My role moved progressively upstream—from exploring possibilities, to leading a product and design organisation, to framing coherent experience direction across systems.

This public checkpoint shows the shape of the story. Detailed decisions, process artifacts and outcomes will be added only when protected hosting is in place.

Make the unknowns visible early.

The protected story will show how research, narrative, models and prototypes help different disciplines form a shared view of an experience opportunity.

Public-safe narrative placeholder. Specific briefs, decisions and artifacts will be added behind the future access boundary.

Pioneer with purpose.

The protected story will show how design made emerging possibilities tangible enough to discuss, challenge and learn from.

Public-safe narrative placeholder. Specific concepts, technology explorations and process artifacts will remain private until secure hosting is available.

Commercial impact and creative identity were not opposites.

Two stories show different sides of the same design practice.

Premium explores sustained product and organisational work around the subscription experience. Spotify Running explores a more concentrated moment of product discovery and invention. Together they show leadership, interaction craft and the importance of keeping a distinctly Spotify point of view while the company scaled.

Growth made every product decision more consequential.

Spotify moved from roughly 10 million to 87 million Premium subscribers during my tenure.

That number describes the company context—not an outcome I claim individually. My story sits inside that growth: leading and managing design work around Premium experiences, helping teams clarify value, improve important journeys and retain the creative character of the product.

Connect commercial intent to product craft.

The work needed clarity without becoming generic growth optimisation.

I helped frame problems, lead designers, shape critique and work with product, research, data and engineering partners. The final case should identify the specific funnels, experiments and interface decisions Rahul owned or directed, rather than treating the full Premium organisation as a personal project.

Running already had rhythm. Could Spotify understand it?

The opportunity was not simply to make a running playlist, but to explore a listening experience responsive to movement and context.

I helped shape Spotify Running as a design-led product experience. The final account should make the precise team, timeframe and Rahul’s hands-on contribution explicit as source material is added.

Prototype the feeling, not only the feature.

A responsive music experience had to feel effortless while coordinating complex inputs behind the scenes.

This case should show how the idea became tangible through story, interaction flows, prototypes and real-world testing. The strongest material will reveal timing, transitions, feedback and the details that made the experience feel musical rather than mechanical.

Design the moment. Understand the system.

Work across sport, brand and digital product developed the habit of zooming between a single interaction and the global experience around it.

I contributed to One Nike and led sport and brand work including the FuelBand dashboard. The final chapter should foreground sketches, flows, motion and system decisions so the craft is as visible as the finished interface.

AI may accelerate execution. It does not own the intent, judgement or consequences.

Each build will explain the human contribution, what AI produced, how the output was evaluated and where uncertainty remains. No theatre about doing everything alone; no surrendering authorship to the tool.

A continuing conversation about where design is going.

My board role keeps me close to the people, questions and practices shaping contemporary digital design.

This page will explain what I contribute to that community and why the role matters to my wider practice. Specific dates, responsibilities and supporting imagery will be added once source material is confirmed.

I am at my best where direction is unclear, disciplines need connecting and quality still has to become tangible.

Over the past decade I have managed managers and designers, built team cultures, and worked with product, engineering and business leaders at global scale. I remain a hands-on designer: framing, visualising, prototyping and using craft to help people understand one another.

Outside the formal biography: I am a single dad to Aina and Noa, a karaoke and ramen enthusiast, and someone who believes fun is a serious ingredient in good work.