Interviews med Nontawat Charoenchasri

I hold dual bachelor’s degrees in Architecture and Graphic Design. From the beginning, my goal was to become a multidisciplinary designer—someone who doesn’t define himself strictly as an architect, graphic designer, or creative director. I’ve always wanted to create hybrid design solutions that blend across disciplines.

I’ve been in the design industry since 1999. In 2001, I founded DUCTSTORE the design guru. My early works focused on music-related projects—album covers and music graphics.

From 2005 to 2010, I served as Creative Director for Wallpaper Magazine (Thai Edition).

In 2016, I founded THE OTHERS, an architecture-focused company specializing in architecture, interior design, and exhibition design.

In 2018, I launched www.iameverything.co, a content platform focusing on design culture and creative communication.

In terms of recognition:

2024

• iF Design Award 2024

• Red Dot Grand Prix: Jorakay Pavilion 2024

• Red Dot Best of the Best: Jorakay Pavilion 2024

• Red Dot Winner: EVERYTHING Magazine

• Red Dot Winner: Collective by Cloud 11

• Red Dot Winner: Krungthai Bank: Money Expo 2024

2025

• German Design Award Winner: Jorakay Pavilion 2024 / Krungthai Bank: Money Expo 2024 / Kentucky Town Bangkok Pop-Up Store 2024

• iF Design Award Winner: EVERYTHING Magazine / Jorakay Pavilion 2024

• A’Design Award:

• Gold Winner: Jorakay Pavilion 2024

• Gold Winner: Krungthai Bank: Money Expo 2024

• Bronze Winner: OB House

After graduating in 1997, Thailand was hit by the Asian Financial Crisis (Tom Yum Goong Crisis), and many architects—including myself—faced a difficult job market. I pivoted toward graphic design and started working on music-related visuals, including music graphics and magazine layouts. Eventually, I became involved with Wallpaper Magazine (Thai Edition), which marked a significant turn in my design career.

Later, I returned to interior design and eventually to architecture. Over the past 25–26 years, my journey has always been guided by the idea of becoming a well-rounded designer in Thailand—someone who doesn’t box himself into being just an architect or a graphic designer. I define myself simply as a “designer”—complete, versatile, and distinct from

Three key priorities I follow are:

1. Addressing the client’s objectives across functional, conceptual, and emotional dimensions

2. Embedding my design signature—something I define as Graphitecture (Graphic + Architecture), a visual DNA of DUCTSTORE and THE OTHERS

3. Staying within budget constraints while delivering maximum value

I primarily use digital tools such as SketchUp, 3D software, Illustrator, and even MidJourney for conceptual explorations. At times, we also build physical models for tangible spatial understanding. Every new project begins with clear timelines, defined roles, and iterative conceptual development—until we land on a direction we believe in and propose to the client.

The most thrilling moment is when a fresh idea clicks, and we transform it into something real that people trust and embrace. That sense of creative flow and the challenge of manifesting a new idea into the real world is incredibly fulfilling. It’s what pushes me to grow from one milestone to the next.

From a young age, I was deeply drawn to creative thinking and won numerous drawing competitions. That cultivated my interest in the arts early on.

A few key influences were:

• My architecture professor, who opened my mind and helped me discover my creative identity

• A senior mentor in graphic design, who sparked my passion for visual communication

• The cultural aesthetics of 1990s alternative music, punk fashion, and the philosophy of deconstructivism, all of which profoundly shaped my worldview and design thinking

I aim to launch my own fashion or design object brand rooted in graphic identity, architecture, and visual storytelling—work that reflects my personal statement.

I’d like to be remembered as a Creator who can navigate multiple disciplines seamlessly. My dream project would be to design public architectural spaces that provoke thought, emotion, and shared experience.

Trust your instincts—no one knows your path better than you. Longevity in this field is not just about talent, but about consistently delivering work that clients return for. And most importantly: don’t waste time. Life is short. Design is eternal.

Never assume you’re better than others. Stay humble. Always be a learner. Keep improving. Keep evolving.

Coffee. Work. Social media. Rest. And when I need new inspiration, I take trips with my family to reset and observe the world with fresh eyes.

I don’t strictly follow trends—I believe designers should create them, not chase them. Inspiration is everywhere, embedded in daily life. I’m drawn to fashion but prefer to work through context and problem-solving rather than trend replication.

