One studio, from the argument to the code
MENA Studio works on the whole commercial system. The positioning, the identity, the platform and the campaigns that feed it, decided and built by the same people.
Why it is one studio and not three suppliers
The usual arrangement has an agency deciding the brand, a developer implementing something adjacent to it, and a marketer buying traffic for a page neither of them owns. Every handover costs clarity. We removed the handovers.
We build what we design
The code is written here. That means a layout never gets quietly simplified because it was awkward to implement, and an integration never gets bolted on in a way that breaks the design system.
Arguments, not moodboards
Design decisions get explained in terms of the market: who you are up against, what they already claim, and what you can say that they cannot. Taste is involved, but it is not the argument.
Working languages
English, Polish, Spanish and French. Clients across Poland and elsewhere in Europe.
Trained in visual arts, which is the whole point
MENA Studio is Fernando Mena's. Argentinian, a visual artist by training, working out of Poland. He started it to be the engine of a business: commercial targets met with a professional eye, not a developer's best guess at one.
Plenty of studios are a developer who picked up enough design to fill a page. This one is the other way round. The formal training here is in visual arts, and the code came afterwards because the work demanded it. It means a layout is not an arrangement of whatever fitted — it is a decision about weight, rhythm and attention, and it can be defended out loud.
That is not an argument for making things pretty. A studio exists to move a number: enquiries, orders, the price you can hold. The artistic part is how you get there — what someone looks at first, what they believe while they are looking, what they will give their attention to. Those are compositional questions before they are marketing ones.
One person cannot be good at all of it, and pretending otherwise is how agencies end up selling their weakest service hardest. So since the studio started, the work has been to gather a multidisciplinary group around it — design, code, film, copy, media — so a company can get what it actually needs rather than whatever happened to be in stock.
Argentina, then Poland. What carries over is less romantic than it sounds: the habit of landing somewhere you do not know and working out how it is put together before offering an opinion about it. Most of this studio's clients are Polish companies explaining their market to someone who had to learn it, which turns out to be useful — nothing gets assumed to be obvious.
Outside the work: history, tango, music. Not decoration on a bio. History is the habit of asking how something came to be this way before judging it, which is most of a positioning conversation. Tango is a rigid structure that only works if two people improvise inside it, which is most of a project. Music is timing, which is the part of design nobody can argue you into.
The quickest way to find out whether any of this is useful to you is to let us look at what you already have.