All Posts By

Ricardo Hippert

What we do

By | Uncategorized

A consultancy focused on building brand strategies, positioning, methodology, tools, design identities, and trend research, inspired by the Dutch Creative Industries. Ongoing projects are growing in Switzerland (reframing healthy food), Austria (launching a new sound branding agency), Portugal (researching the future of mobility), Brazil (promoting sustainable tourism), and the Netherlands (creating a circular beach model).

A selection of our presentations:

Thumbnail B-Borda - About Us presentation - 2019

About Us (January 2019)

Thumbnail B-NAVE presentation - 2017

Dutch Design Week 2017 – NAVE project (Full presentation)

Thumbnail B-THINK presentation - 2018

Dutch Design Week 2018 (Preview)

Jonge Honden - photo mural image

Young dogs! A bold consultancy in the heart of the Netherlands

By | Interview
Jonge Honden logo

The consultancy Jonge Honden (Young Dogs) represents the spirit of the Dutch Innovation. Their consultants are bold, lively, ambitious and created a new enterprise framework in the city of Utrecht that empowers their capacity to solve societal challenges. We met Rik van Dijk and he told us a bit of their story and operation.

How was the idea of the collective Jonge Honden created? Is it unique in the NL?

Jonge Honden started with two young people who had just graduated – when they started working, they saw that organizations are full of employees who are stuck in routines and protocols. As young people, they had this fresh energy, new ideas and insight into the most recent models and theories. Here they found some friction: long existing organizations with their own routines vs. young people with a great need for flexibility and new ways of working. So, from this moment Jasper and Gerco created their own young company: the Jonge Honden. The organisation was founded in 2000 and started with 2 people, then 4 and nowadays has around 35 active “jonge honden”. Jonge Honden is unique in its own way since 20 years ago, far before flexible, hybrid organizations, Generation X and Y and Agile became the new status quo.

Tell me about your creative process.

At Jonge Honden, there are two bigger goals: 1) personal development and 2) entrepreneurship. Therefore Jonge Honden doesn’t have bosses and other supervisors. We do everything by ourselves, from acquisition to all the administration, so each Jonge Hond (young dog) learns every facette of the organizational process.

We understand that each person has specific needs and preferences, so we don’t work with standards. He/she needs to be proactive while others will help this person to develop through buddies and mentors – our own ‘Junior Journey’, that encompasses training and so on. Besides that, the Jonge Hond with entrepreneurial ambitions can start his/her own little organization within Jonge Honden, as a collective. In this case, he/she writes a business plan. If it is approved by the other Jonge Honden, he/she becomes an entrepreneur with a couple of colleagues in a new team. There is a lot of benefits in this position, like using the Jonge Honden’s existing network, the experience of others… that is, a big safety net.

In a nutshell, what was the most challenging project so far?

This is hard to say. The Jonge Honden have their own projects for other organizations. We also got a lot of internal projects. So there are too many activities involving different people, what makes it difficult to choose the biggest challenge. Interestingly, when there is a complex project, we can count on one of the 35 Jonge Honden. Combined, we accumulate a lot of knowledge about all kinds of subjects and this helps us to overcome almost all challenges.

How do you see Jong Honden in 10 years?

That’s the fun part! I don’t know, and maybe I don’t want to know. There will be a lot of new young talent, with fresh energy and new ideas. Jonge Honden will develop with all the ambitions of the new people to come. Leaving Jonge Honden as an open playground will ensure that the outcome will be surprising – and that will be a good thing, for sure!

Thanks, Rik!

Watch the video (in Dutch)

Mout Bier vitraux

Brewing the Dutch creative process

By | Interview

From 23 to 25 February, the City of Arnhem hosted the Mout Bier Festival in the Eusebius church. Borda’s team were there and interviewed 3 different breweries to uncover the key aspects of the creative process behind the best Dutch beers. And, of course, took the chance to taste some amazing styles that we found there.


Interview with Koen Overeem, from Rock City Beers (Amersfoort)

Rock City Beers Photo

How do you compare the Dutch beer with the beer from other European countries such as Germany and Belgium?

In my opinion, these countries are a bit stuck in their own traditions while Holland is a way more forward, for example looking overseas and using inspiration from America. We always find interesting things happening there because they are always trying different ingredients… they are more daring to try.

