The future of design in Asia: Brands must be adventurous

When it comes to brands, innovative design matters. The meteoric success of companies like Apple, which has instilled great design at the very heart of its business model, has inspired a new way of thinking, helping to elevate the position of design throughout the world.

From product design and packaging to communication strategies, visual effects and motion design, its value is now indisputable.

On this page and in the associated image gallery, Campaign Asia-Pacific showcases some of the region’s hottest young designers. Offering a unique look into the future of the industry, it is clear that brands must now view design through the lens of achieving not just aesthetic ambitions, but environmental goals as well. There was almost unanimous support from the featured designers for brands to be more adventurous in their approach, with the suggestion that those companies that can instil individualised, brave and eccentric thinking will be the ones that capture the hearts of tomorrow’s consumers.

The participants:

• Mali Chaturachinda, Co-founder, be>our>friend
• Urs Furrer, Flame artist, Alt.vfx
• Driv Loo, Art director/ founder, LIE 
• Nick McFarlane, Senior designer, DraftFCB NZ
• Jerry Goh, Creative director, Hjgher
• Yoshihiro Yagi, Creative director, creative division, Dentsu
• Carrie Chau, Freelance artist/designer, Hong Kong

 

Mali Chaturachinda
Co-founder, be>our>friend

Drawing inspiration from her surroundings, Chaturachinda studied in the UK before returning to Thailand where she co-founded be>our>friend studio in 2004. As the studio grows steadily, Chaturachinda is also involved in various bookbinding projects.

Great designs can help a brand become meaningful and irresistible. With great designs, brand communication is more pleasant to see, hear, smell, taste, and touch.

The best designs are art forms that can cleverly, as well as ethically, serve their purpose, usually in changing or shaping people’s behaviour. I also believe that the best designs derive from good sense. When you come across something, be it a space, an object, a person, you always have a feeling towards it. That feeling is the ingredient for the concept.

Successful designers  don’t usually think they are already successful. They are far from being egotists, because too much ego would deteriorate their senses; they wouldn’t be able to sense what they should be sensing. In other words, successful designers don’t take too much pride in being a designer. They don’t think design is the ruler of the world.

I’m a designer because when I first came across graphic design, I learned that things could be represented by other things. Symbolising things is such a playful activity. I enjoy thinking in that manner, using imagination to ‘show’ a story. Plus, I easily get bored; I find that designing is how I get rid of boredom.

I would love to see more brands supporting more experimental designs and connecting with people on an emotional level rather than just executing catchy visuals. To see brands taking risks and encouraging people to interpret their message rather than to play safe by simply stating it. 

Over the next five years, design will be less superficial and more organic as advances in technology make it possible to produce art that connects with human beings on an emotional or psychological level instead of physical. 

My design philosophy is always be enthusiastic at questioning things and answering them by using your intuition; pick relevant ideas, and carry out tasks that you are happy to do. Actually an idea is in the brief, we just have to deconstruct them; this is because we can’t ignore people when doing design work.

I would love to collaborate with Richard Feynman, a very unique physicist. I love discussing things with people who have backgrounds and perspectives different from mine. That always inspires me. Through science, beauty is viewed in another angle and dimension, yielding another unique approach in design thinking and then leading to a new way of visual execution. Another person is Bruno Munari, an Italian Artist/Designer whose work widely covers both visual and non-visual arts. Munari is a real treasure of creativity; working with him must be a real fun.

I draw inspiration from my intuition, feelings, surroundings, people, and daily life.

The biggest influencers on my career are new ideas or things I haven’t come across before. They invigorate and inspire me to break new ground.

The number one challenge facing the design industry is individualism. The result is an increasing diversity in human’s desires. Connecting with even more diverse population will be the challenge.

 

Urs Furrer 
Flame artist, Alt.vfx

Switzerland-born and Australia-bred, Furrer taught himself the basics of compositing, graphics and editing software packages while studying at the Queensland College of Art (Griffith University). He joined Alt.vfx, an artist-run, specialist post-production company, in 2011.

Brands in Asia generally see design as a way of lifting their brands above others. In markets that are often saturated with brands, everyone is looking for a way to appear better or more ‘premium’. The ones that cut through are often those that have the simplest and most honest brand identities.

Great designs can help a brand become more than just a brand. When a piece of work is so well crafted, it has a tendency to grow and evolve. It becomes part of the zeitgeist — influencing other brands and styles and finding its way into areas beyond the usual. 

