Made in Toronto—Christina Bagatavicius on Collaboration, Culture, and Collective Design

Welcome back to Made in Toronto, the blog series where we explore the design world through the eyes of Toronto's most trailblazing agency founders! This time, we are excited to chat with Christina Bagatavicius, co-founder of the Bespoke Collective. Bespoke Collective is committed to "reimagining how culture and civic life bring people together”. They have a unique model where they only have a few people as their core team, and they collaborate with new artists/designers based on the projects they get. It is the public side of the design industry which is often very difficult to get in and handle.

In this conversation, Christina takes us through her journey— how the collective started, what goes into managing it, and how to get your foot on the public side of design. She opens up about the decisions, challenges, and collaborations that helped shape her career, along with her unique approach towards community engagement, cultural planning, programming and research, communications, and storytelling. Let’s jump into her story!

The Story of Christina’s Professional Journey

Christina did a BA in philosophy and a Masters in contemporary art history, which shaped her interdisciplinary approach to problem-solving. She began her career working at the Tate Britain in London, focusing on making art more accessible through exhibition and interpretive design. This experience ignited her interest in design's ability to influence public experience and create new entry points for diverse audiences. After returning to Canada, she deepened her expertise in communications and brand design at Bruce Mau Design, where she learned about design thinking as a framework for facilitation. Eventually, driven by a desire to align her work with her values, she co-founded Bespoke Collective to focus on projects that contribute positively to society, particularly in the public sector and cultural spaces.

Initial Challenges

Yatri: When you started the collective, were there any similar institutes or agencies open that you would consider as your competitors?

Christina: Yes, there were other agencies and institutes in cultural planning, but our approach was different. We focused on building a collaborative model, somewhere between large consultancy and smaller freelancers. Collaboration was key to us, and over time, our services expanded to include cultural planning, communication work for public sector projects, and community engagement.

Now, we navigate two main areas: public sector and city-building projects, as well as cultural planning—everything from feasibility studies to visioning. Despite the increase in competitors, there’s now a greater appreciation for a flexible, collective model, which was our vision from the start. It’s about assembling the right team for each project without being tied to one fixed structure.

Yatri: Were your initial clients coming through your personal connections or did you do any kind of marketing?

Christina: It was tough at first. For the first 2-3 years, I was flying solo, and securing big clients took time. My early projects came through personal connections, especially leveraging my international experience in London and my time at Bruce Mau Design. Those relationships were crucial in helping me get started. I was more likely to land a project at a major art museum in Chicago than in Toronto, simply because of where my network was.

I reached out to everyone I had worked with, even if they were far away. I did some subcontracting work with Bruce Mau Design, who were supportive in bringing me onto projects I was passionate about. Then, our first local break came when we won a project with the Matthews Foundation and Waterfront Toronto—launching The Bentway. That success opened a lot of doors.

In the beginning, it was about building a local reputation and visibility. Securing projects was hard, so subcontracting and fostering long-term relationships with clients and collaborators became key. I see those connections as lifelong, not just transactions. For example, I first met the executive director of the Toronto Biennial over coffee, and we worked together starting in 2018, and we've collaborated ever since.

The City wide naming campaign for the Bentway 2015-2016.

Waterfront Toronto Pop Ups in collaboration with Elson Studios and Sparkbox Studios.

Yatri: How did you initially ensure financial stability?

Christina: At first, it was all about balancing financial stability with building a viable business and a trusted reputation. It's essential to set your own boundaries—knowing what you’re willing to compromise on and what’s non-negotiable. Sometimes, I would take projects that weren’t always the perfect fit.

For example, I took on a project in Fogo Island while seven months pregnant. The conditions weren’t ideal—no hospital on the island and things weren’t fully built—but the project aligned with my values, so I went for it. It’s about finding the right balance with work that is financially viable but also aligns with your principles.

Financial stability requires flexibility and a focus on building relationships, networking, and supporting your professional community—whether it’s mentoring, taking coffee meetings, or supporting trusted colleagues. Ultimately, it’s a personal balancing act that looks different for everyone.

Yatri: How did you handle the legal side of things when starting the collective?

Christina: It was pretty much a "learn as you go" situation. Our first big project, a feasibility study for the Songwriters Hall of Fame, required us to incorporate for financial liability and insurance reasons. Luckily, one of the partners had a sister-in-law who was a lawyer and helped us with the paperwork. Since then, I’ve worked with lawyers who specialize in small businesses to create fair subcontractor and client agreements, and I’ve built a network of experts—a bookkeeper, an accountant, and an occasional financial advisor.

I’ve had to pick up skills I never expected as a business owner, like reviewing contracts and navigating small business challenges. When I get stuck, I just pick up the phone and ask for help, whether it's from the CRA or fellow entrepreneurs. It’s a learning curve, and while there’s a supportive community of peers, some things just slip through the cracks—part of running the show!

Growing and Managing

Yatri: How do you stay on top of RFPs?

Christina: It depends on the project. For larger ones, we often go through the RFP process, which is competitive and resource-heavy but has led to some of our biggest government contracts. I also pursue direct RFPs for civic and cultural projects, leveraging case studies to show our work. LinkedIn is key for staying connected to industry trends, and I keep an eye on professional associations for upcoming opportunities.

