Kikumi Yoshida

Good in Packaging Design.

Kikumi Yoshida

About Kikumi Yoshida

Kuuché Design is a design studio that bridges local culture and creative expression. Based in Ehime, Japan, they explore ways to convey a place’s identity through branding, packaging, and visual storytelling. The studio regularly hosts workshops and engages with community projects, aiming to empower small businesses and celebrate the unique resources of rural regions. With a focus on quiet yet impactful design, Kuuché Design turns invisible values into visible form.

  • Winner of 3 A' Design Awards.
  • Good in Packaging Design.
  • Original Design.
  • Creative, Diligent and Innovative.
  • All Designs
  • Packaging
Kinokomeshi Packaging

Kinokomeshi Packaging

Packaging Design

Vegetable Box Packaging

Vegetable Box Packaging

Packaging Design

Hagata Farm Pickles Packaging

Hagata Farm Pickles Packaging

Packaging Design

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Interview with Kikumi Yoshida

Could you please tell us more about your art and design background? What made you become an artist/designer? Have you always wanted to be a designer?
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.
Can you tell us more about your company / design studio?
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.
What is "design" for you?
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.
What kinds of works do you like designing most?
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.
What is your most favorite design, could you please tell more about 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.
What was the first thing you designed for a company?
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.
What is your favorite material / platform / technology?
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.
When do you feel the most creative?
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.
Which aspects of a design do you focus more during designing?
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.
What kind of emotions do you feel when you design?
I feel excited and happy. I truly enjoy the process, especially because I look forward to seeing the client’s joyful reaction.
What kind of emotions do you feel when your designs are realized?
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.
What makes a design successful?
When the client is genuinely pleased. And beyond that, when the design receives positive feedback and creates real impact.
When judging a design as good or bad, which aspects do you consider first?
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.
From your point of view, what are the responsibilities of a designer for society and environment?
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.
How do you think the "design field" is evolving? What is the future of design?
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.
When was your last exhibition and where was it? And when do you want to hold your next exhibition?
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.
Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
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.
How would you describe your design style? What made you explore more this style and what are the main characteristics of your style? What's your approach to 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.
Where do you live? Do you feel the cultural heritage of your country affects your designs? What are the pros and cons during designing as a result of living in your country?
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.
How do you work with companies?
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.
What are your suggestions to companies for working with a designer? How can companies select a good designer?
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.
Can you talk a little about your design process?
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.
What are 5 of your favorite design items at home?
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.
Can you describe a day in your life?
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.
Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
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.
From your perspective, what would you say are some positives and negatives of being a designer?
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.
What is your "golden rule" in design?
Stay honest. Don’t decorate for the sake of it—design should serve a purpose and reflect something true.
What skills are most important for a designer?
Communication skills. Being able to listen, ask the right questions, and collaborate openly is just as important as visual talent.
Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
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?
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.
How long does it take to design an object from beginning to end?
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.
What was your most important job experience?
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.
Who are some of your clients?
My clients range from farmers and small independent shops to companies and organizations.
What type of design work do you enjoy the most and why?
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.
What are your future plans? What is next for you?
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.
Do you work as a team, or do you develop your designs yourself?
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.
Do you have any works-in-progress being designed that you would like to talk about?
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.
How can people contact you?
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.
Any other things you would like to cover that have not been covered in these questions?
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.

Designer of the Day Interview with Kikumi Yoshida

Could you please tell us about your experience as a designer, artist, architect or creator?
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.
How did you become a designer?
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.
What are your priorities, technique and style when designing?
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.
Which emotions do you feel when designing?
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.
What particular aspects of your background shaped you as 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.
What is your growth path? What are your future plans? What is your dream design project?
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.
What are your advices to designers who are at the beginning of their career?
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.
You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
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.
What is your day to day look like?
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.
How do you keep up with latest design trends? To what extent do design trends matter?
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.
How do you know if a product or project is well designed? How do you define good design?
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.
How do you decide if your design is ready?
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.
What is your biggest design work?
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.
Who is your favourite designer?
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.
Would you tell us a bit about your lifestyle and culture?
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.
Would you tell us more about your work culture and business philosophy?
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.
What are your philanthropic contributions to society as a designer, artist and architect?
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.
What positive experiences you had when you attend the A’ Design Award?
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.

Extended Interview with Kikumi Yoshida

Could you please tell us about your experience as a designer, artist, architect or creator?
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.
How did you become a designer?
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.
What are your priorities, technique and style when designing?
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.
Which emotions do you feel when designing?
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.
What particular aspects of your background shaped you as a designer?
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.
What is your growth path? What are your future plans? What is your dream design project?
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.
What are your advices to designers who are at the beginning of their career?
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.
You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?
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.
What is your day to day look like?
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.
How do you keep up with latest design trends? To what extent do design trends matter?
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.
How do you know if a product or project is well designed? How do you define good design?
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.
How do you decide if your design is ready?
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.
What is your biggest design work?
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.
Who is your favourite designer?
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.
Would you tell us a bit about your lifestyle and culture?
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.
Would you tell us more about your work culture and business philosophy?
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.
What are your philanthropic contributions to society as a designer, artist and architect?
For me, design is something that moves a client's life forward.
What positive experiences you had when you attend the A’ Design Award?
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.

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