At Rock City Beers there are no limits in trying, so we are always looking for the best combination of flavours. We do that by using what already is in the beer, accentuating specific characteristics, or we can also use extra ingredients. For example, a bock beer always tastes raisin, or chocolate, or coffee. We tried to accentuate the aromas of chocolate and coffee and were successful in brewing the ‘Mokka Bocka’. It was all about enhancing specific results of the brewing process.


Interview with the brewers from Oersoep Micro Brewery (Nijmegen)

Oersoep Brewery Photo

In your opinion, what is the main character of the Dutch beer?

Well, we do a bit of everything. We borrow knowledge from the Germans, Belgians, Americans, and also from the UK, and use them as a toolbox to make our own mixed style.

Can you tell us a bit about your creative process?

Oersoep makes a new beer once or twice a month at least. It can be a variation from a previous beer, but also a new recipe. Our brewery is separated into two departments with different styles: one takes care of our production line for supermarkets, while the other department ventures in the field of wild beers, a slow process of fermentation with wild yeast. Usually, these beers are stored for a long time in wine and whiskey barrels to achieve a complex taste and aroma. What we find interesting about the wild beers is that they are unpredictable and therefore will never taste the same.


Interview with Dennis Pancras, from Rigters (Buurse)

Rigters Brewery Photo

How would you describe the Dutch beer scene?

In the Netherlands, there is a scene of creative breweries that are always experimenting. If we compare the present scene with that from10 years ago, the amount of breweries has exploded. So, with this huge amount of new products in the market, we all have to be creative to sustain the competition. That’s what makes the beer scene so interesting… and because we try to brew with different ingredients. At Rigters a new recipe starts with an idea that involves a kind of flavour that we enjoy. The next step is to sit together, hear everybody’s input – for example about trying one specific yeast or hop – then we get to work. With this process, we have achieved excellent results.


Photo of a Portela member

Carnival: a spectacle joining Brazil and the Netherlands

By | Original Article, Uncategorized

Logo of Portela’s storyline

Carnival in Brazil is not just a party, it is an event with continental proportions and has deep impacts on the culture, identity and history of the country. Each region has its own repertoire that in turn materializes in different costumes, not to mention the different musical rhythms. But the vibe is the same and a wave of joy makes the country literally stop during at least 5 days. We had the chance to see the Dutch commemorations in the Arnhem-Nijmegen region a couple of times and noticed that it has nothing to do with the Brazilian version. So it definitely sounds strange to think that these two nations would somehow be linked by carnival. But, strangely or not, it happened this February.

This amazing bridge was built during the most important and gigantic Brazilian carnival parade that takes place in Rio de Janeiro. Actually, it is a competition between 13 samba schools – teams with up to 3.500 people that in the rest of the year form very strong communities. Each samba school chooses its own storyline, a kind of briefing that guides the creative process behind a musical performance that takes place at an avenue specifically built for this purpose – the Sambódromo with its 700 meters long and designed by famous architect Oscar Niemeyer.

Yes, Brazil could have been a Dutch colony

For this year the samba school Portela chose to tell the story of the arrival of Johan Maurits van Nassau-Siegen on January 1637 in Recife, a city located in the northeast region of Brazil. At that time the country represented a land of opportunities for Dutch explorers and also Portuguese Jews escaping from the inquisition, and looking for a new land to settle in. As the governor of the Dutch possessions in Brazil, Johan Maurits proved to be a talented administrator, providing Recife with a Dutch accent through the construction of public buildings, bridges, and channels. This shared heritage is still relevant and visible nowadays. The town was then named Mauritsstad. In 1654 the Dutch surrendered to the Portuguese army and abandoned Brazil taking also 400 Jews that were dispersed between the Caribbean and the Netherlands. Also, twenty-three reached New Amsterdam (New York), founding the first Jewish community in North America. During the parade we were mesmerized seeing the cars carrying huge sculptures such as a Dutch windmill or the Statue of Liberty. Another one was conducting an armadillo whose exterior armour opened from time to time revealing lively people on its inside. With this storyline, Portela was fourth placed in the 2018 parade. And the whole spectacle once more represented the well-established samba creative industry of Rio, mixing dance, music and other artistic representations.