I work a lot in city planning, so I've built a network with architects, landscape architects, and planners who regularly form project teams. We often pitch our work as subcontractors for RFPs, which is less high-demand but still a valuable strategy.

Interior Installation shot of 20 Years of The Turner Prize at Tate Britain.

Yatri: How do you promote yourself now? Do you use social media for promotion?

Christina: Sharing our work on LinkedIn, like our recent public art symposium or master plans, helps draw attention and builds familiarity. A lot of our business comes from word-of-mouth, long-term relationships, and referrals. But like any small business, there are quieter phases, so I stay proactive—joining boards, volunteering, and asking for introductions. It’s all about planting seeds and patiently waiting for them to grow.

Yatri: Have you had any tough client experiences where you thought you might lose it but made it through?

Christina: Definitely. There have been challenging clients where I thought things might spiral, but I try to stay flexible and treat every project as a partnership. Communication is key, so it’s not about meeting at the finish line months later—it’s a shared journey.

Managing complex projects, especially with large teams, can be tricky. Everyone has their strengths, weaknesses, and quirks, and it’s my job to navigate those dynamics. The toughest moments are when the pressure mounts on both sides and I'm handling a big project that isn't going as planned, especially in areas outside my expertise.

Working with highly skilled yet inflexible collaborators can create tension too. I try to stay adaptable without compromising my values, but some people don’t work that way, which can lead to conflict. High-pressure clients and multi-layered approval processes, especially within government or the public sector, can be a real challenge. You often don't get everything you want, which can be discouraging. But I remind myself that pushing things forward, even if it’s not perfect, is still progress.

I had one high-stakes government project that was controversial and stressful, with constant edits. I fought hard for openness and public input. In the end, it wasn’t everything I hoped for, but it was still a step in the right direction. It may not have felt as satisfying in the moment, but looking back, I know I made a difference.

Yatri: How do you stay on top of RFPs? Are there specific resources you use?

Christina: Absolutely! For government contracts, it’s crucial to be on the right platforms. Many cities have their own bidding processes, so I regularly check sites like Merx, Daily Bids, Bingo, and bidsandtenders.ca for public sector projects. I also keep an eye on local platforms like those for the City of Toronto or Brampton and Ontario's own system. It can feel like finding a needle in a haystack, but opportunities do pop up.

In addition to these platforms, I stay connected on LinkedIn. My network often shares leads, and that’s a great way to get involved in larger projects. Subscribing to these platforms and staying engaged with my network have been key to finding the right opportunities.

Public Art and Sustainability Symposium 2024.

Yatri: What do you look for when recruiting for your core team or deciding to collaborate?

Christina: Great question! I have a small core team and a group of flexible collaborators, depending on the project. Hiring core team members is a longer process, while selecting collaborators is more project specific.

Equity and diversity are top priorities for me. I want my team to reflect the city we live in, considering all aspects of identity and potential discrimination. We have a strong EDIA (Equity, Diversity, Inclusion, and Accessibility) commitment, which is key to our practice and the work we do.

When hiring, it's a mix of science and magic. I look for experience, attitude, and perspective, but also those intangible qualities that make someone a good fit. I think of team members as either "Swiss army knives" or "scalpels." For core roles, I need multidisciplinary people—those who bring expertise but are also flexible and can take on various tasks. Emotional intelligence is also crucial; I want a respectful, caring team culture. For highly specialized roles, like cost consultants, I hire experts in specific areas—those are my "scalpels."

Yatri: If you could start over, would you do anything differently?

Christina: Oh, definitely! First, I’d balance financial sustainability with passion projects earlier.

I’d also remind myself to be patient—it takes time. There’s a 2-3 year cycle, so if you’re committed, just accept the pace. And when things are quiet, that’s the time to build the tools, content, and processes you need to build your business and attract future clients. I wish I’d been more proactive earlier instead of always tailoring things to client demands.

Lastly, I’ve learned that change often takes longer than I expect. I knew our flexible collective model was the future, but it took time for others—like government agencies—to catch on. In freelancing, you sense shifts earlier, but then you have to wait for everyone else to catch up.

Advice to design entrepreneurs

First, get clear on your negotiables and non-negotiables. What truly matters to you? What are you willing to be flexible about as you build your freelance career, and what’s off-limits? Write it down, check in with yourself regularly, and balance passion with financial sustainability.

Second, understand that success takes time. It can feel slow, but progress adds up. New business takes at least six months, so be patient. Keep knocking on doors, and don’t get discouraged.

Also, remember: you can’t do it alone. Your network is vital—not just clients but mentors, collaborators, and peers you trust. Invest in these relationships for the long haul, not just transactions.

Stay connected with emerging talent and be open to change. The industry is always evolving, so supporting younger designers and strategists is key.

Lastly, embrace your strengths and weaknesses. I wish I’d realized sooner that I’m not good at everything. After discovering I have ADHD, I reassessed my team and hired people to complement my weaknesses. Recognizing this earlier would’ve been a game-changer. Be adaptable, forgiving with yourself, and open to growth as you go.