Good design begins with a clear objective and improves people’s lives. Bad design may look beautiful but lacks purpose or becomes indulgent without benefit. I always look for ideas that ask new questions and open new possibilities—solutions that go beyond limitations and move things forward.

As designers, we must learn to sense the moment of just right. That is when the design achieves its purpose, and refinement reaches its limit. That’s when I let it go.

I’m especially proud of JORAKAY Pavilion 2024. It was the second year working on the same brand, but I had to deliver something entirely new. The challenge was to express “Collective Language” as a spatial concept tied to the brand narrative and the overall theme of Architect Expo 2024 Bangkok. Designing something abstract yet clear enough to gain wide acceptance was a true test—and a rewarding one.

If I could choose only one, it would be Zaha Hadid. She embodied everything I admire in design—vision, boldness, rebellion, and futurism.

Thailand is rich in subcultures. Unlike the orderly systems of developed Western cities, Bangkok’s cultural chaos is often an inspiration in itself. Music, especially pop and alternative genres, heavily influence my design vibe, attitude, and lifestyle. Good design should improve lives. That is our mission as designers: to make sustainable progress through creativity.

My studios are built on collaboration—bringing together diverse creatives to co-create and explore new ideas. My business philosophy is simple: exceed expectations and deliver work that surprises and satisfies. When building a team, I look for passion and the joy of solving diverse design challenges. The biggest challenge in our field is keeping ideas fresh and avoiding formulaic thinking. We must stay curious.

I serve as a design juror at national-level competitions in Thailand, helping to elevate the quality of design across the country. I also lecture regularly at universities, mentoring the next generation of creatives. During crises—floods, natural disasters, political movements—I’ve participated in social and awareness campaigns. Designers have a voice. We should use it meaningfully.

I was thrilled to win three awards in 2025. It proved that our work meets international standards. The A’ Design Award helps push designers to elevate their work. It also provides global exposure for emerging talents. Awards like this boost client trust and serve as a strong KPI for any creative business. Being named “Designer of the Day” means a great deal to me. I’m truly honored. Thank you, A’ Design Award Italy, for this recognition.

OB House expresses a distinct architectural language through a cubic form that’s been carved to create rhythmic variations of solid and void across each elevation. While each façade reveals a different spatial character, the overall massing remains cohesive—anchored in a minimal and timeless concept. Beyond form, the house is designed to reflect the lifestyle and identity of its owners, with a spatial flow that balances privacy, natural light, comfort, and openness.

The house belongs to a creative couple—one a fashion designer, the other in advertising. The brief was clear: a minimalist home with raw yet refined materials. In response, we crafted a structure that feels introverted from the outside but unfolds into interconnected, light-filled spaces within. The massing articulates function: front elevations appear solid and grounded, while the internal voids and glass cuts bring light, transparency, and spatial dialogue across all levels.

A central courtyard punctuates the mass, connecting floors vertically through double and even triple-height spaces. From kitchen and pantry on the ground floor, to an open-plan living and guest suite on the second floor, to the master bedroom above—each level is linked visually and physically. A spiral staircase, requested by the clients, becomes both a sculptural centerpiece and vertical connector. Green pockets and full-height glazing ensure the interior feels open, breezy, and energized—without sacrificing privacy.

One of the challenges was ensuring spatial continuity while remaining faithful to the core concept of minimalism and timelessness. Each elevation serves both aesthetic and functional purposes, with solids protecting the house from harsh western sunlight, and voids strategically cut for ventilation and daylighting. The design also supports sustainable living by reducing reliance on artificial cooling and lighting.

To create an architectural reflection of the owners’ lifestyle—where minimalism meets personality, and form supports function.

We aim to evolve the ideas developed here, applying them to new projects with different constraints—while staying true to our design DNA: clarity, honesty, and spatial rhythm.

Approximately 1–2 years.

It was a commissioned project. The owners wanted to tear down their old house and rebuild a new one on the same site—within a defined budget. For us, it was also an opportunity to craft something unique that reflects both the clients and the values of THE OTHERS.

No. It’s a one-off, custom home.

We wanted to challenge ourselves by taking on a residential project unlike anything we had done before.

Yes—Mies van der Rohe, Le Corbusier, David Chipperfield, Peter Eisenman, Louis Kahn, Sou Fujimoto, and more.

The homeowners themselves—one is a fashion designer, the other a creative in advertising.

