I’ve always had a strong sensitivity to visuals, order, and spatial composition since I was a child. This passion naturally led me into the field of design, where I eventually founded CHIHO Design, a studio dedicated to branding, packaging, and integrating sustainable values. Becoming a designer was never just a choice for me—it felt like a calling.
CHIHE Design is an interdisciplinary design studio that combines brand strategy, visual identity, and ESG sustainability consulting. We believe that design is not merely about appearance—it is a catalyst for culture and value. Our work empowers industries to elevate their brands while transforming packaging into a vehicle for sustainable innovation.
For me, design is both a responsibility and a language. It has the power to shift perspectives, generate value, evoke emotion, and carry the potential of culture and the future.
I’m most passionate about packaging design—especially projects that integrate material innovation and sustainability strategies. Designing the "first impression" of a product offers a powerful opportunity to influence consumer perception and values.
One of my favorite works is the “Win the Future” free-range egg gift box. It transforms recycled eggshell pulp into a structured eco-packaging design that’s playful and visually appealing. It fully embodies the ESG values of the brand and has been recognized with an A’ Design Award and selected as the Golden Horse 60th Anniversary Gift.
The first thing I designed for a company was a complete brand identity and packaging system for an agricultural brand. From logo to packaging structure, it was a ground-up process that made me realize the commercial and social impact of design.
I’m passionate about exploring renewable materials—especially agricultural waste like bagasse paper and recycled eggshell pulp. I also enjoy working with AI-powered tools and platforms that support sustainability data integration in design.
I feel most creative when I dive deep into a brand’s core identity or when I interact with materials, scents, and environments in everyday life. These moments awaken new connections and design possibilities.
I focus primarily on user experience, brand storytelling, and the sustainability of materials and processes. All three are essential for a holistic design outcome.
Designing feels like a journey in pursuit of order and meaning. Sometimes it’s meditative, sometimes experimental and exhilarating. I enjoy shifting between these states and savoring the breakthrough moments.
When a design is brought to life, I feel a sense of fulfillment and balance. It’s not just about "completion"—it’s about "realization." Especially when users are moved and the brand is recognized, it reaffirms the meaningfulness of this profession.
A successful design strikes a balance between aesthetics, function, culture, and sustainability. Most importantly, it resonates with users and inspires them to share it.
I evaluate a design based on whether it solves a core problem, reflects cultural depth, and incorporates sustainable thinking. I also consider the kind of emotional connection it creates with people.
Designers are not just creators of form—they are instigators of value. We have a responsibility to drive energy-efficient production, environmentally responsible material choices, and meaningful communication. Design is a catalyst for social progress.
Design is evolving to become more interdisciplinary, data-driven, and sustainability-focused. Future designers must be tech-savvy, ESG-conscious, and culturally articulate—acting as a bridge between strategy and humanity.
My latest exhibition was at the Taiwan Design Expo, showcasing CHIHO Design’s sustainable packaging made from recycled eggshell materials. In the future, I hope to hold a solo exhibition in Milan or London themed “Circular Design and Asian Culture.”
Inspiration comes from the subtle details of life, natural textures, linguistic structures, and the tension between Eastern and Western cultures. I read, travel, daydream, and converse with farmers, craftsmen, and engineers to keep my creativity flowing.
I describe my style as “Emotive Depth Design,” blending minimal forms with cultural storytelling, with a strong emphasis on perception and sustainable materials. Each project is an attempt to deconstruct convention and reconstruct value.
I live in Taiwan, a culturally diverse island rich in Eastern spirit. The local craftsmanship, folk symbols, and subtropical climate deeply influence my creations. However, limited industrial resources and a still-developing design appreciation present challenges.
I work with companies by starting with brand diagnosis—identifying their unique value proposition and translating it into design language. We emphasize co-creation, treating clients as partners to redefine products and culture from the consumer’s perspective.
When selecting a designer, companies should look beyond aesthetics and focus on the designer’s ability to understand the brand’s core. A good designer asks the right questions, listens carefully, and provides strategic input. Building mutual trust and transparent collaboration is key to a successful partnership.
My design process involves five steps: Insight, Translation, Co-creation, Prototyping, and Validation. It starts with deep brand and industry insights, which are translated into strategic and creative directions. Then, I co-create with clients, prototype the ideas, and refine them through testing to ensure impact and sustainability.
