Interview with Kikumi Yoshida

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.

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.

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.