We push minimalism beyond aesthetics—it’s about reduction with depth. The rhythm of solid and void creates both form and feeling.

OB House comes from the initials of the couple who own the house.

SketchUp, physical model making, Adobe Suite, and of course, sketching by hand.

The choreography of solid and void—how mass and emptiness interact across elevations.

Our contractor played a key role—they understood both the materiality we envisioned and the clients’ expectations.

From natural ventilation strategies to home automation systems, tech was used to improve everyday comfort and energy efficiency.

Our design draws from modernist and minimalist principles—reduction, honesty, and the direct expression of function. But behind the simplicity lies a complex study of spatial relationships, especially between mass and void in elevation and section.

Construction took place during the COVID-19 pandemic, and rising material costs added pressure on the budget.

We wanted to see how our work measures up on the global stage—and to share our architectural perspective internationally.

Good architecture takes time. It demands patience, dedication, and the courage to stay true to your concept. Looking back—we’re proud of what we’ve built.

We’d like to thank the A’ Design Award 2025 for honoring OB HOUSE with a Bronze award. It means a lot to us and gives our team the motivation to keep designing with heart and purpose.

The core idea behind JORAKAY PAVILION 2024 is a decoded interpretation of the “Collective Language” theme from Architect Expo 2024. We began with the grid system—the origin of architectural logic—and reimagined it through the natural grid of a crocodile’s underbelly. This became our diagrammatic foundation. The result is an abstract, unexpected evolution—one that breaks away from the look of Jorakay Pavilion 2023. It’s a bold spatial statement, rooted in brand meaning, that fits seamlessly within the expo’s conceptual framework.

Our main focus was to help Jorakay reposition its brand at Architect Expo 2024. We wanted to achieve a fresh image—something completely different from last year, with a clear marketing objective: to connect with architects and younger audiences on a more emotional and design-driven level.

This project pushes us to go further. Every award is both a recognition and a responsibility. We’re asking ourselves: how can we evolve this kind of concept even more, while staying true to what made it successful in the first

Two months for design and development, and two more months for construction and installation at Architect Expo 2024.

This was a commissioned project by Jorakay Corporation. What made it special was the creative freedom—they trusted us to reinterpret the brand identity in a deeper, more architectural way. Our goal wasn’t to just display products, but to craft a brand experience that speaks through form, space, and light.

No. It was a one-off installation, designed and built specifically for Architect Expo 2024. It was never intended for resale or licensing.

Trade fair design is the ultimate hybrid—architecture meets communication. Our studio is built around multidisciplinary thinking, and this type of project lets us bring architecture, branding, marketing, and design execution together. When clients face complex briefs that live between disciplines, we’re often their first call—because we can integrate everything into one unified, strategic execution.

Honestly, at this stage in my life—51 years old—I don’t look outside for design influence anymore. The idea came purely from the brief, the brand, and my own thinking.

Architects, designers, and the general public attending Architect Expo 2024.

We didn’t just align with the event’s theme—we merged it with Jorakay’s DNA. That’s what makes it different.

Collective Language: JORAKAY PAVILION 2024 wasn’t just a slogan—it was a spatial narrative built around that fusion.

The name JORAKAY PAVILION 2024: Collective Language is a direct reflection of the concept itself—where the brand and the event’s theme are deconstructed and reconstructed into a new architectural form. It’s about dialogue through design.

SketchUp, Adobe Creative Suite, 3D modeling tools, motion graphics software—a full range of tools for both form-making and storytelling.

The way we combined architecture, installation, exhibition, lighting, and sound into one immersive experience. It’s not just a pavilion—it’s space as narrative, shaped by time, mood, and motion.

Yes. We collaborated with a lighting designer, motion graphic designer, structural engineer, and even a DJ—because we wanted every sense to be part of the experience.

Technology was essential. It enabled us to use light and sound to bring movement, emotion, and contrast to the structure. It turned architecture into a responsive and dynamic atmosphere.

Yes—our design was grounded in marketing strategy, communication goals, and the event’s theme. We used this information to guide the zoning strategy and spatial messaging, ensuring every zone had a clear purpose aligned with the brand’s narrative.

We didn’t want to repeat the success formula from the previous year. Instead, we aimed to surprise again, to evolve. The challenge was to create something new that delivered brand attitude, made a bold statement, and still respected the marketing goals and budget. That tension between creativity and reality—that’s where the magic happens.

