Interviews met 胡毅松

I have spent 20 years in brand identity and packaging design, working with nearly 500 small and medium-sized enterprises across China. My work has received more than sixty international design awards.

Fascinated by product shelves as a child. After a part-time job assisting a senior designer, I knew this was my path.

I prioritize function first, then sustainability, and finally beauty. I start with hand sketches to explore ideas, then move to digital rendering. My style is culturally grounded modernism.

I feel excitement at the beginning when ideas are fresh, frustration in the middle when problems arise, and quiet joy when everything finally works. The most thrilling moment is seeing the first physical prototype.

My curiosity about local crafts and patience to listen to clients have been essential. A non-design skill that helped me greatly is persistence — never giving up when a project gets difficult.

I became interested in art and design at a very young age, often drawing and doodling in class. When graphic design emerged in China, I enrolled in a visual communication program. While still in school, I grew passionate about brand design and started freelancing. Since then, I have dedicated twenty years to brand identity and packaging design, serving nearly 500 clients across various industries. In the near future, I will attend the A' Award gala in Italy, and afterward I plan to mentor young designers in my city.

Learn to take criticism without taking it personally. Your first 100 designs may be bad, but each one teaches you something. Keep going, and always be curious.

Charge what you‘re worth. Don’t compete on price; compete on the value you bring to a client‘s business. Also, always document your process — case studies sell better than pretty pictures.

I reserve mornings for deep creative work without interruptions. Afternoons are for client calls, revisions, and production coordination. Evenings I read or sketch new ideas. Tea is always nearby.

I follow a few key design blogs and attend exhibitions when possible. But trends inform my work, they do not dictate it. I prefer to develop a personal style that ages well.

For me, good design — and my own work — must meet three standards. First, it must satisfy client needs: design from the client‘s perspective. Second, it must satisfy market needs: design from the market’s perspective, ensuring commercial value. Third, it must satisfy aesthetic needs: design from a professional perspective, with forward-thinking quality.

I stop when I cannot remove any more elements without breaking the core concept. That is the definition of done for me. There is always room for improvement, but at some point you must ship.

A rebranding project for a regional food company that was struggling to compete with national brands. We redesigned their packaging and visual identity, and within one year their sales increased by 30%. That was my biggest work because it proved design‘s direct impact on business success.

Kenya Hara. His “Iwafune Rice” packaging taught me that less is more when done with intention. I admire how he uses ordinary materials to evoke deep cultural emotions.

I live in Shijiazhuang, China — a very ordinary but comfortable city. Life here is calm, not too fast. This peaceful environment gives me space to think deeply about design.

I work as a solo practitioner, with two assistants helping on large projects. My business philosophy is honesty before decoration — never promise what the design cannot deliver.

I mentor young designers in my city for free and share case studies publicly. I believe good design should help others, so I also occasionally take on pro bono projects for local nonprofits.

global recognition, networking with top designers from other countries, and validation that cultural storytelling in design matters.

The design is inspired by the Silk Road culture and the regional identity of Hami, Xinjiang. The main principle is to transform a local specialty wine into a cultural symbol — a "Frontier Wine" that tells the story of the Silk Road. Inspiration came from traditional Central Asian flat flasks, Han Dynasty ceremonial crowns, and the visual contrast of the Tianshan sunrise and desert sunset.

My main focus was to create a memorable unboxing experience that combines cultural storytelling with sustainability and smart technology. I wanted to achieve a design that not only looks beautiful but also educates users about Silk Road history, reduces environmental impact, and offers added value through a reusable cap and RFID interaction.

I plan to produce it for the premium liquor market, targeting cultural tourism and gift sectors. I also hope to develop a limited edition series with different regional Silk Road stories and collaborate with museums for co-branded packaging.

From project research and concept design to prototyping and testing, it took about one year in total. Just the preliminary field research trip to Xinjiang to study the Silk Road heritage took one month alone.

This was a commissioned project from a liquor brand that wanted to upgrade its product from a local specialty to a cultural icon. I decided to pursue the Silk Road theme because the client’s origin in Hami lies directly on the ancient Silk Road route.

The design is currently being considered for production by the client brand. I do not plan to produce it myself or sell the rights independently.

My deep interest in Silk Road culture and Xinjiang‘s regional heritage.

