UW Design Alum Packaging Designer Creative Director
Interviewed by Pfeifer Hill
Mia Pizzuto is a Lead Associate Creative Director at Target, previously honing her talents at both Starbucks and Amazon. She began her career in packaging design, creating standout packaging for tea, juice, protein powder, and consumer goods. Transitioning into creative direction, Mia delivers surprise and delight to customers through her visionary work. She laid the foundation for her inspiring career during her time in the University of Washington’s Visual Communication Design program.
Pfeifer Hill is a fourth-year Visual Communication Design student at UW. With graphic design experience at both Stanley 1913 and UW’s Housing & Food Services, she has a passion for corporate design and firsthand insight into in-house creative work. Inspired by Mia’s corporate-focused career journey, Pfeifer hopes to pursue a similar path, creating impactful designs with the world’s leading brands.
The Total Package
Unfolding Mia Pizzuto’s Industrious Design Journey
What drew you to packaging design?
I love print, the physical product, and geeking out over foils and glosses—all the little details that make packaging special. No matter the channel or placement, designers always have the power to influence the final outcome and experience. It’s our duty to build those connections, especially when thinking beyond print.
I’m grateful that I have that print background. When I think about poster design, layout, typography—all those learnings and elements—I use all of them no matter what it’s for today. Whether it’s logo design, launching on-site placements, or brand pages, the toolbox you’re building now will carry with you no matter what channel your work appears in.
University of Washington
How did your design journey begin at the University of Washington?
I’ve always loved art. Growing up, I remember getting extra time to work on my art projects, and I loved learning about artists, their curiosities, and their journeys. I dived into anything art-related that I could find.
When I got to high school, I discovered a love for math and began taking accelerated classes. I loved the process of solving problems and equations. So, I thought, “How cool would it be to combine this analytical, mathdriven side with my passion for art? That combination could lead me to architecture.”
“There’s a lot of pressure to decide at a young age, and sometimes you don’t know what you want until you try it.”
I enrolled at UW and started in the architecture program, but one day, my professor pulled me aside. He said, “Mia, you spend so much time on your typography and figure drawings; maybe design would be a better fit for you.” He encouraged me to take Design Foundations with Karen Cheng. After that class, I was immediately hooked. I realized, “Oh my gosh, design is it! I really love it. I feel like I’m with my people. I belong here, and I’m passionate about this.” I applied to the program, was accepted, and studied VCD.
I ended up being a five-year student, and it felt like the right path. There’s so much pressure to decide on your career at a young age, and sometimes you don’t know what you want until you try it. A lot of the journey is also learning about what you don’t want to do—it is really a process of elimination.
Is there a particular project or skill from UW Design that you’ve carried across your career?
I’ve always been deeply invested in relationship-building and networking. I was surrounded by so many talented people in my class. My peers really shaped my skill set. We all grew and evolved together, which was really cool.
During that time, I was very involved with the AIGA student chapter at UW. It was incredibly popular, and I stayed involved for all three years. Each school had its own chapter. Our chapter president, Dave Peacock, worked for an agency in downtown Seattle, and that’s actually how I landed my first internship.
Being connected with the design community, both at UW and beyond, was crucial for me. Putting myself out there and meeting people opened doors. Many of the jobs I landed afterward were based on a network, a connection, or someone who knew a classmate, teacher, or even Dave. Relying on that network helped me get where I am today.
The more exposure you can give yourself, the better. It’s not easy, but putting yourself out there is key. It may not result in a “yes” or a “good job.” I have faced my share of rejection, that just comes with the territory. If you never try, you’re not going to get the result, and you won’t progress. I encourage you—and continue to remind myself—to keep doing that.
Pizzuto was a fifth-year Visual Communication Design undergraduate at the University of Washington.
So, trust yourself and your skills, lean into your strengths, and you will go far. You will be great.”
What advice would you give your senior-year self?
