Interjúk – Kikumi Yoshida

I have been working in the design field for nearly 20 years. My focus has been on creating designs that support and strengthen business branding. In recent years, I have received a growing number of requests for packaging design and branding support, which allow me to help clients communicate the essence of their products and values more clearly through visual design.

I have always enjoyed drawing and expressing myself visually. As I explored ways to turn this passion into a profession, I discovered that design was the perfect path. Becoming a designer allowed me to use my creative strengths to communicate ideas and values in a tangible and meaningful way.

I place great importance on dialogue with clients. Through careful conversations, I try to understand the unique charm, texture, and worldview of their products. My approach is to highlight and enhance these elements as much as possible, so that the final design truly reflects the spirit of the brand or item.

When I’m designing, I feel a sense of pride and fulfillment. It’s not just about creating something beautiful—it’s about helping someone move forward with their vision. The moment I realize that a design has captured the essence of the client’s values, I feel deeply honored to have been part of their journey. That feeling makes me proud to be a designer.

One major influence on my design approach was my grandmother, who had poor eyesight. Her condition made me think deeply about how to communicate beyond just visual elements. Since then, I’ve been consciously creating designs that speak not only to the eyes but also to the other senses—touch, sound, or even scent—depending on the context. I believe design should be felt as much as it is seen.

I want to keep supporting creators and businesses that have strong values, especially in rural areas. In the future, I plan to launch a new brand that combines traditional crafts and contemporary design, and also create a web magazine that shares the philosophies of passionate makers. My dream is to build a platform that helps local creators thrive by making their work more visible and valued.

Talk with your clients deeply—not just about work, but about their values and what they cherish. Get to know them as people, not just business partners. I believe this helps you create designs that truly connect. Also, don’t worry about being perfect from the beginning. Stay curious and keep asking questions.

Not at all—I still feel like I’m in training myself. I hope to stay humble and never forget the beginner’s mindset, no matter how many years I’ve been working. Every project teaches me something new.

On weekdays, I mainly focus on client meetings and design work. I try to communicate as much as possible with clients throughout the day. On weekends, I intentionally step away from design—visiting libraries, baking bread, or spending time in nature to refresh my mind.

I check design trends through books and online sources. I think it's important to be aware of trends, but they are not the highest priority. What matters most is whether the design truly resonates with the client’s values and goals.

When I look at a product as a consumer and feel, “I want this,” that’s when I know it’s well designed. I focus on whether the charm of the product and its materials is clearly communicated, and whether it brings out the uniqueness of the client.

I consider a design ready when I feel confident that it reflects the client’s vision and nothing more needs to be added or taken away. Even for short-term projects, I work carefully to refine and adjust until it feels just right.

It’s difficult to choose just one. The three award-winning projects certainly stand out, but many other projects also hold special meaning for me. I often find myself thinking back on conversations I had with clients, the challenges we tackled together, and the joy of seeing their ideas take shape. What makes a design meaningful is not just the scale or recognition, but the depth of collaboration and trust built along the way.

I admire designers who convey the essence of a place through their work. For example, I deeply respect Naohiro Niiyama of TSUGI, Takahiro Shiromizu of Unagi no Nedoko, and Koitabashi-san of Akaoni Design. Their designs are not just visually striking but are rooted in the local culture, materials, and people. I’m inspired by their ability to blend regional identity and storytelling into design in a way that creates lasting value.

I live in Ehime, a rural area in Japan with rich local traditions. Seasonal festivals and the strong connection between people and land have shaped my sensitivity to place and storytelling in design. On weekends, I take time to bake bread, visit libraries, and enjoy nature to stay grounded and refreshed.

I work independently but often collaborate with photographers, writers, and other creatives depending on the project. I place great importance on listening to clients deeply, not only their needs but also their beliefs and values. Recently, as the scale of my projects grows, I’m exploring ways to form a more flexible team structure that can adapt to each project’s needs while maintaining the same care and attention to detail.

I work with individual shop owners, regional producers, and companies—regardless of their size—who are deeply committed to their work but may not have access to design support. Rather than offering only visual solutions, I focus on listening carefully to their values and stories, then helping shape and share those through design. By building long-term relationships and making their unique visions visible, I aim to strengthen the local economy and contribute to a more inclusive society.

One of the biggest takeaways was the realization that even from a rural area, we can reach the world. The experience also deepened my connection with collaborators—we were able to bring even more soul into our work. Most of all, sharing the joy of the award with my clients, who had walked the journey together with me, was truly special.