We submitted JORAKAY PAVILION 2023 last year and received great feedback. But in our view, 2024 was on a whole other level. We believed it deserved global attention—and we weren’t wrong. As of now, JORAKAY PAVILION 2024 has won 8 international awards, including some of the industry’s most respected competitions. It’s a proud moment for our team.

I’ve learned that the best work happens when the team, the client, and the moment align. It’s about having the right people, clear decision-making, and a strong plan. That combination is what turned this project into a success—and gave us the clarity to execute it with confidence.

We’d like to sincerely thank the A’Design Award Competition 2025 for recognizing JORAKAY PAVILION 2024 with a Gold A’Design Award. It means a lot to me and to everyone on the team. It’s more than a prize—it’s fuel to keep going.

The concept behind the Krungthai Bank : Money Expo 2024 Pavilion was to reinterpret the bank’s bird logo by decoding its wings into a structural language, creating layered architectural forms that represent trust, movement, and identity.

We aimed to reshape the public’s perception of Krungthai Bank at the Money Expo Bangkok 2024 and to reinforce its brand trust as a state-owned financial institution.

The pavilion is designed to be modular and scalable, making it adaptable for future exhibitions in other provinces outside Bangkok.

Approximately 4 months—from conceptual design to realization and on-site installation.

It was a commissioned project from the bank. My role was to execute the concept into a pavilion for the Money Expo 2024.

No, there are no plans for external production or licensing.

Trade fair and exhibition design requires a deep understanding of architecture, branding, and storytelling. Our studio specializes in Total Communication, allowing us to design spaces that combine function, content, and even event organization. Clients seek one-stop solutions—and we’ve become a trusted expert in this field in Thailand.

Yes, I’ve been inspired by many designers including:

Mies van der Rohe, Le Corbusier, Peter Eisenman, Sou Fujimoto, Aires Mateus, David Chipperfield, Marc Newson, Mark Farrow, David Carson, and Rei Kawakubo (Comme des Garçons).

The general public.

It introduced a new visual identity for Krungthai Bank, unlike any of its previous exhibition appearances.

The name “Krungthai Bank : Money Expo 2024” is the official title of the bank’s participation in the event.

SketchUp, AutoCAD, and Adobe Photoshop.

The use of translucent polycarbonate as the main material, the lighting design, and an open-plan furniture layout that creates fluid spatial experiences.

Yes, my own team from DUCTSTORE and THE OTHERS—including interior designers, architects, graphic designers, and content strategists. Everyone contributed to shaping a unified design language.

Technology played a crucial role in helping us simulate and visualize spatial experiences before the final build.

Yes. Marketing research was essential in zoning the space according to user needs and client requirements.

Translating a 2D brand symbol into a 3D architectural space—while preserving the bank’s core identity—was one of the biggest challenges.

We wanted to benchmark our work against global standards and assess the quality and competitiveness of design coming from Thailand.

I learned how to transform a mass-market experience into a design-driven environment—showing how design can refresh and elevate a brand.

I treat every project with full dedication and always strive to exceed client expectations—improving the design with each step.

I graduated with dual bachelor’s degrees in Architecture and Graphic Design. From the beginning, I knew I didn’t want to be confined to a single professional discipline. My goal has always been to craft my own path that integrates multiple branches of design into one.

Design has no fixed formula and no absolute right or wrong. I felt naturally drawn to this field—it’s where I feel most free to express my thoughts and stay true to who I am.

I chose it because I love it. No one forced me. Everything I do is driven by passion.

I work across architecture, exhibition, graphic design, branding, and even content platforms. What I want to do more of now is fashion—creating my own brand to express something new through clothing—and also furniture design.

Honestly, I don’t see myself as a legend. I’m still working. Legends are usually titles for those who’ve already stopped. I just keep doing what brings me joy. The results will speak for themselves someday.

A good designer delivers results.

A great designer shapes influence that resonates throughout society.

Intention, meaning, and impact—not just visual beauty without substance.

Good design builds culture, changes behavior, and creates tangible value. It’s what distinguishes quality from mediocrity. It adds value beyond function.

I’d love to design urban spaces or public areas—projects that directly benefit communities and cities.

A mixed-use architectural project that introduces new lifestyle patterns through spatial programs.

Trusting my own instincts.