I was influenced by traditional Central Asian flat flasks seen in museum collections. The reusable cap idea came from observing how traditional Chinese incense holders work.

Middle to high-end consumers who appreciate cultural storytelling, premium craftsmanship, and sustainable design. Also suitable as a gift for tourists visiting Xinjiang or for collectors of Silk Road memorabilia.

The combination of a slow-rise opening mechanism, a bottle cap that turns into an incense holder, and an RFID tag that reveals cultural content. No other wine package on the market integrates all three features.

I named this packaging design "Pearl of the Western Regions". The design resembles the sun slowly rising over the Tianshan Mountains.

Adobe Illustrator for vector graphics, C4D for rendering, and physical prototyping tools for the box structure and opening mechanism.

The bottle cap that transforms into an incense holder, seamlessly blending cultural ritual with everyday functionality. This gives the package a second life beyond its original use.

I collaborated with a structural engineer for the slow-rise mechanism and an RFID specialist for the tag integration. The client’s internal team also provided feedback on cultural accuracy.

RFID technology enables interactive storytelling, allowing users to access historical and product information with a simple scan. It bridges the physical package and digital content.

Yes, I conducted field research in Hami, including interviews with local producers and tourists. I also analyzed consumer preferences for unboxing experiences and sustainable materials.

The biggest challenge was engineering the slow-rise mechanism to work smoothly within a small box while keeping costs reasonable.

After positive feedback from early prototypes, I believed the design’s unique combination of culture, sustainability, and technology deserved international recognition. The A‘ Design Award was a natural choice because of its focus on meaningful design.

I learned how to better integrate smart technology into packaging without compromising aesthetics. I also improved my skills in working with structural engineers and managing multiple iterations efficiently.

I want to emphasize that this design is not just a package — it is a cultural ambassador. Every element, from the rising sun imagery to the reusable cap, is meant to create an emotional connection between the user and the Silk Road’s living heritage.

I studied visual communication design at a university in China, graduating in 2006. After school, I spent two decades in the industry, learning more from real clients than any textbook could teach.

I am motivated by the small daily improvements that good design brings — a package that opens without frustration, a logo that feels trustworthy. I became a designer because I saw how bad design confused people, and I wanted to create the opposite. The joy of solving visual puzzles keeps me going.

I chose it freely, though not without doubt. My family hoped I would pursue a more stable career, like accounting or civil service. But I kept drawing and designing on the side, and eventually my persistence convinced them. No one forced me; I simply couldn‘t imagine doing anything else.

I design brand identities and packaging, primarily for food, beverage, and cultural products. I wish to design more sustainable packaging that tells a cultural story — projects where I can use recycled materials, reduce plastic, and educate consumers through the packaging itself.

First, learn to listen more than you speak. Clients and users often reveal the real problem if you pay attention. Second, master the fundamentals before chasing trends. Third, embrace criticism — it‘s faster than figuring out mistakes alone. And lastly, be patient; a career is a marathon, not a sprint.

A good designer delivers what the client asks for. A great designer delivers what the client actually needs, which may be different. Great designers also consider the end user‘s experience, the environmental impact, and the long-term brand value. They solve problems that clients didn’t even know existed.

For me, good design — and my own work — must meet three standards. First, it must satisfy client needs: design from the client‘s perspective. Second, it must satisfy market needs: design from the market’s perspective, ensuring commercial value. Third, it must satisfy aesthetic needs: design from a professional perspective, with forward-thinking quality.

Good design builds trust faster than any marketing slogan. A well-designed product communicates quality before the customer even touches it. For businesses, investing in design reduces returns, increases customer loyalty, and justifies premium pricing. For society, it reduces waste and frustration. Everyone wins.

I would design a series of low-cost, high-quality food packages for small farmers‘ markets in rural China. These producers have wonderful products but no budget for professional design. I would help them tell their stories with simple, beautiful packaging that stands out on crowded tables.

A traveling exhibition called “The Unseen Package” — displaying the prototyping process, failed attempts, and material experiments behind successful packaging. Most people only see the final product; I want to show the messy, beautiful journey of how it gets there.