The main principle behind this design was to communicate the inherent beauty and vitality of vegetables as a heartfelt gift. Through extensive interviews at the farm, I realized that vegetables are not only visually attractive, but also possess a sensory richness—their scent, texture, and warmth from the soil all speak to the senses. To convey this “living charm,” I chose a symbol that combines the cross-section of a carrot with the sun, representing warmth and life. I also focused on sustainability and aesthetics by using materials that are eco-friendly and a structure that can be reused, allowing the packaging itself to remain as part of the gift experience.

My main focus was to shape and visualize the uniqueness of the client. I wanted to explore the potential that arises when agriculture and design intersect, and how design can help convey the value of vegetables as something more than just food.

We are planning to hold a commemorative exhibition this summer in a sunflower field managed by the client. It will be a celebratory event open to the community and those involved in the project.

I didn’t measure the time exactly, but since I’m constantly thinking about design, I spent a considerable amount of time refining the concept.

The project was commissioned, but the idea for this packaging initially came from a self-initiated proposal.

The packaging is currently in use by Hagata Farm, and we have no plans to sell or lease the design rights. It is a collaborative effort created for their exclusive use.

I wanted to present the charm of the client’s vegetables from a new perspective and reach people beyond the usual markets.

Recently, I’ve been inspired by the works of Koitabashi from Akaoni Design, especially how they bring out the local character through their design.

People who appreciate the depth of flavor in vegetables and who resonate with the philosophy and dedication of the farmers.

This design presents vegetables not just as produce, but as a gift that enhances brand value, making it stand out as a premium and thoughtful package.

The name naturally emerged through discussions with the client. It is a simple and straightforward name that conveys the product as it is.

I mainly used Adobe software throughout the process, including Illustrator and Photoshop.

The design elevates vegetables to the status of "art from the soil" and treats them as thoughtful gifts. The foil-stamped motif based on a carrot cross-section symbolizes a sun, reinforcing the idea of nourishment and connection.

I collaborated with a local photographer who captured the vegetables beautifully. Also, printing professionals played a vital role in realizing the foil stamping and paper texture precisely as envisioned.

Technology helped achieve precise foil stamping and ensured the packaging could preserve the quality of the design. Digital tools were also used to develop the composition and layout in the design phase.

Rather than numerical data, I focused on field research: visiting the farm, observing the growing process, and interviewing the client about their philosophy and experiences.

The biggest challenge was visualizing the abstract idea of "vegetables as art" in a packaging form that felt sincere and did not become overly decorative or commercial.

The idea came from a desire to share the strength of local agriculture and creativity with a global audience. It was also a way to celebrate the effort shared with the client.

I learned the importance of listening deeply. The client’s words and farming process gave me the perspective needed to design not just for appearance, but for meaning.

This project reminded me that design can connect people across different industries and backgrounds. I’m grateful for the trust placed in me and hope to continue designing with care and sincerity.

The design was inspired by the client's dedication to farming and the desire to share high-quality vegetables with children. We used the client’s hand and vegetable seed as the logo to reflect their individuality. The deep green wrapping resembles a leaf, while the reverse side of the paper includes a handwritten letter of appreciation and the product’s concept. The goal was to create a heartfelt design that wouldn’t be thrown away, but cherished.

Our main focus was to design a package that captures the quiet strength and sincerity of the farm, while also appealing as a gift. We aimed to make the packaging itself speak—carrying emotion and story, not just function.

We plan to continue refining the packaging and explore ways to share it as a model for agricultural branding in other regions. It has also opened up conversations about storytelling-based product design in our local community.

The design took several months, including multiple field visits, feedback sessions with the client, and iteration based on their values. It was a layered process that took time, but was deeply rewarding.

It was a commissioned project, but the design direction was shaped through open dialogue with the client. We started from scratch, exploring ways to embody their beliefs in the design.

The packaging is currently in use by Hagata Farm, and we have no plans to sell or lease the design rights. It is a collaborative effort created for their exclusive use.

We wanted to create a design that would represent the deep connection between the farm, the land, and the consumer. It was a chance to show how design can carry emotional value, not just visual beauty.

There were no specific design references in terms of visual direction. However, I was inspired by expressions that emphasize local narratives and tactile experiences, especially in how they connect products with people through story and material.

People who appreciate high-quality, locally produced food with a story—especially those looking for thoughtful gifts or unique culinary items.

This design is intended to be reused even after consumption, seamlessly integrating into everyday life. It is not just a disposable package but includes a space on the reverse side to deliver a message of gratitude, making it a more personal and memorable experience.

The name was developed through collaborative discussions with the project team. By defining the target audience clearly, we crafted a name that is honest, grounded, and resonates with everyday language—something that directly reflects the identity of the producer.

Adobe Illustrator and Photoshop for layout and artwork, plus hand-drawn sketches and physical prototypes for visual testing.