Mies van der Rohe, Le Corbusier, Peter Eisenman, Sou Fujimoto, Rei Kawakubo (Comme des Garçons), Future Systems, David Carson, Marc Newson, Philippe Starck, Vivienne Westwood, and Virgil Abloh. These are people who broke design boundaries for me.

There are many, but Villa Savoye by Le Corbusier and the Neue Nationalgalerie by Mies van der Rohe stand out. They represent a sophisticated simplicity—a core system of architectural thinking that has deeply influenced me.

The Jorakay Pavilion 2024. It redefined the image of trade fair exhibitions by transforming them into abstract architecture that communicates across all levels.

Stay hungry. Seek out new challenges. Never stay still.

I might have become an artist instead.

Design is the act of discovering what doesn’t exist yet—and bringing it into being with meaning.

Myself, my family, my team, and the first few clients who believed in me before I had any portfolio to show.

Self-belief, and continuously repeating what I love doing until others clearly understood who I am.

Not yet finding clients who truly matched my ideas—or budgets that properly respected the creative value.

Don’t just show what you made—share what you believe in. Great presentation isn’t just about looks—it’s about communicating your thinking, your system, and your signature.

I’m building my own fashion brand. It’s a new kind of statement that lets me tell my story differently.

To create a movement in both local and international design scenes. To be globally recognized and to shape cultural impact.

To bring new ideas that shake things up—and to keep the excitement in the industry alive.

Design is a tool for communication and behavioral change. Done right, it connects people, communities, and cities—elevating quality of life.

Architecture and fashion—these are the next steps in my creative evolution.

Jorakay Pavilion 2024—it gained international recognition, won multiple global awards, and achieved both conceptual impact and marketing success for the client.

I want people, especially in Thailand, to understand the true value of design—and recognize the essential role of designers in shaping society.

There’s no single answer. The future of design lies in coexisting with a complex world—interacting with technology and human emotion in increasingly nuanced ways, shaped by each culture and economy.

Typically 4 to 12 months for medium to large-scale projects.

Always start with “Why?” Then ask “For whom?” and “How?”—to align with the purpose and outcome.

Trust your instinct.

Design sets the trends.

Technology is a tool to help achieve goals. But we should direct it—not let it dictate us.

AutoCAD, Adobe Suite, Midjourney, AI-based tools, paper and pencil, and ChatGPT. I use whatever helps—no attachments.

They’re the second language. If the message is clear, color, materials, and ambience amplify it powerfully.

What is the purpose behind it?

How does it serve the people who experience it?

Surprise. And the hidden message—how does it speak to me?

My current team—they’re already my dream partners. We’re deeply connected as one.

My team. Together we evolve, push boundaries, and bring every idea to life.

Ray Gun : Out Of Control

/ Marvin Scott Jarrett 1997

I keep asking myself where I came from. I revisit my roots as raw material, refine it, rebuild it, and keep pushing it forward. That’s how I became who I am today.

I’d love to be a teenager in 1970s London—right when punk culture exploded. I want to be part of Malcolm McLaren, Vivienne Westwood, and the early Sex Pistols scene.

I’m proud, but awards are not the goal. They’re fuel, not the destination. Fame is secondary to the trust people place in my work—which matters more to me than popularity.

Color: Black

Place: Berlin / Tokyo

Food: Ramen

Season: Spring in Tokyo

Thing: Dr. Martens shoes, sunglasses

Brands: Junya Watanabe Man / Comme des Garçons / Stone Island

Once, I presented to Coca-Cola and accidentally said “Pepsi”—I went home with nothing that day.

Coffee & friends. And the thought of doing it all for my family.

I never aimed to be “great.” I just knew I wanted to do something different—something with no fixed path that I could enjoy endlessly and live off.

Everything will eventually fade.

I’ll never stop designing. I’m 51 now, but I feel like I’m just starting—at the peak of my energy. I’m waiting for projects that match me perfectly, and when they come, I’ll give them everything I’ve got.

I hold dual bachelor’s degrees in Architecture and Graphic Design. Since university, I’ve always aimed to become a multidisciplinary designer—someone who doesn’t define himself as solely an architect, graphic designer, or creative director, but rather someone who blends disciplines into hybrid design practices.

I founded DUCTSTORE the design guru in 2001. The name “DUCTSTORE” comes from “Product” and echoes the sound of “Drugstore,” reflecting our aim to make every design a product of value. “The design guru” refers to knowledge and expertise. In 2016, I established THE OTHERS, our architecture-focused practice, to clearly distinguish the architectural vision from our broader design work.