My secret ingredient is walking away. When I‘m stuck, I literally step away from the screen — go for a walk, make tea, or sleep on it. The solution often appears when I stop forcing it. That, plus relentless observation of how people actually use things, not how I imagine they do.

Kenya Hara for his poetic minimalism. Dieter Rams for his timeless principles. Henry Steiner for bridging Eastern and Western visual languages. Also Naoto Fukasawa for his “without thought” design — objects that feel so natural you don’t notice them.

The Braun ET66 calculator — every button is perfectly placed, no instructions needed. Kenya Hara‘s “Iwafune Rice” bag — humble kraft paper with hand-drawn type that feels honest. And the original Coca-Cola bottle — a silhouette recognized worldwide, unchanged for over a century.

My Juefeng Hami Melon Wine packaging. It is great because it works on multiple levels: functionally (smooth opening, reusable cap), emotionally (ceremonial experience, cultural storytelling), and commercially (it won a Golden A’ Award and boosted sales). It also uses sustainable materials without compromising beauty.

I practiced daily, even when I didn‘t feel inspired. I studied design history to understand why certain styles emerged. I also sought honest feedback from people who would not just praise me. Most importantly, I started teaching others — explaining design to beginners forced me to clarify my own thinking.

To be honest, I have never seriously thought about what I would do if I weren‘t a designer. Design has always been my path. But if I had to pick something else — maybe a traveler. Not the luxury resort type, but the kind who wanders into small towns, visits local markets, and observes how people live and use everyday objects. I would take photos, sketch in a notebook, and probably end up redesigning things in my head anyway. So perhaps I’d still be a designer, just with a better tan. Ha-ha.

Design is intentional problem-solving under constraints. It is not art — art asks questions; design provides answers. A good design disappears into the background, making life easier without drawing attention to itself. When you notice the design, it has often failed.

My own belief in myself. Family and mentors helped, but the one who never gave up was me.

I am not great yet. I am just working hard to become a designer who can help more brands solve their problems.

Early on, I struggled with imposter syndrome — feeling that my work wasn‘t good enough. I also faced clients who paid late or refused to pay. There were projects that failed completely, wasting months of effort. The biggest obstacle was learning to say “no” to bad projects, which felt like turning down money.

Tell the story behind it: the problem, the process, the solution. Show context and usage, not just beautiful renders. Honest presentation builds trust.

In the longer term, I plan to publish a small book about brand design lessons from 20 years of practice.

To create at least one design that outlives me — something still in use fifty years from now. Also, to help establish a design mentorship program in my province, where experienced designers guide young talents for free. Leaving a legacy matters more to me than collecting trophies.

They expect reliability, creativity, and honesty. They want someone who listens, who meets deadlines, who admits when something isn‘t working. They also expect a certain taste level — the ability to filter out bad ideas quickly. But most of all, they expect the designer to care about their success, not just the fee.

Good design reduces waste, improves accessibility, and fosters cultural appreciation. It makes daily life smoother and more joyful for everyone.

The liquor packaging project mentioned earlier. I am also planning a small exhibition in my hometown to show local designers’ work.

The rebranding of a regional food company that increased their sales by 30% in one year. Seeing design directly impact business success is deeply satisfying.

Less “design for award” and more “design for impact”. I hope the industry values sustainability and ethical practices over fleeting trends.

Towards hyper-personalization, driven by AI and data, but balanced with sustainable mass production. Designers will shift from crafting static objects to designing systems that adapt to individual users.

A simple logo and basic brand guidelines: three to four weeks. The longest was a full brand overhaul for a regional retailer, which took over a year. Quality cannot be rushed.

I start by visiting the place where the product will be used or sold. I watch people interact with similar products. I take photos, make notes, and ask questions. Only after I understand the context do I open a sketchbook or turn on the computer. Context first, then ideas.

“Design is the art of leaving things out.” Removing unnecessary elements is harder than adding them, but that‘s where clarity lives.

Both. Good design can start a trend, but chasing trends rarely produces great design. I prefer to be aware of trends without being ruled by them.

Technology is a tool, not a master. It speeds up processes and enables new possibilities, but the core decisions are still made by human judgment.

Adobe Creative Suite (Illustrator, Photoshop, InDesign), Also a simple sketchbook.

Color evokes emotion, materials communicate quality and sustainability, and ambient shapes how a design is perceived. All three are essential.