The package integrates the farmer’s hand and vegetable seeds into the logo, conveying pride and authenticity. The wrapping paper is not just decorative but carries a letter of appreciation on the reverse side, turning it into a keepsake rather than disposable waste.

The project began with deep conversations with the client, who is passionate about agriculture. I collaborated with a local printing company for paper processing and finishing, worked with a trusted photographer for visuals, and brought the story to life with the help of a local writer and a video creator. Each member contributed their unique skills to elevate the design.

Technology played an important role in expressing the delicate textures and depth of the package, while maintaining an honest and sincere tone. In particular, the printing and photography processes were effectively used to bring out the subtle qualities of the material and convey the atmosphere of the brand faithfully.

We conducted qualitative research by discussing with the client what kinds of expressions, visuals, and narratives would resonate most with their values and customers. It was less about numerical data and more about emotional alignment.

It was challenging to design something that felt premium while also being sincere and emotionally grounded. Balancing the aesthetic with cost and practicality, and ensuring it aligned with the values of the farm, was a delicate process.

The client’s story and their approach to agriculture were so powerful that I felt it deserved to be shared on a global stage. This award submission was one way to celebrate their work and share it with a wider audience.

I learned the importance of listening—both to the client’s unspoken values and to the material’s natural qualities. It taught me to design not just for aesthetics, but for emotional depth and human connection.

This project was more than a design job—it was a shared journey. It reminded me that design has the power to carry values, stories, and care across generations. I hope it continues to spark connections wherever it goes.

The core idea behind this design was to reinterpret locally produced mushrooms in a bold and youthful way, tailored for a modern audience. Mushrooms are often seen as rustic or traditional, so our goal was to break that stereotype and frame them as something vibrant and exciting. The bright vermilion color was inspired by outdoor goods and chosen to stand out in natural surroundings, appealing to consumers seeking refreshment and healing through nature. The packaging aims to turn a humble local delicacy into a striking gift that remains memorable, both in visual impact and emotional resonance.

Our focus was on combining strong visual appeal with functional durability. Since the product includes rice, dashi stock, and other components that make it heavier than usual, the packaging needed to be robust enough for transportation while maintaining its structure and elegance. We also paid attention to how the product would be displayed in stores or presented as a gift. By achieving high visibility and stylish simplicity, we hoped to introduce mushroom-based food to a wider audience, especially those who may not have previously considered it a premium gift item.

We hope to collaborate with local tourism and gift-oriented promotions to establish this product as a signature souvenir from Ehime Prefecture. The goal is to expand its reach as a locally rooted yet modern offering for both domestic and international audiences.

The entire process, from concept to final production, took several months. We conducted repeated field visits and prototype reviews with the client to ensure the packaging would withstand logistics while also communicating the product’s unique appeal.

This was a commissioned project, but the concept was born from open-ended conversations with the client. The client’s passion for mushrooms and his desire to reach a younger demographic inspired the idea to break from traditional aesthetics.

The design is currently used and produced by the client company only. At this time, we do not plan to sell or lease the production rights to others, in order to preserve the local character and uniqueness of the brand.

We wanted to reframe a familiar local ingredient in a new light, creating something both functional and symbolic. The packaging not only protects the product but also tells a story, transforming an everyday food into a gift with meaning.

I was inspired by designers like Taka Hiroshi of Unagi no Nedoko and Naohiro Niiyama of TSUGI, both of whom create work deeply rooted in local culture. Their approach of designing with narrative and community in mind influenced how I shaped this project.

The primary target is outdoor enthusiasts and travelers who enjoy discovering unique regional foods. People who appreciate good design and care about the story behind what they eat are also part of the intended audience.

This design stands out by combining the strength of a protective food package with an outdoor-inspired aesthetic. The bright vermilion color and bold typography are aligned with the tastes of outdoor fans, making it not just functional but also emotionally resonant for a specific lifestyle.

The name “KINOKOMESHI” is a playful and stylish way to express the product’s main ingredient: mushrooms. During the design process, we proposed this name as a direct and catchy expression that reflects both the product’s simplicity and character.

We used Adobe Illustrator and Photoshop for layout and visual direction, and InDesign for print-ready materials. Hand-drawn sketches were also used in the early concept stage to explore ideas.

The most unique aspect is the fusion of a traditional local food with a bold, contemporary outdoor aesthetic. By adopting vibrant vermilion and foil stamping, the package breaks expectations of what a mushroom gift looks like, while still preserving its cultural roots.

I worked closely with the client, who has deep expertise in mushroom cultivation. For technical aspects such as foil stamping and paper selection, I received great support from a local printing company. Additionally, the photography was done by a local photographer who helped capture the essence of the product beautifully.

Technology plays a subtle but crucial role, particularly in the durability and finish of the packaging. The precision of foil stamping and the structural strength of the box were achieved through advanced printing and packaging technology.