Design is problem-solving and creating something new.

Any kind that allows me to apply a wide range of skills—architecture, exhibition design, graphic design—they’re all interrelated and equally exciting to me.

Recently, my favorite works are in architecture and exhibition design. I enjoy exploring creative possibilities within constraints—creating thoughtful designs that meet user needs, work within budget, and avoid unnecessary waste.

In 2001, my debut project was designing the album cover for an indie music band in Thailand. It was a graphic design job.

Material : Steel

Platform: www.iameverything.co, our own content platform

Technology: Midjourney and AI tools.

When I’m sipping coffee on a day off or while road-tripping with my family.

Budget and functionality—always coupled with aesthetic value.

It was fun, like playing without any rules — a way to twist and turn my own thinking.

Pride. It’s fulfilling to see something come to life from scratch.

Designer vision, client involvement, marketing objectives, and ultimately its commercial or social impact.

Its purpose. What was it created for?

To help improve urban livability or make a meaningful contribution to society in some way.

AI is increasingly integrated into design, speeding up processes. But if overused or unbalanced, it may diminish originality.

My last exhibition was at Architect Expo 2024 in Bangkok. I hope to hold the next one in 2026.

Fashion, music, lifestyle, and travel—they constantly fuel my creativity.

I call it Graphictecture—a blend of graphic and architectural design. It’s a form of hybrid design that plays with 2D and 3D spaces. My approach is always multidisciplinary, aiming to merge dimensions and disciplines.

I live in central Bangkok. Thai culture is a unique blend of past and present, tradition and modernity, and that definitely influences my work. The pros are flexibility and adaptability; the cons are occasional conservative mindsets, but those can be worked around with clear target audiences.

We provide Total Communication services—covering everything from branding and architecture to media and experience design. We can work in modules or as a complete package, depending on what the client needs.

Choose a designer whose expertise matches your project—and most importantly, trust their vision.

• Start by receiving the brief and understanding the client’s needs.

• Evaluate which services we can offer.

• Clarify the scope of service and align expectations.

• Check chemistry between both parties.

• Understand why the client is interested in us.

• After agreement and pricing, we move forward with the design phase and deliver according to timeline and budget.

-Land Rover Defender 110

-MINI Cooper S R53 2006

-Chair One By Konstantin Grcic

-Ak47 Philippe Starck Table Gun Lamp By Flos

-Louis Vuitton Mini Trunk Damoflage Limited Edition By Pharrell Williams

10:00 AM – Wake up

12:00 PM – Lunch

1:00–7:00 PM – Work

8:00 PM – Dinner

12:00 AM – Sleep

Don’t rush to define what kind of designer you should be. The world today doesn’t have the clear-cut boundaries it used to. You don’t need to pick just one label—graphic designer, architect, or creative. What you really need to decide is: What do you truly want to do? What’s your passion?

What matters is that you stay hungry. Dare to step out of your comfort zone. Dare to be different—without trying to be like anyone else. Because that “difference” will eventually become your signature.

Never stop questioning. Never stop experimenting. Face the pressure head-on. A spring compressed to its lowest point always rebounds the highest. And above all—always trust your instinct.

The positive: You get to do what you love.

The negative: Your mind is always at work—you never stop thinking.

Trust your instinct.

Negotiation skills.

Books and ChatGPT.

I plan my time systematically and avoid wasting energy on unnecessary things.

Typically 4 to 6 months.

Where do you get your inspiration from?

Sustaining a 25-year career in Thai design across various disciplines.

Large corporations in building materials, shopping malls, and lifestyle brands.

Architecture. Because it’s about designing spatial possibilities. I enjoy the challenge of defining the right balance and solution within constraints.

I want to launch my own fashion brand. It’s a completely new frontier for me.

I work as part of a team. My team has 37 members, including architects, interior designers, graphic designers, content creators, strategic planners, videographers, photographers, and more.

I’m currently designing my own fashion brand. It’s still in the concept and development phase and will be a long-term journey.

Email: ductstore@gmail.com, iameverything.design@gmail.com

Or visit my content platform: www.iameverything.co

I believe everything has been covered. Thank you for the thoughtful questions—it’s a true honor to participate in the A’ Design Award Competition 2025 interview.