I wish they asked “Why did you make that choice?” rather than “Do you like it?” Understanding the reasoning behind a design reveals its true value.

First, admiration. Then I start analyzing: how was it made, what problem does it solve, and how could it be even better.

Someone who complements my skills — strong in production and project management while I focus on concepts. Yes, co-design works well when roles are clear.

I haven't thought of it yet.

“The Design of Everyday Things” by Don Norman — it changed how I see doors, handles, and interfaces. “Designing Design” by Kenya Hara — it taught me the value of emptiness and silence. “Brand Thinking” by Debbie Millman — it showed me that branding is about people, not logos.

By making thousands of mistakes and having the humility to learn from them. By copying great designers (then gradually finding my own voice). By teaching others — explaining design forces you to understand it deeply. And by never assuming I have arrived; there is always more to learn.

I would like to meet Lu Xun, one of the most influential writers and thinkers in modern China. He used his pen to awaken society and question old traditions. As a designer, I would love to talk with him about how design, like literature, can carry sharp observations and care for ordinary people. His courage to speak truth and his deep empathy for everyday struggles would greatly inspire my approach to design — to make it more honest, more useful, and more human.

I‘m grateful but also aware that awards are not the goal. Fame is uncomfortable — it creates expectations and sometimes envy. I prefer being known for good work among a small circle rather than being a “famous” designer. True recognition comes from clients who return again and again.

Blue. The season when spring turns to summer. A certain small town in my memory. A bowl of warm rice porridge. A bicycle that can take me anywhere. And Muji.

The first time I presented a design proposal in a formal meeting room to over 30 senior leaders, I was so nervous that I stumbled over my words and could hardly express myself clearly. But in the end, my work spoke for itself and won the approval of the entire room.

A small win — fixing a layout problem that has bothered me for days, or receiving a “thank you” from a client. I motivate myself by remembering past successes, especially the projects that felt impossible but turned out well. Also, a good cup of tea and a quiet hour help reset my mind.

I was just a quiet kid who drew constantly — on homework, on napkins, on my arms. No one predicted design as a career. My teachers thought I was daydreaming. But looking back, that‘s exactly what a young designer looks like: curious, observant, and always making marks.

I hope humans will have learned to design with nature rather than against it. Products might be grown, not manufactured. Waste might become a forgotten concept. Design could shift from problem-solving to harmony-seeking. But even with advanced technology, people will still appreciate a well-crafted object made by hand.

I am just an ordinary person who happens to do the work I love. I don't have a grand philosophy. I just hope to practice life through living, practice design through life, and help those in need. Thank you for listening.

I developed a strong interest in art and design at a very young age. During elementary and middle school, I often found myself sketching and doodling in class, which unfortunately came at the cost of my academic studies in other subjects. At that time, graphic design was just emerging in China, so I followed my passion and enrolled in the Visual Communication Design program at an art academy. While still in school, I became deeply interested in brand design and began working as a freelance designer. Since then, I have dedicated twenty years to brand identity and packaging design, serving nearly five hundred clients across various industries.

I lead X.Brand Design Lab, which is my personal brand identity as an independent designer. I also serve as the creative director of Shijiazhuang Xianxing Brand Design. My practice focuses on brand identity and packaging design, helping small and medium-sized enterprises build authentic visual systems that communicate their heritage and values. Over the past two decades, my work has received recognition from more than sixty international design awards across Europe, Asia, and North America. I work as a solo practitioner, though I sometimes collaborate with two assistants for larger projects.

For me, design is a bridge between culture and function. It is not just about making things look attractive; it is about solving problems in a way that respects users, materials, and context. Good design communicates without words. It should be honest, useful, and enduring. Every design project is an opportunity to tell a story — the story of the brand, the product, and the people behind it.

I enjoy brand identity systems and packaging designing the most. Packaging is particularly interesting because it is a tangible, three-dimensional canvas that people interact with physically. A well-designed package can create a memorable unboxing experience, communicate product quality, and even reduce environmental impact through thoughtful material choices. Brand identity work allows me to build a complete visual language that a company can use across all touchpoints.