Successful designers make it look effortless, and the rest of us envious. Those designers and artists who are so gifted that they can just create. It’s a true art form, and I find these people incredibly inspiring. I believe a successful designer is also a good communicator, with a keen sense of empathy. We are, after all, creating work to help someone or something grow.

The number one challenge facing the design industry is the mindset that obvious and overt branding makes a successful ad. You don’t need to have your brand logo plastered over an ad or have wall-to-wall explanatory voice-over to sell products and increase brand awareness. If an idea is strong, the execution is well-crafted, engaging and unique, it will be far more effective. 

The best example of a design-led brand is Persol. It’s a brand that has so successfully become part of history, developing a great reputation for consistency and quality.

The market in Asia leading the way in design is Australia, of course. We may be relatively young, but we are home to some truly talented artists in all areas of design. 

I’m a designer because I couldn’t imagine doing anything else. There are times when I have to work incredibly hard and for long hours, but there is nothing I would rather be doing. I work and collaborate with such a diverse and talented range of people, who all have their own stories and talents. I am always learning, growing and (hopefully) getting better. There are not many other careers that can give you all that, plus that certain special buzz you get when you know you’ve been a part of creating something great.

I got here by working hard. Never taking ‘no’ for an answer, whether it be from myself or from others. No matter how impossible a task may seem I always want to crack it and prove to myself that I can do it. Seek out the kind of people that you want to work with the people that challenge you, bring out the best in you and help you grow instead of holding you back.

My design philosophy is to put a twist on the old idiom ‘don’t let the cart pull the horse’. In visual effects I was taught to let the core idea, whether it be the story or the visuals that you are capturing in camera, dictate what happens in post production. If we all took the safe road every shot would be locked off on a tripod, perfectly lit and focused because it’s the easiest to work with. How boring. Learn to love a challenge once you get over the fear of doing something the hard way, you start to do your best work. Learn to love imperfections those beautiful, natural little things that make something feel real.

I would love to collaborate with Kyle Cooper. It was his titles sequences that planted the seed for a love of motion. Usually work that is usually considered supplementary to the main feature, Cooper created titles that compliment the mood and feel of the films perfectly. They hold up just as well today as they did at their premiere.

I draw inspiration from my colleagues and collaborators. Working side-by-side with some of the world’s most talented 3D artists, compositors and designers gives you a constant source of new tricks and inspiration. When everyone is working together to create something cool the entire room has such a unique energy. You see ideas and inspiration you have never seen before, everyone puts their ideas in together and the rest hopefully becomes history.

The biggest influencer on my career is Colin Renshaw. Boss, mentor and character. Someone who through talent, tenacity and a love for what he does has helped build something pretty special, which I feel lucky to be a part of.

The best designs are simple, consistent, and have a motivation or a reason for being. There is, however, a lot to be said for that special element that you can’t put your finger on. A combination of colours, forms or text that may well have been a happy accident, but somehow it just works.

Over the next five years design will create something that is referenced in years to come. There is a real love of provenance at the moment; we are recognising quality from when times were different and perhaps simpler. I believe this gives us a real appreciation for lasting design and work that doesn’t date. Hopefully this will evolve into a style that is unique, that becomes referenced and appreciated in the future.

 

Driv Loo
Art director/ founder, LIE 

Loo founded Kuala Lumpur-based studio LIE (Little Ideas Everyday) in 2011, following stints at Kinetic Singapore (no relation to the outdoor media company) and Wieden+Kennedy Shanghai. His work always consists of “honest intentions, simple messages, and a little bit of a sense of humour”. 

I’m a designer because I’ve loved to draw since I was a kid. I dreamt of becoming a Manga artist once but I changed my mind after I encountered a subject called graphic design during college.

I got here by a reluctance to settle for the norm. And, of course, with help from all the good people I've met along the way; making friends is very important for future growth.

Brands in Asia generally see design as a less important thing to do. W+K’s John Jay once said: “No great idea can meet its fullest potential without beauty”. I think that applies to branding as well.

Great designs can help a brand stand out from the overwhelming commercial market. There are tonnes of competitors out there. A great design can bring out the characteristic of a brand and stick in consumers’ minds. 

My design philosophy is think simple, act simple. I am not a sophisticated person and I like my designs to be easy to understand at first sight, yet catchy as well.

I would love to see more brands make corporate social responsibility part of their business plans, doing good causes for others and making money at the same time. I think it’s more effective than just doing another promo campaign or advertisement.

The number one challenge facing the design industry is the lack of attention from the general public and the government. The general public in Malaysia has a really low interest in art and design. And this bunch of people will eventually become our clients someday. It is really bad to deal with people who don’t even appreciate design.