Besides the artistic effort, the annual event at Sambódromo involves a complex infrastructure to receive up to 90.000 spectators during 4 nights, impacting the city’s downtown region. When the party ends, the cycle restarts: each samba school chooses the storyline for the next carnival and the creative team starts immediately the research to produce the new spectacle. At the same time blacksmiths have to dismantle the heavy cars that sustained the weight of the sculptures and dozens of dancers, to build the new structures. Later, carpenters and sculptors give a new shape to these cars, while art painters, costume designers, dressmakers, makeup artists and set designers complement the work, bringing to life not only the cars, but also to dozens of characters that will parade on the ground to help telling the new story. Around October, an internal competition determines the music that will join all these pieces together and bring the new storyline to life. The process resembles the production of a play or opera, except for the huge scale and of course for being a one-of-a-kind show.

From this single event we can notice how the Netherlands is perceived by other nations. In the one hand, the Dutch stereotypes arise in full power, and reveal how the past still influence contemporary views of the country. On the other hand, the creative industry once more finds its way as a bridge able to communicate different cultures, overcoming barriers through universal languages and remarkable experiences. More importantly, the samba creative industry is an example of a successful endeavour where craftsmanship is the protagonist and still rules, while technology has to wait for its turn, somewhere in the future, to become essential.

Borda, Knowledge Beyond Borders

By | Borda

The Netherlands has been successfully applying creative disciplines to strategic areas such as health, energy and the environment. By 2020 it aims to position itself as the most creative industry in Europe, adopting new ideas and techniques guided by the motto “To boldly go where no one has gone before”.

We use our +15-years experience in design and branding to make original investigations, generate connections, and positively affect other cultures and businesses.

Based in the Netherlands since 2015, we have developed trend reports and special projects in different segments.

On 15 February 2018, the co-founder of Borda was interviewed by the Dutch TV show “Ondernemen doen we zo” (‘How we run our business’) that showcased the international Master’s programme in Creative Industries at Radboud University in Nijmegen, the Netherlands.

We are Borda

Raquel's photo - creative industry innovation

Raquel Sztejnberg


Raquel is a Branding specialist with international experience in four countries building strategies and positionings for global and local brands such as P&G, Coca-Cola, Diageo, AES, and Teleperformance. Graduated in Marketing (PgD) in Italy and trained as a Cultural Anthropologist in the Netherlands (MSc), she has been sharing her knowledge in branding, design, market trends and consumer insights in the past 15 years. Raquel collaborates with diverse creative agencies and is part of the trend research network of the Copenhagen Institute for Future Studies, in Denmark.

Ricardo's photo - creative industry innovation

Ricardo Hippert


Ricardo holds a Master of Arts in Creative Industries (Radboud University Nijmegen) and an MBA in Strategic Design. He has more than 15 years of experience as graphic designer developing editorial and digital projects, and design solutions for art institutions and start-ups. He is also an entrepreneur and founded a design studio in Rio de Janeiro 8 years ago.

Designers in Rio meet the Dutch innovation

By | Trend Report

In December 2017 Borda led an event in Rio de Janeiro, Brazil, for the design agency TUUT. We presented the highlights of the Dutch Design Week 2017.

The event aimed to inspire TUUT’s creative professionals. We selected and discussed 20 cases and more than 40 insights in the following areas: food, health, urban innovation, and materials.

Part of the presentation is available here (in Portuguese).

Dutch Design trends in Recife, Brazil

By | Trend Report

In November 2017 Borda and our partner Orbe conducted an event in Recife, Brazil, presenting the highlights of the Dutch Design Week 2017.

The event aimed to engage the local entrepreneurial community and had the participation of the Dutch Consul. We selected and discussed 20 cases and more than 40 insights in the following areas: food, health, urban innovation, and materials.

Part of the presentation is available here (in Portuguese).