My favorite design is Kenya Hara's packaging for Niigata Prefecture's "Iwafune Rice". Using humble kraft paper and a simple hand-drawn typeface, Hara stripped away all unnecessary decoration, letting the material itself speak. This design embodies his philosophy that design is not about how it looks, but about how it makes people feel — an approach that deeply influences my own packaging work.

The first professional project I designed for a company was a logo and basic brand identity for a local tea. It was a small project, but it taught me the importance of understanding the client's business and customers before putting pen to paper. The client still uses that logo today, which makes me proud.

I prefer sustainable materials like recycled paper and glass. For design software, I primarily use Adobe Illustrator and Photoshop, as well as 3D rendering tools to visualize packaging structures before production.

I feel most creative when I am alone in my studio late at night. The world is quiet, there are no interruptions, and my mind becomes fully focused on the design at hand. In that solitude, ideas seem to flow more freely, and I can experiment without the pressure of time or outside opinions. Nighttime also gives me a sense of calm, which helps me see problems from new angles and find unexpected solutions.

I focus first on the core function and user experience — a beautiful design that does not work well is a failure. After that, I consider the commercial value of the design: will it help the client attract the right customers, stand out on the shelf, and ultimately increase sales? Design must deliver a return on investment. Then I evaluate material sustainability and cultural relevance. Finally, I refine the aesthetics, ensuring every visual element serves a purpose rather than being purely decorative.

Designing brings me a mix of excitement and calm. Early in a project, there is the thrill of exploration and possibility. As the design takes shape, I feel focused and patient. When solving a difficult problem, there can be frustration, but overcoming it brings deep satisfaction. Overall, designing feels like a conversation between logic and intuition.

Seeing a design realized — whether as a printed package on a shelf or a digital brand identity online — gives me a profound sense of accomplishment. I also feel gratitude toward the clients and collaborators who trusted the process. There is always a moment of reflection: could something have been better? But that reflection fuels future improvement.

A successful design achieves its intended purpose effectively and efficiently. For commercial packaging, success means attracting the right customers, communicating the brand's message, and encouraging purchase — all while being functional and sustainable. Beyond commercial metrics, a successful design also respects users, materials, and the environment.

I first consider whether the design solves the problem it was meant to solve. If it fails at that fundamental level, no amount of decoration can save it. Next, I look at craftsmanship and attention to detail. Finally, I evaluate whether the design is honest — does it overpromise or mislead? Good design is truthful.

Designers have a significant responsibility to minimize waste, choose sustainable materials, and create products that have a longer useful life. We should also consider the social impact of our work: does it empower local communities? Does it preserve cultural heritage? Does it avoid manipulative tactics? A designer's work should contribute positively to society and the planet.

The design field is becoming more interdisciplinary, with designers collaborating with engineers, data scientists, and sustainability experts. Artificial intelligence is already reshaping how we design — from generating initial concepts and automating repetitive tasks to analyzing user behavior and predicting trends. AI tools can help designers explore more options in less time, but the human qualities of empathy, storytelling, and cultural sensitivity remain irreplaceable. The future of design will be driven by a synergy between AI and human creativity, along with personalization and circular economy principles. Designers will increasingly become facilitators of positive change, using AI as a powerful assistant rather than a replacement.

My last exhibition was in 2022 at the Beijing International Design Week, where I participated in the "Global Anti-Pandemic International Public Poster Design Invitational Exhibition". It was a meaningful experience to contribute my work to a global dialogue about public health and solidarity. As for my next exhibition, I hope to take part in the A' Design Award winners' exhibition in Italy later this year, which would be my first international exhibition abroad. I am also planning a small solo exhibition in my home city of Shijiazhuang to share my packaging and brand design works with the local community.

My inspiration comes from cultural heritage, nature, and everyday life. I often visit museums, travel to historical sites, and observe traditional crafts. I also feed my creativity by reading broadly — not just design books, but also history, anthropology, and material science. Walking through markets and observing how people interact with products is another rich source of ideas.

My design style could be described as culturally grounded modernism. I strive for clean lines and functional clarity, but I incorporate cultural symbols and storytelling elements in subtle ways. The main characteristics are balance, restraint, and a focus on user experience. My approach to design starts with research: understanding the client, the market, and the cultural context. Only then do I move to sketching and prototyping.