The market in Asia leading the way in design is Japan. It is probably one of earliest countries in Asia to adopt design principles from the West yet preserve their own cultural identity. I love how it is able to balance traditional cultures and modernisation. As designers we must always look back to our own roots instead of blindly following global trends.

Successful designers are those who can honestly express themselves, have the vision and guts to stand for what is right. Not just taking order from the clients, but work together with them in order to bring the brand forward.

The best example of a design-led brand is Apple, needless to say. Other than that, I really love all the brands designed by Kashiwa Sato, the renowned art director who did Uniqlo, National Art Center of Tokyo, Kirin Beer, etc. He has superior sense in details, and thoughtfully conveys the brands' images loud and clear

I would love to collaborate with talented people from different fields, for example, fashion designers, interior designers, programmers and architects. I believe it will produce a lot of interesting possibilities by sharing knowledge and experiences from different backgrounds.

I draw inspiration from being alone: it makes me observe better. Especially when I'm travelling alone, I enjoy the feeling of getting away from who I used to be, and adapting to the whole new environment.

The biggest influencers on my career are my ex-bosses Herbie Phoon (Grass Studio) and Pann Lim (Kinetic Singapore). Also the great people I've worked with during the early years of my career.  I learned a lot from them and hopefully can be as good as them one day.

 

Nick McFarlane 
Senior designer, DraftFCB NZ

McFarlane returned to New Zealand following time in London where he freelanced as a graphic designer for agencies such as Mother and Ogilvy. He is the author of recently published Spinfluence: The Hardcore Propaganda Manual for Controlling the Masses. 

Great designs can help a brand appeal to people on an emotional level. Often it’s only subtle, but great design will help shape a person’s perception of the brand.

I would love to see more brands make a statement and be more provocative, more quirky and adventurous. People are bored of the old corporate identity look so brands need to reflect this shift in attitudes.

The best designs are the ones which capture an inherent truth or insight about the brand. These designs are also often bold and graphic enough to grab someone’s attention in a busy environment. 

Over the next five years, design will become more important. Take books for example: As the online publishing world decimates traditional publishing, there will be more emphasis on making books which are not only to be read, but become ‘objects of desire’ in their own right.

The market in Asia leading the way in design is Japan — a combination of high-speed popular consumer culture colliding with ancient aesthetics creating a new world of design opportunities. 

My design philosophy is get busy and get on with it. It’s better to have a go at something than sit back and think ‘I can’t’. My goal is to make iconic work — stuff that is deep on meaning yet communicates the message quickly and clearly.

I draw inspiration from street art, pop culture, book covers, Polish film posters and the opinion section of any decent newspaper.

I’m a designer because I love art, illustration, typography, visual communication and beautiful graphics. Being a designer allows me to combine all of these things together when I sit down and try to create new work.

I got here by just enjoying what I do. When you design, you create. And when you create something from scratch and it turns out to look quite cool it just feels damn good.

I would love to collaborate with Noam Chomsky. His words translated through infographics, typography and illustration would provide me with an abundance of ideas to work with.

The biggest influencer on my career is seeing people who are happy to work anonymously on projects of their own making. They don't need a pat on the back to motivate them and don't wait to be told what to do. It's that pro-active enthusiasm which I really admire.

Successful designers need to have a wide range of skills – on and off the Mac. Being a good designer is one thing but the ability to voice your opinion in a clear and convincing manner is equally important.

The number one challenge facing the design industry is… I work in advertising where crafted design is the cherry on top of fantastic creative work. If another economic recession hits, then potentially clients will only want the functionality without the beautiful finish. Therefore designers need to continue to demonstrate that good design should be thought of as an asset to any progressive brand.

The best example of a design-led brand is Johnson Banks' work on the Cystic Fibrosis Trust. They've created an 'active' brand identity system where the branding merges seamlessly into the communication messaging.

 

Jerry Goh 
Creative director, Hjgher

A creative director who believes in human-centric design, Goh founded Hjgher with Justin Long in 2006. His love for details and carefully thought-out print and typography design has led him to create Underscore, Hjgher’s self-published magazine.

Brands in Asia generally see design as an extension or result of our rich cultural roots, rather than a (new) medium to convey a message. They see design more as decoration, rather than a tool to communicate. But it’s slowly changing to become something more progressive.

Over the next five years, design will gradually be integrated in our way of living and communicating, and become a fundamental element that helps businesses — or just about anybody — make decisions. Design will become a language.

The best designs are invisible.

The number one challenge facing the design industry is that people are not educated enough about design and how it could be a soft but powerful tool. I would love to see more brands spend more time being educated about design and in turn educate their audience about it. 