Rather than relying on numerical data, I conducted contextual research by visiting the production site and learning directly from the grower. This hands-on research helped shape the concept around the product’s story and the client’s values.

One challenge was striking a balance between visual boldness and brand integrity. We also had to ensure that the design did not feel out of place in traditional markets while appealing to a younger, outdoor-oriented audience.

Submitting this design was one way to help share the client’s careful craftsmanship with a wider audience. I wanted people outside our region to recognize the value and story behind the product.

I learned the importance of trusting both intuition and collaboration. By listening carefully to the client’s story, I was able to reinterpret their message in a visual form. It strengthened my ability to design beyond aesthetics—toward empathy and storytelling.

This design is not just a package—it’s a story about the people, land, and values behind the product. I hope viewers can feel the care that went into every decision, and that it sparks curiosity about where their food comes from.

I have been working in the design field for about 20 years. My work has ranged from branding support to various types of design needed to move businesses forward, including websites, packaging, signage, logos, and printed materials. Recently, I have been receiving more requests for branding support and packaging design.

I have always enjoyed drawing and expressing ideas visually. As I thought about how to make use of this strength, I was naturally drawn to becoming a designer.

I chose to become a designer by my own will. I wanted to use my skills in drawing and expression to help others communicate their ideas, and design felt like the most natural path to do so.

I mainly design branding-related materials such as packaging, websites, signage, and printed tools. Among them, I particularly enjoy working on packaging, because it connects the product with the user, creating a bridge between the maker’s intention and the consumer’s experience.

I am still in the process of learning and do not consider myself a "legend" by any means. However, if I were to give advice to my past self starting out in design, I would say: always face your clients sincerely. Listen not only to what they want to create, but also to their values and beliefs. Build trust by having not just work-related discussions, but also casual conversations and life stories. And above all, never forget your beginner's mindset — stay humble and keep learning.

A good designer can meet expectations, but a great designer can discover potential that even the client hasn’t noticed and elevate it into a form that truly resonates. Great design is not just about style — it's about listening deeply, understanding context, and delivering value that lasts beyond trends.

A truly great design is not just beautiful—it resonates emotionally with users, makers, and viewers. It naturally communicates the thoughts and intentions behind it. When evaluating design, I consider whether it fulfills its purpose, enriches the user experience, and reflects the pride and stories of the people involved.

Good design redefines the meaning of products and services, shedding light on hidden value. It doesn’t just support branding—it has the power to influence choices and behaviors. Beyond aesthetics, it brings value in areas like sustainability, social connection, and trust-building. That’s why I believe it’s a long-term investment.

I’d love to work more on creating “places” that reflect local culture, crafts, and materials, as well as packaging and spaces that communicate the values of the people involved. I’m especially interested in collaborating with primary industries or regional manufacturers to bring their often-overlooked stories into the spotlight through design.

To launch a brand that fuses traditional crafts with design, in collaboration with local artisans. Not just to create products, but to build something that conveys their way of life and philosophy over time. That’s my long-term dream.

Listening deeply. I prioritize understanding not only the product or service but the client’s values and worldview. That way, I can make more meaningful proposals. I also try not to impose my ideas, but co-create with the client.

I’m inspired by people like Naohiro Niiyama of TSUGI and Takahiro Shiromizu of Unagi no Nedoko. They work closely with local communities while continuing to present new value. Their attitude—listening to the voices of the land and translating them into design—is something I deeply relate to.

I’m especially impressed by Takahiro Shiramizu’s monpe project and Naohiro Niyama’s work in editing and reconstructing local products. What resonates with me in both cases is that their design is not just about visual expression—it translates the essence of a place, culture, and people’s lives into a form that can be shared. This approach aligns deeply with my own direction. Rather than focusing on the beauty of a product alone, their work conveys the background and philosophy behind it, which I deeply empathize with.

It’s hard to choose just one. While the three projects I recently received awards for are memorable, other projects also remain vivid in my memory because they were all carefully crafted through close communication with each client. In particular, I feel that those projects were successful in bringing out the message to the user and the power of the materials—turning them into forms that truly conveyed their appeal.

I believe the most important thing is to truly engage with people.

By carefully listening to their values and thoughts—and sometimes even sharing perspectives on life itself—the depth of design changes significantly. For me, it's not just about work. I try to broaden my perspective through all kinds of experiences: spending time with people, traveling, reading, and conversations in daily life. I feel that this ongoing accumulation is what leads to greater range and flexibility in expression.

I might have become a florist or a plaster craftsman who paints walls. I’ve always been genuinely interested in both professions and have a deep appreciation for their craft.

For me, design is something that moves a client's life forward.