I live in Shijiazhuang, China. China's rich cultural heritage deeply influences my work — from traditional patterns and philosophy to calligraphy and architecture. The advantage is having a vast reservoir of inspiration and stories to draw from. The challenge is that some clients may expect overly decorative or clichéd "Chinese-style" designs, so I have to educate them on how to use cultural elements meaningfully and subtly.

I typically start with an in-depth consultation to understand the company's goals, target audience, and brand values. Then I present a proposal outlining the scope, timeline, and fees. Once agreed, I develop concepts and present them for feedback. I believe in iterative collaboration — I share work-in-progress regularly and adjust based on client input. After final approval, I deliver all files and assist with production if needed.

Companies should look at a designer's portfolio, not just for aesthetics but for problem-solving ability. Ask to see case studies that explain the brief, the challenges, and the results. Also, check if the designer has experience in your industry. For a good working relationship, clear communication and mutual respect are key. Avoid choosing a designer solely based on low price; good design is an investment that pays off in brand value and customer trust.

My design process has five stages: research, concept development, refinement, production, and post-launch evaluation. In research, I gather information about the brand, market, and users. In concept development, I sketch multiple directions. Refinement involves selecting the best direction and iterating based on feedback. Production is working with manufacturers to ensure quality. Finally, I evaluate how the design performs in the real world and learn from it.

1. Kenya Hara's "Iwafune Rice" packaging – a kraft paper bag with hand-drawn typography that embodies the beauty of simplicity.

2. Henry Steiner's "Hong Kong Bank Note" series – I keep a framed reproduction of one banknote; the fusion of Chinese and Western visual languages is masterful.

3. Stefan Sagmeister's "AIGA Detroit poster" – the typographic experimentation and emotional honesty inspire me every time I look at it.

4. Dieter Rams's "Braun ET66 calculator" – a perfect example of functional minimalism that I display on my desk as a daily reminder of good design principles.

5.I haven't thought of anything else yet.

I usually wake up at 6:30, read for 30 minutes, then exercise. After breakfast, I check emails and prioritize tasks for the day. From 9:00 to 12:00, I focus on design work requiring deep concentration. Lunch is brief. Afternoons are for meetings with clients, revisions, and production coordination. I take a short walk in the late afternoon. Evenings are for research, reading, or sketching new ideas. I try to finish work by 10:00 PM.

My advice to young designers: be curious, be humble, and be persistent. Study the masters, but also learn from everyday objects. Do not chase trends; instead, build a solid foundation in principles. Practice presenting and defending your work. Learn to take criticism without taking it personally. And most importantly, design with empathy — always consider the end user and the environment. Your portfolio will grow over time; focus on learning, not just earning.

Positives: creative freedom, continuous learning, seeing your work in the world, and the satisfaction of solving real problems. Negatives: tight deadlines, subjective feedback, sometimes low pay early in your career, and the risk of burnout. Also, design can be solitary work, which not everyone enjoys.

My golden rule is "honesty before decoration." A design should never use visual tricks to hide poor function or mislead users. If a package claims to be eco-friendly, it should actually use sustainable materials. If a logo is meant to be timeless, it should not rely on passing fads. Honest design builds trust, and trust is the foundation of lasting brand value.

Empathy to see users‘ needs, clarity to communicate ideas, and resilience to iterate after feedback.

Adobe Illustrator、Photoshop、C4D，My best tool, however, is quiet observation.

I block mornings for deep creative work and afternoons for meetings and revisions.

From weeks to months. A logo may take a month; a complex package, half a year.

“Can you make it look more expensive for the same budget?”

A rebranding project that increased a client's sales by 30% in one year. That proved design‘s real business value.

Nearly 500 SMEs in food, beverage, cosmetics and cultural sectors. Confidentiality keeps their names private.

Brand identity and packaging design. One builds a soul, the other wraps it for the world.

Attend the A' Award gala in Italy, then mentor young designers in my city.

Solo practitioner, but with two assistants for large projects. The core design is always mine.

A traditional Chinese liquor packaging that needs to appeal to younger drinkers without losing heritage.

By email: jimmys137@163.com, or find me on LinkedIn as Yisong Hu. You can also search my Chinese name '胡毅松' to find more about me.