I draw inspiration from human behaviour and how we interact with each other, and the space and objects around us. Every decision I make considers how people will see a colour or touch the paper. I want to create an experience rather than a flat piece of design.

My design philosophy is that a good design is a universal language that improves our quality of life. Although I do believe a prettier world is not necessarily a better world.

I would love to collaborate with anyone from [renowned Japanese graphic designer] Kenya Hara to Kanye West.

 

Yoshihiro Yagi
Creative director, creative division, Dentsu 

A graduate from the Kyoto University of Art and Design, Yagi started his career as an art director in 2001. As an accomplished creative with a forte in artistic expression, he has over recent years been the most internationally awarded creative in Japan.  

I’m a designer because I think about design all the time. I guess I’m trying to connect what happens in everyday life to design at a subconscious level. 

I got here by being someone who hates to lose. I get envious when I see great work done by someone else; I feel totally depressed when I think I lack the finesse I need, and I’m always in agony. Having said that, my favourite phrase is “When it’s tough, you’re moving up”. If you feel things have become easy, that means you’ve already passed the peak and are going downhill. 

My design philosophy is to establish a system. When I try to think of design as a sort of programme that is capable of controlling a brand, it often works out well.

I would love to collaborate with a brain scientist. I am a big believer in staying in good condition because that’s when great ideas come to you.

I draw inspiration from my memories, most of the time. If you live a happy life, so that a lot of nice memories stay with you, I’m sure that ideas come to you constantly. 

The biggest influencer on my career is the perverseness in me. I want to be different. Difference has value in itself, and I think this should be your basic attitude.

I would love to see more brands become eccentric. Brands also need to be adventurous. We all admire adventurers, don’t we? 

The best designs are gravity-free under any circumstances. I want to develop designs that can transcend negativities with no hassle — designs with such an overwhelming presence that they can overcome any issues.

The best example of a design-led brand is Apple. 

The number one challenge facing the design industry is that some clients do not understand the value of design nor have any idea how a design is created. If you want design to be at the centre of the brand, you should revamp the client’s convoluted organisational structure (I hope I am not offending anyone). If this can be done, I’m pretty sure that the brand that comes out will be great, not just in its appearance, but also in its identity. 

The market in Asia leading the way in design is the nail art market. 

 

Carrie Chau 
Freelance artist/designer, Hong Kong

Able to draw equally well with both hands, Chau was admitted to a design course at the Polytechnic University of Hong Kong at 17, despite having the lowest formal qualifications. At 24, she quit her job in merchandising to follow her childhood dream of painting professionally. 

I would love to see more brands consider eliminating negative environmental impact with more sustainable designs. I think it is important to create meaningful projects which combine the dynamic essence of art and design while keeping a respectful and mindful attitude towards the sustainability of nature.

The best example of a design-led brand is Muji. Hideo Yamamoto once said the key to a successful Muji design is ‘Kong’ — allowing the product to return to its functional basics and foundational colours, then design with simple and clean outlooks. And So Soap. Its designs are environmentally friendly, neat and chic.

The market in Asia leading the way in design is China. The market has opened-up so vastly, opportunities are running in, and it’s definitely looking good in the future. As long as we don’t destroy our relationship with nature we shall be able to enjoy this land for a longer period of time.

The number one challenge facing the design industry is copycatting.

Over the next five years, design will return to creations that are more genuine, with more use of raw materials, handmade and customised production. Well, hopefully.

I’m a designer because I love to observe, to imagine and to create. Beautiful things have always caught my attention. However, this perspective has changed and I realise good design is not only about making beautiful things but also creating a practical and natural integrated living environment. I have been gradually looking away from product design towards landscape and sustainable design.

I got here by serendipity. I am a 'follow your bliss' person. In 2004, while working as a graphic and packaging designer at a lifestyle store in Hong Kong, I began to receive requests from clients on my original paintings and I started holding exhibitions as well. I am always grateful for those who has shown support throughout my journey of creation.

My design philosophy is feministic, narrative, exquisite, practical.

The biggest influencer on my career is Ju Ming, the world-famous Taiwanese sculptor. It is his determination and persistence in transforming himself from a nobody woodcrafter to an internationally acclaimed sculptor that I simply admire. I enjoy the strong emotions, honesty and rawness that he brings through his ‘Living World’ series.

I draw inspiration from the natural world, travelling, dreams and glimpses of my everyday life.

I would love to collaborate with Patrick Blanc, my favourite botanist, a great ecological engineer and a modern innovator of vertical gardening.