Interviews met Yi-Pei Wu

The driving idea behind this design is to rediscover confidence and pride in our own heritage. While deeply inspired by the art of Japanese Omamori, my goal was to create a Taiwanese counterpart that is just as beautifully made. It is a statement that we possess the same high-level capability, while staying authentic to our own identity rather than mimicking others.

I have formed partnership with some of the artists, and we have more in mind for this type of crafts. We plan to use this as an anchor for a series of amulets we will be curating in the future.

It was a 5 months long project, the direction was clear from the beginning, yet the details were formed during this process, as I was working closely with the other artists, the manufacturers, and the representatives from the temple.

Our design is produced by ROYAL MAYE CHIE ENT. INC.(RMC) and Chen Zhen Embroidery Workshop in Tainan, Taiwan. Our client is selling them.

I have always wanted to do something in the cultural sector. In Taiwan, many people travel to Japan to collect 'Omamori' (Japanese amulets). When I was asked to take on this project, I wanted to create something just as collectible as an Omamori, but make it uniquely Taiwanese.

Yes, I brought in three other designers / artists, each of them were in charge of two different designs under my direction. They were brilliant in imagination, and we exchanged a lot of thoughts over the time, the final outcome is the balance between craft, authenticity, and modern aesthetics.

Foreign visitors, people who are seeking premium gifts that want something different, and amulet collectors in Taiwan.

What sets our design apart is how far we have pushed the boundaries of the 'Ping An Fu' (a traditional Taiwanese amulet). Through a direct collaboration with temple representatives, we achieved a breakthrough by infusing a contemporary design language into a cultural artefact that is traditionally perceived as conservative and visually dated.

As designers, we were not specialised in embroidery. While this was intentional — aiming to inject a different energy into the industry — it did make the realisation process much more challenging. A lot of back-and-forth communication took place to solve the various issues we faced. For example, the details of the Dragon amulet were extremely difficult to realise, and the technical structure of the Watch amulet had to be done manually, one by one. The most complicated piece was the tote bag; I wanted it to look chic while using recycled yarn, but it was a very difficult material to work with. I had to change my design multiple times to find the best fit for the material, not to mention that developing the handles was also a painful process.

I am, at my core, a profoundly curious person. I have always been fascinated by how the world functions, from the way things are made to everyday human behaviours. I have also always loved to create things. This urge has existed since my childhood. From drawing to pottery, I have created something every single day of my life.

I started as a designer in a branding agency in Singapore, where I worked mainly with local business owners. Over time, I realised that there is more to being a designer than just a profession: it is the ultimate vehicle for lifelong learning and exploring these curiosities. Constantly wanting to learn more, I decided to further pursue my professional knowledge in London.

My formal journey into this field deepened significantly during my time at the London College of Communication, where I studied Graphic Brand Identity. This experience completely reshaped my mindset and design philosophy. It was there that I learned that design is not just about aesthetics, but a rigorous process of inquiry. I was trained to relentlessly look for the 'why' behind everything we do.

I have applied this way of working ever since — during my time at agencies in London, and later when I started my own studio in Cyprus, then Taiwan, and now Japan. Driven by a desire to experience life in different countries, I remain that same curious person, carrying my design philosophy with me wherever I go. No matter where I am, I always dig beneath the surface of a problem and craft meaningful and mindful solutions around it. The thrill of transforming the invisible into tangible, impactful visual narratives has always been, and always will be, ever so fascinating to me.

Eventual by Design is a dynamic design studio led by Yi-Pei Wu. The studio brings together a global network of creative practitioners to develop holistic, deeply considered design outcomes that seamlessly bridge aesthetics, function, and meaning.

At the core of the studio's practice is a focus on visual communication, spanning branding, identity systems, and graphic strategy across diverse cultural contexts. Our approach combines analytical rigor with creative agility, offering design solutions that are not only visually compelling but strictly grounded in clarity and purpose.

Embracing a versatile and adaptive philosophy, Eventual by Design thrives on diversity — our portfolio ranges from high-level collaborations with global institutions like UNICEF to bespoke, highly tailored projects for emerging startups and local businesses. No matter the scale, we craft impactful visual narratives that resonate globally.

To me, design is to craft solutions for problems that people may or may not yet notice.

I feel the most anchored and secure when I design. For some reason, the creative process brings me inner peace. To me, design is the most natural language through which I communicate and connect with the world around me.

I feel an immense sense of happiness knowing that my research process, the struggles, the challenges, and all the late nights have paid off, and that my vision has been fulfilled. It also brings a profound emotional reward. Seeing the my ideation come to life, knowing that people will see it in the real world, touch it, interact with it, and be impacted by it — is an absolute thrill.

To me, a successful design is never a solo effort. It truly takes a village. A design thrives when all the right elements are aligned — an accurate and insightful brief, a trusting client who knows exactly what they want, a professional designer who can guide the vision, and a capable team that is able to deliver the final product flawlessly. Ultimately, success also relies on external harmony, too. It means reaching the right audience at the right time. A design can only transcend when all these pieces click together.

I have lived in various places, and I absolutely love it. The cultural heritage of my country does affect my designs, but it was only when I travelled far enough that I was able to truly see the beauty in it. I am from Taiwan — a lively, chaotic, and energetic country. Back when I was younger, I did not know how to appreciate it, but that changed after experiencing other cultures. Understanding my own roots makes me feel grounded. It gives me the confidence to design authentically without needing to mimic others. Meanwhile, I am conscious not to limit myself to creating solely within this specific cultural framework.

I am based in Osaka, Japan at the moment, following years spent in London, Singapore, and Cyprus. This is a new adventure for me. Learning to appreciate different cultures and their unique visual assets is incredibly important to my practice.

The most important skill is having an open mindset that is always keen to observe and learn. It is not just about looking at things with your eyes, but deeply deconstructing the details, analysing why something was done in a certain way, and understanding who it was created for. To truly see this world means actively observing your surroundings and consciously borrowing elements from those observations to inspire your next project. Above all, a designer must never stop learning.

I have always been very mindful when choosing my clients, as a way to filter the work I do and shape the impact I want to leave on this world.

On a global scale, I work frequently with leading consultancies like Arup and AtkinsRéalis, along with World Bank, to create Urban Resilience Strategies for various cities around the world. I have also collaborated with international organisations, including the UN and UNICEF, on their climate change programmes.

To create a greater public impact locally, I work closely with governmental institutions in Taiwan, such as the Taiwan Design Research Institute (TDRI) and the Ministry of Economic Affairs. Alongside these institutional projects, I love collaborating with creative minds in the cultural sector. My clients include acclaimed Taiwanese indie music artists like Sandee Chan and Aaron Yan. Last year, I also had the honor of designing the poster for the Taiwanese screening of the film Sentimental Value, directed by Joachim Trier.

It depends on the nature and scale of the project. Sometimes, a very clear pipeline exists due to the organisational structure. In these kinds of projects, I usually team up with other designers, writers, researchers, and consultants while leading the creative direction. For smaller and more personal projects, I develop the design myself, grounding the process in in-depth conversations and interviews with my clients.

Via my email wu@eventualbydesign.com

Alternatively you can reach out to me through Instagram @eventualbydesign