My biggest supporters have been my family, my clients, and the local creatives and printing companies I work closely with. Their support and collaboration have been essential in shaping my design journey.

Learning directly from what clients see and touch in their daily lives has been one of my greatest sources of growth.

I'm still very much on the path, not a master yet. But looking back, I feel that simply following a client’s requests without questioning often didn’t lead to the best results.

I believe designers should clearly convey what aspects they focused on, how they balanced cost and quality, and whether the design truly helps the client achieve their goals.

Currently, I’m working on package design and branding. I’ve been receiving more long-term projects lately.

I want to create designs that blend seamlessly into everyday life—like something so natural and familiar, it feels like the air around us.

I believe people expect me to give shape to their values and worldview in a way that resonates and connects.

Design can become a source of energy that pushes a business—and the people behind it—forward.

I’m currently working on packaging design, branding, event planning, and helping develop a fashion brand.

The pickled vegetable project for Namikata Farm stands out. Local creatives came together to develop a product, and the process of combining our strengths into one offering was deeply satisfying.

I'd like to see more room for thoughtful and slower-paced design processes. In a world that often values speed and superficial aesthetics, I hope the industry will continue to shift toward designs that are rooted in genuine communication, storytelling, and local culture.

I believe design will increasingly focus on uncovering and sharing the hidden values, culture, and craftsmanship found in regional areas. Design will become a bridge between tradition and modern life.

It really depends on the project. Some are quick and intuitive, while others take months of collaboration and refinement. Regardless of the timeline, I try to give each project the time it needs to feel “right.”

I always start by talking with the client. Through open conversations, I try to understand not only their goals, but also their values, struggles, and dreams.

To communicate genuine charm in the most honest and direct way possible.

I believe design has the power to set trends. When rooted in truth and sincerity, design can shift perspectives and open new paths.

Technology is a support tool that helps enhance expression, but it should never overshadow the message or story. I use it to clarify and refine ideas.

I mostly use Adobe software such as Illustrator, Photoshop, and InDesign. I also rely on analog tools like sketchbooks, printed samples, and paper textures during concept development.

They are essential. Texture, color, and atmosphere convey feelings beyond words. I always consider how the senses—sight, touch, even smell—can work together to deliver a design’s intent.

I’d love if people asked, “What’s the story behind this?” Because that’s where the heart of the design always lies.

I often wonder, “What values or beliefs are behind this?” Great design makes me curious about the designer’s thought process and passion.

My ideal partner is someone who shares similar values, truly cares about the client, and isn’t afraid to challenge each other’s ideas. I strongly believe in co-design.

My mentor from design school had a profound influence on me. They taught me how to see beyond aesthetics and focus on meaning and connection.

It’s hard to choose just one. I have been inspired by many different books depending on each project. I often choose what to read based on the materials, local culture, or themes I’m working with.

I learned the basics at school, but most of the important lessons came from working with clients. Through dialogue with them, I’ve grown steadily, learning how to approach projects and deepen my thinking about design.

I would love to meet and talk with people who are working to share regional culture and values with the world. I truly respect their dedication and want to learn from their approach.

I don’t really feel famous, but I’m happy if these recognitions give me more chances to celebrate with my clients and collaborators.

I love the blue of the sea and the green of the mountains—natural colors from Ehime where I live. Rather than specific brands, I’m drawn to things that reflect their land and context.

There was a time I made a package design for a client without being asked—just because I wanted to see their happy reaction.

A good day for me involves being in nature or visiting clients directly. These moments recharge me and keep me motivated.

I didn’t know I would become a designer, but I did feel I could keep going if it was something I loved—and that turned out to be design.

If the things we create today could still exist in the future, then it’s our role to treat each project sincerely and pass down our values to the next generation.

I love design, and I love seeing my clients smile. I always try to express their personality and uniqueness through the design, so I’d be glad if you see my work through that lens.

I’ve always loved drawing since I was a child. As I continued to create, I began to wonder how I could use this skill to contribute to the world, and that naturally led me to pursue a path in design. Becoming a designer felt like a way to turn what I love into something that could serve others.

My studio is based in Ehime Prefecture, Japan, but I work with clients from various regions. I provide design solutions that help move their businesses forward—ranging from websites and packaging to signage, business cards, flyers, and logos.

Rather than simply fulfilling requests, I aim to add extra value by offering proposals and ideas that go beyond what’s expected. I try to visit clients on-site whenever possible, listen deeply to their stories, and communicate with care throughout the process.

To me, design is something that helps move a client’s life forward—not just their business. It’s a way to take their thoughts and values and shape them into something tangible that can be shared with the world. Good design is not just decoration; it’s a bridge that connects people with purpose.

I especially enjoy packaging design because it directly connects products with people, and it often carries the story of the maker. Designing packaging allows me to create a tactile experience that reflects both the content and the values behind it.

