We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Yui Kitahara ("YK").
After graduating from an industrial high school, I went on to Kobe Design University. At the university, he majored in furniture design and exhibited at the Milan Isola Design Week in 2024. After graduating from the university, I have been working towards a design that combines functionality and formative beauty. I am also increasing the range of my design expression by studying various fields such as traditional architecture and crafts.
Yui Kitahara Designs
We are pleased to share with you original and innovative design work by Yui Kitahara.
Yui Kitahara Design - Sukiya Serenity Chair
Designer Interview of Yui Kitahara:
DI: 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?
YK : I have been interested in creative pursuits since I was a child. I loved drawing, and without even realizing it, I would pick up a pen and paper and unconsciously sketch landscapes, cars, and people. When I couldn’t find something I wanted, I would draw it and then carve it out of wood with a knife. My introduction to product design, especially furniture design, came through Shiro Kuramata. It happened when I was given my own room and started researching what kind of furniture I wanted to place in it. I vividly remember being thrilled by his unique and unconventional designs, unlike anything I had ever seen before. That was when I was nine years old.
DI: Can you tell us more about your company / design studio?
YK : I work as an independent designer. In university, I majored in furniture design, and I have since become a furniture designer. My primary focus is not on mass-produced items but on creating custom furniture tailored to the specific needs and desires of individuals who say, "I wish I had furniture like this." However, I also aim to have my designs commercialized as mass-produced products. My goal is to create furniture that is not only functional but also so beautiful that it captivates those who see it. In fact, I don’t just design furniture—I also work on designing spaces. To keep these two areas of work distinct, I have separate studios for furniture design and spatial design.
DI: What is "design" for you?
YK : For me, design is a solution for someone. It is never a creation for self-satisfaction. For example, someone might want a chair that can be hung on the wall because their house is small. Or they might want a side table that also functions as storage. Or perhaps they need a shelf that can be easily assembled without screws or tools. The chair I designed this time was also created in response to a request for an armchair that would suit a traditional Japanese-style room.
DI: What kinds of works do you like designing most?
YK : I enjoy thinking about designing furniture that fits into someone's life. Having a favorite piece of furniture at home can surely enrich one's life and brighten up the space. The morning sunlight will feel more magical, and the coffee you drink in the afternoon will taste even better.
DI: What is your most favorite design, could you please tell more about it?
YK : There are so many I can't count them all, but one that recently struck me anew is Daniel Rybakken's LIRA chair. It's a stackable chair where the collaboration between the wooden and iron parts works beautifully, and its form as a chair is also very unique. When I first saw it at the 2024 Salone del Mobile in Milan, I was stunned.
DI: What was the first thing you designed for a company?
YK : Not yet. I'm looking for companies to collaborate with.
DI: What is your favorite material / platform / technology?
YK : Let me share my favorite material: wood. Wood is very honest. When it comes into contact with something harder, it gets scratched. Over time, its color deepens gradually. If neglected, it will begin to decay. There are countless types of wood, each with unique colors and patterns. Even with the same piece of furniture, the atmosphere can change dramatically depending on the type of wood used. When I design furniture with wood, I often create sharp, linear forms with defined edges. Since wood is soft, the edges will naturally become rounded with use, and I believe this process will make the piece feel more endearing over time.
DI: When do you feel the most creative?
YK : The concept has been finalized, and it's time to create prototypes and refine the fine details.
DI: Which aspects of a design do you focus more during designing?
YK : We prioritize beauty and functionality, aiming to create products people will want to buy and use at home. Unlike art, design should not be about self-indulgence.
DI: What kind of emotions do you feel when you design?
YK : I often feel a sense of uncertainty. Is this design truly good enough? Will this functionality really help people? If I search the entire world, might there be something better out there? The list of doubts is endless, but even when I can’t see the end of my anxieties, I keep going, believing that what I create will be meaningful to someone. I refine my ideas, create prototypes, and test their strength and usability. Through this process, something that starts out as just a large rock gets polished and begins to shine like a gemstone.
DI: What kind of emotions do you feel when your designs are realized?
YK : It feels as if I've had my own child. I might want to make further improvements and create an even better design.
DI: What makes a design successful?
YK : Above all, create prototypes to clearly visualize the best design you envision.
DI: When judging a design as good or bad, which aspects do you consider first?
