enjoy consistently posting, that’s great. But if that’s not your thing, showing up in real life and connecting with people directly can be just as rewarding in the long run.

What are three things that you’ve found useful to your work or career, and why?
1. Collaborate. As creatives, I believe it’s essential to support one another. Reaching out to artists and designers has led to some of the most fulfilling partnerships in my practice. Collaboration is both my favourite and most nerve-wracking part of the process – it requires trust and a willingness to let go of full control in order to build something together.

2. A social media detox. FOMO (fear of missing out) is something I’ve always struggled with, and social media only amplifies it. It’s hard to hear your own thoughts or trust your intuition when you’re constantly bombarded with content. Sometimes I catch myself reacting impulsively to a project I admire, wondering why I’m not doing something similar, and it becomes difficult to create work that feels honest or rooted in my own voice. There’s a sense that we have to live online to stay inspired or visible, but the truth is, once you’re deep in that creative echo chamber, everything starts to look the same.

3. Free resources. Never underestimate the power of the internet when you need to learn a new skill or find resources. Pretty much everything I’ve wanted to learn – whether it is a sewing tutorial from a lovely old lady on YouTube, an Unreal Engine tutorial on level building or browsing digital galleries through Google Arts & Culture – if you search hard enough, you will probably find it.

But don’t restrict yourself just to the online – there are great free workshops out there like the ones organised by the V&A, and portfolio reviews from Creative Lives in Progress(!) and The British Library offers a lot of free research and archive materials. And speaking of workshops, on the 17th of May, our art collective Poiesis, exhibiting at Hypha Studios, will also be hosting an E-Textile workshop.

My advice

What’s the best career-related advice you’ve ever received?
Sometimes what you see as a weakness can actually turn into your biggest strength. When I entered the tech industry after my masters, I was insecure about my skills. I often compared myself to classmates with stronger technical backgrounds and I thought my fashion experience would be more of a disadvantage. But in interviews it proved that my multidisciplinary practice set me apart.

If you have a unique interest or hobby, don’t be afraid to embrace it in your work. Be bold and unapologetic about it – it will help you attract the roles that are the right fit for you.

What advice would you give to someone looking to get into a similar role?
Be organised and strategic about it – I keep a table sheet on Notion to track the companies and roles I’ve applied for.

Don’t take rejection personally but listen to advice – when I go to an interview my favourite question to ask at the end is: “Seeing my work and experience – do you have any advice or thoughts for improvement?”

Don’t jump on trends, such as AI, just because it's the new buzzword. Focus on your interests and what sets you apart – it will pay off in the long term.