It’s hard to choose just one, but I feel the most attached to the projects that I developed over time with my clients. Working closely together through every stage—listening to their thoughts, revising details, and finding the right direction—creates a deep sense of connection and satisfaction.

The first packaging design I created after becoming independent was for Hagata Farm’s pickled vegetables. It was a meaningful start, as the client trusted me from the beginning, and I was able to fully engage in the concept, visuals, and production process.

I’m drawn to techniques like letterpress printing, where you can truly feel the texture and materiality of the design. These analog methods bring out the physical qualities of the material and add a tactile dimension that digital techniques sometimes lack.

I feel the most creative when I’m talking directly with clients. Their stories, struggles, and values often spark ideas I couldn’t have come up with on my own. These conversations become seeds that grow into unique and thoughtful designs.

I focus on discovering what makes the client unique, and how far I can bring out that charm through design. I also pay close attention to whether the texture and materiality are effectively conveyed.

I feel excited and happy. I truly enjoy the process, especially because I look forward to seeing the client’s joyful reaction.

I feel a deep sense of gratitude. After delivery, I sometimes feel a bit of emptiness as I recall the memories and communication shared with the client, but knowing that my design will be of service to them makes me proud.

When the client is genuinely pleased. And beyond that, when the design receives positive feedback and creates real impact.

I start by asking myself: “Would I want this if I saw it as a consumer?” That first impression is critical. I value the instinctive desire a design can spark when seen from the consumer’s perspective.

I believe it is our responsibility to suggest environmentally friendly materials and avoid excessive packaging. More than anything, I try not to create designs that are simply for consumption without meaning.

The rise of AI is significantly influencing the design field. As designers, we must constantly ask ourselves what only humans can do, and what it really means to express something through design. I believe we should embrace AI’s strengths while finding new ways to support clients meaningfully through human-centered creativity.

My last exhibition was in October 2023 as part of a competition hosted by CCE, a design collective in Ehime, Japan. My next exhibition is planned for summer 2025 as a celebration of the recent design award. It will take place in a sunflower field managed by one of our client farmers. We’ll roll out a red carpet and invite all the people involved in the project and the local community to celebrate together.

I try to immerse myself in the things my clients see every day—whether it’s their tools, their fields, or their shop shelves. By understanding their environment, I can better align with their challenges and translate that into design.

My style emphasizes materials and aims to engage not only the eyes but also the other senses. I am particularly drawn to tactile techniques like letterpress printing. My grandmother, who had poor eyesight, inspired me to think beyond visual communication. Though she has passed away, I often ask myself whether my designs could still reach someone like her. That’s where my style began.

I live in Ehime Prefecture, Japan. Local culture—especially the traditional festivals and their vivid decorations—has clearly shaped my aesthetic sense. One advantage of designing in Japan is the deep appreciation for craftsmanship and subtlety. However, the downside is that in rural areas, design is often undervalued or misunderstood, so we need to work harder to communicate its true value.

I start by listening carefully to the challenges my clients are facing—not just surface-level issues, but also their values and motivations behind their business. From there, I reflect those insights into the design in a thoughtful and intentional way.

I suggest choosing someone whose values align with yours. It's important to understand what the designer prioritizes in their work and whether that resonates with your own approach.

I generate design ideas through client meetings and research. I then refine the concepts together with the client through careful discussions, adjusting the work until we reach the most suitable outcome.

I keep samples of packaging, flyers, ceramics, paper, and printed materials collected from various regions. They inspire me with their texture, color, and cultural character.

On weekends, I try to step away from design—visiting the library, baking bread, or spending time in nature. On regular days, I focus on meetings and design production, always making time to talk directly with clients.

Talk to your clients as people, not just as clients. Get to know their values, ideas, and stories. Even casual conversations help you understand what matters most to them—and that’s what should guide your design.

One of the positives is being able to express both the charm and challenges of a client through design. A downside is that I sometimes get so immersed in the work that I lose track of time—it’s enjoyable but can be all-consuming.

Stay honest. Don’t decorate for the sake of it—design should serve a purpose and reflect something true.

Communication skills. Being able to listen, ask the right questions, and collaborate openly is just as important as visual talent.

I mainly use Adobe software. I also refer to books and websites, but I try not to limit myself to any single source of inspiration.

Designing can sometimes be a really time-consuming task, how do you manage your time?

I set deadlines for each task and try to stick to them as much as possible. I also manage my schedule using a physical planner to stay organized.

It depends entirely on the nature of the project. Some may take a few weeks, while others require several months of collaboration and refinement. Regardless of the duration, I always aim to approach each project with care and attention to detail.

People often ask me, "Where do your ideas come from?"