Researches on fashion: new materialism, Dutch heritage, and more…

By | Interview

An interview with Anneke Smelik

Anneke Smelik's photo

Photo by Ineke Batist

Anneke Smelik is Katrien van Munster professor of Visual Culture at the Radboud University Nijmegen, where she is coordinator of the MA programme ‘Creative Industries’. She published widely on issues of identity, body, memory and technology in fashion, cinema, and popular culture. Recent (co-)edited books include Delft Blue to Denim Blue: Contemporary Dutch Fashion (I.B. Tauris, 2017); Materializing Memory in Art and Popular Culture (Routledge, 2017) and Thinking Through Fashion. A Guide to Key Theorists (I.B. Tauris, 2016). Anneke Smelik is project leader of the research programme ‘Crafting Wearables: Fashionable Technology’ (2013-2018), funded by the Netherlands Organization for Scientific Research.


You just won the 2017 Radboud Science Award. What is your main line of research? What is your current focus in this field?

The Radboud Science Award is about translating my research in fashion studies to primary school children; this is very new and exciting. And quite a challenge to work with small children!

My main line of research concerns the creative industry of fashion, especially in relation to issues of identity and material culture. In my most recent work I have proposed a new-materialist framework for fashion studies. The ‘material turn’ has gained substantial recognition in social and cultural research over the past decades, but has received less attention in fashion studies. At the same time fashion hardly ever figures in scholarship on new materialism. The interdisciplinary field of new materialism highlights the role of non-human factors in the field of fashion, ranging from raw materials (cotton) to smart materials (solar cells) and from the textility of the garment to the tactility of the human body. New materialists work from a dynamic notion of life in which human bodies, fibres, fabrics, garments, and technologies are inextricably entangled. The context of new materialism is posthumanism, which entails both a decentring of the human subject and an understanding of things and nature as having agency. The key concept is thus material agency, involving a shift from human agency to the intelligent matter of the human body as well as the materiality of fabrics, clothes and technology. The insight of material agency is important for acknowledging the pivotal role of technology in fashion design today, allowing greater attention for the material aspects of high-performance fibres and smart fabrics.

I have just finished working on a case study of Dutch designer Iris van Herpen. From a new-materialist perspective, Iris van Herpen’s high-tech and 3D-printed designs can be understood as hybrid assemblages of fibres, materials, fabrics and skin that open up engaged and meaningful interconnections with the human body.

You have published several books in the past years. Can you tell us more about them?

This year I finished a trilogy on cultural memory with my colleagues at the Radboud University, but here I will concentrate on my work on fashion.

With a colleague from the London College of Fashion, Agnès Rocamora, I have edited a volume in 2016 that discusses the thought and concepts of major thinkers, from Marx to Deleuze, and Bakhtin to Foucault, etc., and their relevance for understanding the field of fashion today. We think Thinking through Fashion makes an important and much-needed theoretical contribution to fashion studies. The field of fashion, from production to consumption, is very complex and highly globalized, and we need equally complex and wide-ranging theories to ‘think through’ its many issues.

In 2017 I published a really gorgeous and glossy book on contemporary fashion in the Netherlands, with lots of colourful pictures! I’m quite proud of this book, which is the result of a five year long research project, financed by the Netherlands Organization for Scientific Research. It also resulted in four finished PhD’s, all of whom contributed to the book.

Delft Blue to Denim Blue maps the landscape of Dutch fashion in all its rich variety and complexity. The book assesses the diversity of Dutch fashion designers, firms and brands in their historical and cultural context. We extensively discuss the vexed and complicated issue of national identity in relation to clothes. Basically, we argue that in a globalized world all fashion designs are shot through with cultural signs of hybridity. What we consider Dutch comes in fact from elsewhere. For example, Delft Blue earthenware is based on Chinese porcelain; tulips originated in Turkey; and patterns and colours in Dutch regional wear have their roots in Indian chintz. Understanding national fashion identity as a contradictory and multifaceted issue, the book debunks myths surrounding Dutch fashion, digs up new facts and stories, and explores the creative relation to cultural heritage. Delft Blue to Denim Blue is based on solid academic research and gives a rich overview of designers, ranging from G-Star jeans, and affordable retailer C&A, to a savvy brand like Vanilia, and from the famous designer duo Viktor&Rolf to a futuristic designer like Iris van Herpen.

Image of Anneke Smelik's books

Are you currently working on a new title? Can you tell us a bit about this new work?