Gosh, I suffered a lot from imposter syndrome, and I think part of that was because my class was so talented. Everyone had internships at Facebook, Amazon, big companies—they were all amazing. I’m so happy to have been a part of that class, but I think I spent too much time doubting myself, comparing myself, not trusting all the work I had done and invested into getting from point A to point B.
That voice in my head—the doubter, the imposter—I wish I could have turned that off a bit. Some of that doubt is good, because it keeps you in check and curious, but not to the detriment of taking a chance or putting yourself out there, or going for an opportunity. If you ever see something and think, “I don’t know if I can do this” or “It might be too senior,” I’d say go for it. Even if it’s not the right fit now, you’re getting on that person’s or company’s radar, and you’re putting yourself out there. If you don’t, you’ll never progress, grow, or get to the next point. So, trust yourself and your skills, lean into your strengths, and you will go far. You’ll be great.
WongDoody
As a WongDoody intern, Pizzuto collaborated on projects ranging from local campaigns to high-profile corporate concepts.
Can you tell me more about your first internship. It was at an agency called WongDoody. It was amazing because I learned so much. Being in the agency atmosphere, they encourage you to think big, dream big, and come up with crazy ideas. They’re all about the concept and the story, so I had a real sense of freedom, which was encouraged. I learned firsthand about the design process, structure, and deadlines. When someone says something is due, it’s due that day, and you need to be prepared. I learned the ins and outs of the day-to-day, understanding how people schedule meetings and manage time—it was like a crash course in everything.
I’m so grateful to Dave, my manager and mentor, who believed in me and encouraged me. When a person believes in you, you feel like you can do anything, and you want to deliver your best. During my time at WongDoody, I was also able to engage a few of my classmates during the ideation and concepting of an anti-smoking campaign called “No Stank You.” I learned the ins and outs of everything and was able to work on many different brands. I remember working with big names like Alaska Airlines and T-Mobile, but also working on campaigns with local Seattle groups.
It was nice to get a flavor for big, large-scale projects but also smaller ones. Every project, big or small, was treated with the same level of design standards, excellence, and professionalism. It didn’t matter if it was our biggest client, like the Bill Gates Foundation, or someone else—they treated everyone equally. I was like a sponge, experiencing their professionalism and approach. I learned everything. It was a fantastic first gig to understand what I was truly interested in, which was branding and packaging. I got to work on campaigns and logos—a nice platter, almost like a charcuterie board of projects and assignments. It was a great initial taste of the design world.
Starbucks
Can you describe your transition from WongDoody to Starbucks?
It was a little intimidating at first, but I was so excited to get the job at Starbucks because I’ve always been a fan, both as a customer and a designer. At the time, I thought Starbucks was everything, and I still respect them very much. A lot of people at Starbucks had been there for years, which I saw as a good sign—people stayed there because they really liked it. Being in the creative studio, everyone was talented. There were writers, designers, artists, illustrators, photographers—a melting pot of creativity. To be surrounded by that group gave me a sense of being on a real creative team.
At an agency, I could see how one could get lost with all the accounts and project management. However, at Starbucks, I could really focus in on my group. I started on the Emerging Brands team, so I wasn’t working on the parent brand but on smaller brands like Tazo, Teavana, Evolution Fresh, and Seattle’s Best Coffee. As I was on a small, niche team, I learned a ton. I had never previously built a brand book or a presentation deck, but they trusted me early on. There were times when I didn’t know how to do something, but you just learn. The senior designers were helpful, and people truly invested in new talent.
Everyone wanted to see you succeed, which was refreshing compared to agency life, where things can be a bit more competitive. At Starbucks, I felt like I was a member of a team, part of a family, and fully supported. The entire environment was very positive. They shared the spirit of storytelling, bringing fresh ideas, and having a concept behind the work. It wasn’t simply about how pretty it looked, but about what it meant and stood for.
I miss Starbucks all the time. Every place I’ve worked since, I’ve always compared to Starbucks because they have the equation down. They know how to build brands that last, and they invest in time, resources, and people. They champion design and creativity, which not every company does. I grew immensely there. I was there for about five years, and by the end, I felt like I had completely evolved as a designer and as a person. It was a huge learning experience, almost like going to college again—a master’s degree moment. I’m very grateful for the experience.