Alessi’s bin – witty yet functional
Dyson bladeless fan – a perfect blend of tech and form
Handmade scissors from a Kyoto craftsman – sheer artisanal elegance
CHIHE Design’s recycled eggshell box prototype – one of our icons
Indigenous Taiwanese textile mat – a dialogue between culture and design
My day starts at 6:30 AM with black coffee and morning reading. I spend my mornings in internal meetings or focused design work, followed by a workout before lunch. Afternoons are for client visits or new project development. In the evenings, I journal, distill ideas—or sometimes liquor—and walk the dog. It’s a blend of creativity and discipline.
Never stop questioning, observing, or being curious. Design is not about pleasing—it’s about proposing better possibilities. Don’t rush to be famous. First, become someone who truly understands the world.
The positive side is turning abstract ideas into tangible emotions, influencing choices and behaviors. The downside is the emotional and time investment—it’s easy for designers to overextend themselves and fall into self-doubt.
My toolbox includes Adobe Creative Suite, Notion, Procreate, and AI tools like Midjourney and ChatGPT. I frequently revisit books like Emotional Design, The Brand Gap, and Designing Design. I also keep material samples and a scent diary for sensory inspiration.
I manage time through time-blocking—clearly dividing creative hours from administrative ones. I also set aside one evening each week for “no meetings, no output,” dedicated solely to reflection and inspiration.
It depends on the project scale. A basic identity system may take 3–4 weeks, while sustainable packaging often takes over 3 months. If material experimentation or supply chain integration is involved, it could extend to over 6 months. The duration reflects how deeply we choose to address the core of the problem.
The most frequently asked question is, “Do you think this design will sell?” I usually reply, “Who do you want to sell it to, and why would they choose you?” Design is not separate from business, but value must come before conversion.
Designing the “Free-Range Egg Sustainable Gift Box” for the Golden Horse 60th Anniversary was one of my most significant experiences. It wasn’t just about a product—it was about crafting a design-led solution to a societal issue.
Our clients include Chinyi Eggs, Wang De Chuan Tea House, JC Spotlight, The O group,. They span agriculture, F&B, aesthetics, and hospitality—brands seeking cultural depth and sustainable transformation.
I enjoy full-scope projects that go from brand strategy to packaging design—especially when the process triggers users to re-examine culture and sustainability. These projects transform not just the brand but also the consumers.
I work with an interdisciplinary team of strategists, visual designers, material consultants, and data analysts. While I lead the strategy and creative direction, every great work is the result of collective intelligence.
We’re currently working with “Weiding Culinary” to develop an ESG sub-brand based on okara, a soy milk byproduct. It includes low-carbon gifts like okara scones and cookies, along with a sustainable visual upgrade for their stores.
The future of design lies not only in creation, but in connection. Through the work of CHIHE Design, I aim to make design a translator between culture and sustainability—one that is seen, respected, and remembered.
I graduated from Cornish College of the Arts in Seattle with a degree in design, and later pursued studies in brand strategy and sustainable design in the U.S. After returning to Taiwan, I founded Chihe Design, focusing on branding and packaging that integrates cultural depth and ESG values. I am also a certified ESG sustainability consultant, seeing design as a lever for societal transformation.
I believe design is more than aesthetics—it’s a language that challenges the status quo. Every brand, product, and package contains a story. My role is to make that story seen, understood, and respected.
Currently, I focus on branding, packaging, and sustainable strategy integration. In the future, I hope to engage more in the intersection of design and social innovation—such as regenerative agriculture and circular food design.
Good design is effective—it resonates emotionally, functions practically, sustains commercially, and minimizes environmental impact. True excellence lies in balancing all four.
The “Golden Horse 60 Egg Gift Box” is one I’m most proud of—it blends eggshell pulp trays, a philosophical 9-grid layout, and ESG storytelling into a sustainable dialogue.
Step outside the design circle and into the real world. I immersed myself in rural communities, climate forums, and ESG projects to root my design in people and place.
I would probably be a writer or filmmaker—design is just one of the many ways I tell storiesDesign is the bridge between intention and reality—it transforms ideals into forms that can be seen, used, and felt.