Yes, my new research is on fashion and sustainability. While reliable statistics are still not available, it is well-known that the fashion industry excels in waste, pollution, and exploitation of human labour and natural resources, due to over-production and over-consumption. In the past decade, scholars in Fashion Studies have highlighted the urgent need to engage systematically with the environmental, social and economic consequences of the globalized ‘fast fashion’ system. Fast fashion emerged at the end of the 1990s and is characterized by rapid changes in style, ever faster cycles of global production and consumption, and ever cheaper products. Achieving change is difficult because of the long supply chain of fashion on the production side and the perpetual quest for the latest trend on the consumer side.

The field of fashion does not only involve complicated chains of material production and consumption, but also pertains to immaterial issues of body images, identity, and social relations Again, I want to bring in the perspective of new materialism. New materialism has underlined how such elements, including identity, are materially embedded, while fashion studies has highlighted the embodied practice of dressing. By bringing those two theoretical perspectives together, my new project accounts for the multifaceted relation between issues of representation and the material aspects of (un)sustainable fashion. This is needed because neither the practice of, nor the scholarship on, sustainable fashion have seriously considered the interaction between the human and non-human factors of the fashion system. By revealing the deep interconnectedness of those aspects, a new-materialist perspective may give direction to the desired change and transformation towards sustainable fashion. Concretely, I want to research two specific elements: rethinking ‘the cult of speed’ and assessing advanced technological developments.

Holland connects - post header

Holanda Conecta

By | Brazil, Event

Organization & Support

  • Nuffic Neso Brazil
  • Honorary Consulate of the Netherlands in Recife
  • Heineken
  • Orbe

Study opportunities and scholarships in the Netherlands
Nuffic Neso Brazil is the foundation of the Dutch Ministry of Education, responsible for the internationalization of knowledge. In the event ‘Holanda Conecta’ Nuffic presented study and scholarship opportunities in the country.

Learn more at:

In 6 September our partner in Brazil, Orbe, joined the event Holanda Conecta: Futuros Possíveis _ Construindo cidades para pessoas (Holland Connects: Possible Futures _ Building cities for people).

The democratization of the internet and smartphones, together with the emergence of several innovations, brings opportunities to change the way we plan public spaces and the way we interact with them. The event will approach the experience of the Netherlands, the main challenges of Recife and how the population can have a better quality of life from these new perspectives of work, products and services.


• Aldreycka Albuquerque – C.E.S.A.R. Institute of Innovation
Design and Innovation

• Ana Roberta Souto – Warehouse of Creativity – Caruaru
Training and entrepreneurship for young professionals: The internalization of the knowledge economy

• Angelo Leite – Serttel
Development of innovative technologies for mobility, comfort and safety of people in urban environments

• Breno Jaruzo – Jump Brasil
What is fundamental and indispensable for the entrepreneurial ecosystem to actually happen in Recife?

• Érico Andrade – UFPE / Urban Rights
The future and the people: popular mobilization as a way of transforming society.

• Luiz Fernando Gomes – Lotebox | Mangrove
Startup Amsterdam, why should we look at this ecosystem?

• Maria Leonor Maia – UFPE / Reset
Transformations in the Urban Order: Sustainable urban mobility, urban planning, accessibility, transport and urban management.

Information about the event
Date: September 6, 2017 (Wednesday)
Time: 6:00 p.m.
Location: Apolo Auditorium, 235 – Porto Digital
Rua do Apolo, 235 – Recife, PE

WasteBased collection DDW 2016

Dutch Design Week 2017

By | Event, Netherlands

In the next edition of the Dutch Design Week it will be celebrating 19 years since the birth of the fair, which has become the most important in Northern Europe: a local event of global impact with the participation of more than 2,500 designers and almost 300 thousand national and international visitors.

DDW 2017 Stretch - images

The theme of 2017 is Stretch, set by the Dutch Design Foundation to stimulate new perspectives beyond the comfort zone. Made to inspire and provoke, the design is, in the words of Foundation director, Martijn Paulen, brain-yoga: “Dutch design is yoga for the brain. Stretching exercises for people who don’t want to get stuck in their ways.”

Bio design, Sustainable design, Circular design, Spatial design, Food design, Service design, Social design and various other disciplines will be presented, discussed and experienced during the DDW2017.

For more information, visit the Dutch Design Week website.