The three award-winning projects I recently completed are certainly among the most memorable. What made them special was the deep collaboration with each client throughout the entire process. Beyond those, any project where I was able to work closely with the client to shape something meaningful has remained vividly in my memory, even years later.

My clients range from farmers and small independent shops to companies and organizations.

I enjoy packaging design the most because it serves as a bridge between the maker and the user. It's a way to deliver a story along with the product.

I plan to launch a new brand that connects regional crafts and contemporary design. I also want to create a web magazine that introduces the values and stories behind local makers.

I mainly develop ideas on my own, but I collaborate with photographers and writers when needed. As my projects grow in scale, I feel the need to build a more structured team.

I’m currently planning an award celebration exhibition in a sunflower field in collaboration with one of my clients. I'm also working on brand development support for a local company to strengthen their identity.

You can reach me via email or Instagram DM. My website’s contact form is currently under maintenance, but I’m happy to connect directly for collaborations or inquiries.

Design, to me, is not just about visuals — it’s about building trust through dialogue and understanding. I believe that by staying close to people and their stories, we can create work that truly resonates and lasts.

In the initial meetings, I was deeply impressed by the farmer’s "proud hands" and the act of "sowing seeds." From there, I developed the hand motif to symbolize nurturing, while the seeds came to represent hope for the future.

The idea of allowing messages on the green paper lid was designed for the farmer to convey their feelings directly to the purchaser. It was not initially requested as a "letter space," but I intentionally created this area to help farmers connect more closely with buyers. Even without a handwritten message, the design stands on its own beautifully, creating a meaningful opportunity for connection and leaving room for emotional engagement.

To abstractly convey the strength of nature, I experimented repeatedly with different drawing and dot techniques. Ultimately, I realized that dense clusters of fine dots could best express a sense of vitality and organic movement.

I saw the daikon itself as the main protagonist, so I deliberately kept the label minimal. By reducing the prominence of the brand logo, I actually created a stronger sense of exclusivity, successfully balancing natural beauty with brand presence.

This project is not merely about product development but is rooted in the social mission of providing safe and delicious vegetables to children. Therefore, I chose materials that evoke natural textures and adopted a warm, hand-drawn feeling in the design. By emphasizing kindness and sincerity, I aimed to convey the deeper social significance behind the product.

To create a strong presence within the limited size, I focused on the use of negative space and the three-dimensional feel of the paper. By emphasizing the expanded green lid and the natural whiteness of the contents, I designed it to leave a lasting impression despite its compact form.

Rather than choosing flashy elements simply to stand out, I carefully expressed essential elements such as the farmer’s hands and the vitality of the vegetables. By respecting local trust and the passion of the producers, the design naturally differentiates itself from other products.

By incorporating motifs that evoke “beginnings,” such as soil, fields, and seeds, I aimed to help children imagine the starting point of food. Through the packaging, I designed it so that the background of production and the value of food education would be naturally communicated.

By designing the packaging as something people would want to keep rather than dispose of, I aimed to evoke a sense of attachment and memory. Its reusability after consumption aligns with modern consumers’ values regarding sustainability. Transforming it into a gift-like or keepsake item also helps deepen the connection between the farmers and the consumers.

This award has given me greater confidence in leveraging local charm and background through design. Moving forward, I envision using this experience to embark on new projects that connect traditional agricultural products and regional resources to contemporary consumer experiences. I also aim to further bridge the gap between consumers and producers by sharing farmers' stories through thoughtful design.

In this packaging, we used the motif of Ehime's mountains depicted with gold foil to express both the natural beauty of the region and a sense of exclusivity. The mountain silhouette symbolizes the coexistence of people and nature, while the shine of the gold foil emphasizes a premium feel suitable for gifts. By combining these elements, we aimed to share the local story while providing a unique and luxurious experience.

We chose this vivid vermillion color because it stands out strongly even in natural environments. It not only enhances visibility during outdoor activities but also functions as an accent to evoke a sense of "fun" and "freshness" among younger generations. By adding a pop and active feel to what is usually seen as a calm, traditional mushroom product, we aimed to present a new and exciting appeal.

During the pandemic, there was a notable increase in outdoor activities, which emphasized the importance of portability and toughness. To address this, we selected thick paper materials and adopted a durable structure to withstand transportation and outdoor use. This ensures that users can enjoy the product with peace of mind even in outdoor settings.

In this project, the goal was not to treat the packaging itself as an outdoor "tool," but rather to position it as an element that enriches the overall outdoor dining experience. By introducing vivid colors and tactile materials, the packaging adds a sense of specialness and enhances the enjoyment of sharing a meal outdoors. This approach transforms the product into a memorable gift and a highlight of special moments, rather than merely a container.