What was your most fulfilling project at Starbucks?
I think my favorites, or the most fulfilling, aren’t the most glamorous. For example, at Starbucks, I worked with Oprah Winfrey on her Teavana Oprah Chai packaging. That was incredible—what a lovely woman and such a cool experience. I also worked with Diane Von Furstenberg on a project with Target. Those were glamorous, amazing, and wonderful, but my favorite projects are the most challenging ones, where I really learned something. At the end of the day, I can look back and feel proud. Although it wasn’t easy, it was a journey.
At Starbucks, I worked on the rebrands for Teavana and Tazo. What excited me about those projects was the opportunity to refresh older brands. Tea comes with so much antiquity, tradition, and preconceived notions—it can be a little bit stale, serious, and inaccessible. The exciting part was infusing newness, life, and modernity into this traditional space. With Teavana, for example, it was fun to bring in bright watercolor swashes, holographic icons, and really disrupt the tea category in a positive way.
I feel like we stood out on the shelf, not only in Starbucks stores but also in the grocery store. Learning about the CPG world was a huge learning curve—it’s such a competitive and saturated space. We had to think about how to grab people’s attention when they are walking down the grocery aisle. So, while it wasn’t the most glamorous or mind-breaking project, I’m proud that we pushed the envelope and brought something refreshing and unique to a traditional space.
In her first post-grad role at Starbucks, Pizzuto worked with the Emerging Brands team on Evolution Fresh, Teavana, and Tazo projects.
Amazon
In your role at Amazon, how was the switch from packaging to digital?
To be honest, it was a little bit scary. Thankfully, though, part of the reason I went to Amazon was because my favorite creative director from Starbucks moved and was starting a new team under consumables. Amazon had many private brands at the time—I think a few of them are still around—and we were building those brands. My former creative director needed designers, so a handful of us joined him. Luckily, I started out in packaging design, which I felt comfortable in. Although, I was now in this tech world that I didn’t know at all, and that was a little intimidating.
Amazon is a tough place. I learned a ton and really stretched myself. I’m grateful for the experience one-thousand percent, but it is challenging to be in a place where creativity is not always valued. It was a constant pursuit and challenge not only to prove the work and concepts, but also to prove that the work was valuable and necessary. So, while it was double the work at times, I did learn an incredible amount.
One of their biggest goals was investing in customer insights and testing. At Starbucks, we didn’t do a lot of testing when it came to developing new brand identities or packaging. We had earned a lot of trust within the creative studio and the company, so we were able to pitch ideas relatively quickly. However Amazon is a data-driven company. You might have the greatest idea in the world, but to sell it through, you also need to have the insights behind it.
The Amazon process was different. We would develop ten different logos, get them in front of testing and focus groups, gather feedback, and narrow down. Then when we presented to our client or business partners, it wasn’t only about the concept, story, and how it felt, but also what was resonating with customers. This included things like color, font size, and all the nitty-gritty details. So, everything we sold through was backed by science and data to support the visuals. They did this for many reasons, especially when launching new brands. They wanted to make sure the brands would be successful and stand out on-site. I understand why they wanted to do that, but it took up a huge chunk of our time.
“Oftentimes, you build the plane while you fly. And that’s uncomfortable.”
Once we got that logo signed, sealed, and approved, we moved on to the high-fidelity development of packaging concepts, which was super accelerated. I was used to taking a year to build a brand, but at Amazon, we were doing it in three to six months. It felt like we moved in fast forward. I quickly learned how to be more nimble, flexible, and adaptable. There was a lot of harsh criticism and feedback, and we all had to learn how to distill that down and just keep moving. There wasn’t a lot of time to sit and worry or feel bad. It was just, “Keep going, keep building.”