I would like to emphasize the importance of lifelong learning in design. Trends change, tools evolve, but the core principles of good design — clarity, honesty, empathy, sustainability — remain constant. I encourage all designers to keep exploring, keep questioning, and keep making. Also, I want to thank the A' Design Award for providing a platform that celebrates meaningful design and connects designers globally.

The idea of giving the bottle cap a second life came from a simple observation: most premium liquor bottles are discarded after use. That felt like a missed opportunity. I wanted to create something that would stay with the user long after the wine was finished. The Han Dynasty crown was chosen for its ritual significance, and the scroll element keeps the Silk Road narrative alive. In ancient China, scholars and poets would light incense while drinking and composing verses — it was a way to set the mood and elevate the spirit. That cultural practice inspired me to give the cap an incense-holder function. The real challenge was balancing symbolism with practicality — making it feel natural rather than forced. I‘m glad we found that balance, so the historical reference feels purposeful, not decorative.

The RFID tag is an invitation, not a lecture. For people outside Xinjiang, the region can feel abstract. The digital layer lets them explore on their own terms — a quick scan for context, deeper dives into stories about craftspeople and history. I wanted the interaction to feel personal, not like a museum guide. The packaging becomes a bridge, not a barrier.

Sustainability pushed us toward better decisions. The recycled paper‘s texture gave the box a warmth that glossy materials couldn’t match. We cut the glass weight by 15%, lowering carbon without losing strength. A plant-based coating protected the box and added a subtle matte finish. These weren‘t compromises — they were discoveries. Ecology opened doors we didn’t know existed.

This award shows that packaging can be more than protection — it can tell stories and carry values. Regional products often struggle globally because they lack a visual language that connects. This design proves that cultural research, sustainability, and technology can make even a niche product resonate across borders. Luxury doesn‘t need excess — restraint, when intentional, can be just as powerful. I hope this encourages designers to see heritage as an advantage, not a limitation.

Technically, the slow-rise mechanism and asymmetrical box weren‘t the hardest part. The real challenge was finding a form that fits the product’s positioning, adds genuine value, and offers a distinctive experience — one that feels just right for the user. It‘s not about complexity for its own sake. It’s about hitting that sweet spot where innovation meets what‘s right for the product. We explored many directions before settling on this one. The difficulty wasn’t engineering — it was judgment. Knowing when a design is “enough” is harder than making it work mechanically.

I made three trips to Xinjiang for this project, spending nearly a month along the Silk Road researching products, markets, and regional culture. The flying celestial figure on the bottle came from the murals of the Kizil Caves. The decorative patterns on the bottle and cap were extracted from artifacts at the Xinjiang Museum. And the opening mechanism was inspired by the sunrise I witnessed at the foot of the Tianshan Mountains — the sun rising like a giant Hami melon over the snow-capped peaks. That image stayed with me and became the core of the design language.

This project confirmed that every region has design potential waiting to be uncovered. I plan to apply the same method — cultural research, material testing, tech integration — to other Chinese regional products. As RFID and sustainable materials become more accessible, small producers can compete on their stories, not price. The designer‘s job is to curate those stories with honesty and restraint.

I’d rather leave this question open. Not every dimension of a design needs to be fully articulated at the moment of completion. Some aspects only reveal themselves through use, through time, through how people actually encounter the work. I trust the design to speak for itself in ways I may not yet fully grasp. I‘m still discovering what this project has to offer.

The distillery is located right at the foot of the Tianshan Mountains. Every morning, I would watch the sun rise — a giant Hami melon, it seemed, rising above the snow-capped peaks. That daily spectacle stayed with me. It became the emotional core of the packaging‘s opening form. The slow-rise mechanism is my attempt to recreate that moment — the quiet awe of witnessing something vast and beautiful emerge from the mountain. It’s not just about opening a bottle. It‘s about recreating an experience I had every morning in Xinjiang.

Every element in this design is a story point. The sunrise mechanism — that’s morning in Xinjiang. The asymmetrical box — that‘s the shifting dunes. The scroll on the cap — that’s the manuscripts carried by travelers. The colors — that‘s the land itself. The crown — that’s the respect for ritual and tradition. I didn‘t set out to create a “cultural” design. I set out to create an honest one — one that reflects what I saw, felt, and learned in Xinjiang. The design works because it’s built on observation, not assumption.