To support the weight of rice and dashi, I carefully selected sturdy paper and structural design solutions while ensuring the packaging retained a light and elegant appearance. By balancing technical strength with thoughtful color and form, the final design conveys a sense of specialness even in outdoor settings.

While respecting the delicacy and aesthetic sense of traditional Japanese cuisine, I aimed to blend it with the casual and joyful aspects of modern outdoor culture. The core insight was to propose a new experience that connects people with nature in an engaging and memorable way.

Through this award, I believe the value of designs that highlight regional identity and material characteristics will gain wider recognition. It could inspire greater interest in packaging that is not disposable but designed for longer use and appreciation.

Taiai Co.'s deep expertise in mushrooms provided valuable insights for choosing expressions and materials that highlight the product’s appeal. Their knowledge influenced decisions on color tones and language to accurately convey the essence of the ingredients.

We discovered that outdoor enthusiasts value not only the functional aspect of packaging but also the joy of "carrying" and "showing" it. The packaging was treated almost like an accessory or gear, creating unexpected new value beyond its original role as a container.

It is essential to first identify the "core" of the tradition or regional identity. Then, consider how to seamlessly blend this essence with contemporary sensibilities and lifestyles. I believe that honest and understated expression, rather than excessive embellishment, resonates more deeply with audiences.

Through my collaboration with Hagata Farm, the idea of treating vegetables as “art born from the soil” became even stronger. Witnessing the beauty and vitality of vegetables growing in the fields inspired me to present them not merely as food, but as living works of art. Hearing directly from the farmers about their dedication and care made me realize that the packaging should convey not only the product but also the story and feelings behind it. As a result, the design evolved into something more than just a container — it became part of the gift experience itself.

I was fascinated by the natural geometry hidden in the cross-section of a carrot, which resembles the sun. By highlighting this often-overlooked pattern, I wanted to symbolize “the blessings of the earth” and “vital energy.” This motif strengthens Hagata Farm’s brand narrative of living in harmony with nature and connecting people through warmth and care. It visually expresses the farm’s philosophy and enhances the storytelling behind the product.

By using a deep gray interior, I aimed to make the natural colors of the vegetables stand out more vividly. This design choice also adds a sense of luxury, similar to opening a high-end gift box. The dark background enhances the freshness and vibrancy of the produce. Additionally, I selected a sturdy, reusable paper material to encourage recipients to keep and cherish the box even after use. These choices work together to elevate the perceived value of the farm produce and create a more memorable and impactful experience.

The idea of using carrot leaves as cushioning material emerged from a desire to utilize every part of the harvest and express the vitality of the vegetables. By repurposing parts that are usually discarded, we aimed to avoid waste and tell a story of sustainability. In practice, the biggest challenges were the variations in shape and the difficulty of drying and maintaining the leaves. However, overcoming these issues added unique character and greatly enhanced the sustainable value of the packaging.

To propose a new value of “vegetables as gifts,” I focused on creating a sense of luxury and storytelling. This approach aimed to break away from the conventional perception of vegetables as everyday, low-value items and reposition them as “special gifts for cherished people.” I carefully considered material selection, details, color choices, and the unboxing experience to achieve this transformation.

By designing the packaging to be reusable, I wanted to create value beyond a one-time experience, allowing it to be “nurtured and kept” over time. I chose durable paper and label materials to withstand long-term use and storage. This approach allows the packaging to remain as a memorable item even after consumption, supporting sustainability while reinforcing the brand’s narrative.

I was deeply inspired by Hagata Farm’s active educational initiatives for children and local residents. Incorporating this spirit into the design aimed to convey “the joy of learning” and “the importance of food.” I wanted both givers and recipients to sense and resonate with the story behind the product, creating a shared emotional connection. This philosophy is reflected throughout the entire design.

To realize the concept of seeing vegetables as art, I chose the transparent foil stamping technique. This method reflects light and adds a unique depth and luxurious feel to the surface without covering or distorting the original colors and textures of the materials. By using this technique, I was able to enhance the vividness of the vegetables and present them almost like art pieces.

I believe that in the future, designs that elevate local resources and incorporate environmental considerations will be increasingly valued. This packaging redefines vegetables as "gifts" and highlights the importance of material selection and reusability. I hope it serves as a catalyst for creating new gift cultures that look toward a sustainable future.

The most outstanding aspect of this project is the pursuit of both artistic expression that elevates vegetables into gifts and practical value that enhances the user's experience when holding the package.By utilizing motifs inspired by natural forms and incorporating a deep gray interior to highlight the vegetables’ vibrant colors, the packaging goes beyond a simple container and feels like an "art piece."By providing a special experience to both the giver and the recipient, the design achieves a harmonious balance between artistic beauty and practical usability, creating a new sense of value.