There was a phrase I learned while I was there: oftentimes, you build the plane while you fly. And that’s uncomfortable. I feel like at Starbucks, you packed, boarded the plane, and then you took flight. At Amazon,
it was like, you’re literally putting the wings on the plane in the air. It was like night and day, but I learned how to defend my work. I learned how to write documents, budget for photo shoots, manage a digital asset management tool for photography, and I got really into photography and art direction while I was there. The skills I added to my toolkit were amazing. Do I use all of them now? Not exactly, but I’m grateful for them, and they’ve shaped my path and where I’ve landed today. I know I mentioned before the process of elimination—learning what you like and don’t like. Towards the end of my time at Amazon, I realized I wanted to get back to what I love, which is branding and storytelling. That’s why I shifted to Target. But I wouldn’t have known that without going through that journey.
I was on several different teams at Amazon, which was also unique. They encourage what they call rotating teams—you could be on one team for six months to a year and then try another team. The idea is to share your talents and gifts with different groups and organizations, which is kind of cool. So, in a way, I was shopping around for what I really wanted to do.
During her three years at Amazon, Pizzuto held three roles, beginning in packaging design and progressing to creative direction.
Target
How did you get started in creative direction?
Thankfully, Amazon really values leadership. They have many leadership principles and resources if you want to be a people leader, content leader, or principal designer. I always tried to build relationships, and I started mentoring junior designers. I became involved with the design community at Amazon, welcoming new junior designers and helping them navigate because it’s jarring, especially for a print designer. It felt really rewarding to share and guide others through what I didn’t have when I started there. It’s rewarding to make someone else’s experience better.
I started out mostly mentoring, then moved to the Amazon Fresh team, where I started art directing. Eventually, I was able to begin manage art directors—it was a slow, natural build. When I moved to XCM, Amazon’s master retail brand, that’s when I first got the creative director title. But don’t get too hung up on titles, as sometimes they can be more about optics. Though, of course, progression is important.
On that team, I managed the holiday toy book project. It was really fun, and I loved working on print design again. We had a two-week photo shoot, shot over 600 toys, and I managed an illustrator, agency partners, and hand-letter designers—everyone on the project reported to me. I felt an immense responsibility to lead the team well, and we created a really fun product. It was ambitious, but it pushed me in so many ways.
During that time, I also took the Gallup StrengthsFinder test, and it turned out my top strength was empathy. I didn’t need a quiz to tell me that, but it was interesting because it was shockingly accurate. That was a turning point—I wanted to lean into my empathy in my work and with my teams. The toy book team had previously had a not-so-empathetic manager, and they felt fractured. So, I leaned into my empathy, people skills, and connection to lift them up and motivate them.
Leadership goes both ways—it’s not just about me, but also about the team. I learned so much from them, and I hope they learned from me. I think we all gained from the experience.
How are you enjoying your current role at Target? What is your day-to-day like?
So, when I was at Amazon, the pandemic happened, and we went home. I never really went back into the office except for once a week at the time. I had already learned Amazon culture before going remote, so it was easier to work remotely knowing what Amazon expects.
Now I’m at Target, which I love—Target reminds me a lot of Starbucks as it’s a company that stands for people, design, and creativity. It’s wonderful, but I am 100% remote. I’ve never started a job remotely before, so this is brand new to me. I’m almost at my two-year mark, and I still feel like I have a lot to learn.
Being remote makes it harder to learn team and studio culture, and to deeply understand the histories and nuances. I don’t always have the opportunity for those “water cooler” talks you get in the office. I’ve visited a few times, which has been hugely beneficial, and I try to maximize my time with the team and partners. That inperson connection is extremely valuable and it’s a hard thing to replicate. You can connect on Zoom, but it’s an ongoing challenge for me to fully understand Target and its studio culture. I have a clear idea of what my team expects from me, but fitting in completely is something I am still learning.
Pizzuto is currently based in Seattle, working remotely as a Creative Director for Target.
I realized I wanted to get back to what I love.” “
“I wouldn’t have known that without going through that journey.”