YK : I believe beauty is the most important factor. Even if a product has excellent functionality, no one will buy it if it isn't beautiful.
DI: From your point of view, what are the responsibilities of a designer for society and environment?
YK : What is required of designers today is not merely the role of a “creator.” They bear the responsibility to question ideas and projects that could have ethical, environmental, or social impacts—asking, “Should this truly be brought into the world?”—and to have the courage to say “no” when necessary. As advocates for users, society, and the environment, they have the responsibility to actively propose designs that realize a more inclusive, sustainable, and equitable future, thereby strengthening organizations and society.
DI: How do you think the "design field" is evolving? What is the future of design?
YK : The field of design has undergone dramatic evolution over the past few decades. This evolution lies not merely in superficial stylistic changes, but in the very nature of design's role itself. Traditional design centered on solving the “problem statement” given by the client. Today, however, designers play a crucial role in engaging from earlier stages of the process, discovering and defining the “true underlying problem that needs solving” through user research and data analysis.
DI: When was your last exhibition and where was it? And when do you want to hold your next exhibition?
YK : In April 2024, I showcased my work at Isola Design during Milan Design Week. I exhibited an assembly-style coat rack. The piece I designed this time, Sukiya Serenity, was displayed in Hokkaido, Japan, from June to September of the same year. Currently, I am working on designing new furniture. I hope to exhibit my next piece at the Milan SaloneSatellite scheduled for April 2026.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
YK : Like many designers, I draw inspiration from a wide range of sources regardless of genre: architecture, art, solving minor frustrations, everyday scenery, unexpected experiences, designs unrelated to furniture, ancestral tools, nature, and more.
DI: 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?
YK : I consciously strive for beauty in form and functionality.
DI: 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?
YK : I live in Japan. Imagine a scene with rows of wooden houses and tiled roofs, like those in Kyoto. In Japan, there is a culture called "mottainai." This concept reflects the idea that even something that appears to be mere trash can become a new resource when seen from a different perspective. This culture is influenced by the Japanese aesthetic of wabi-sabi, which emphasizes simplicity and using only what is necessary. When designing furniture, we consider how to highlight the essential elements and how to avoid wasting resources. One downside, however, is that presenting a new design often requires courage. Japan is a collectivist society. This means that the majority's opinion is often considered correct, while the minority's opinion is seen as wrong. Of course, this does not apply to everyone, but it does impose restrictions on free thinking. The benefits of design are enjoyed by an unspecified number of people, and criticism of new designs also comes from an unspecified number of people.
DI: How do you work with companies?
YK : We have not yet established a partnership. I would like to commercialize the Sukiya Serenity Chair. If anyone is interested, please consider it.
DI: What are your suggestions to companies for working with a designer? How can companies select a good designer?
YK : Rather than companies selecting designers, I feel it's better for designers to promote themselves to companies. I believe it's important to take on various competitions and build up a portfolio of work.
DI: Can you talk a little about your design process?
YK : The process begins with converting ideas into sketches. I then create a model, decide on the basic functionality and form to some extent, and develop the finer details of the concept. Next, I build a full-scale prototype and use it myself for one to four weeks to test its strength and usability. Once nearly all the elements are finalized, I create another prototype to solidify the design. I make many prototypes. For example, with the Sukiya Serenity Chair, I produced around 20 prototypes, adjusting the thickness of the parts by 1mm increments to find the perfect balance. It’s a painstaking process, but I believe it’s an essential step in creating beautiful designs. This meticulous process leads to refined details.
DI: What are 5 of your favorite design items at home?
YK : Sori Yanagi's Fork Hitoshi Kuramoto's Coat Rack “KNIT” The Bouroullec Brothers' “Algue” Ambientech's Light “Cachalot” Shunji Kikuchi's “MANEKINEKO”
DI: Can you describe a day in your life?
YK : Every morning, I eat a sandwich for breakfast. Then until noon, I go for walks or read books. Lately, I've been studying English. After lunch, I work on design concepts. This involves research, sketching, and making prototypes. In the evening, I play music while doing a quick cleanup of my room.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
YK : I'm 24, so I'm a young designer too. I want to know what I should do as well.
DI: From your perspective, what would you say are some positives and negatives of being a designer?
YK : Design is a wonderful profession that offers the irreplaceable reward of “the joy of creation,” yet it also demands mental and physical toughness, along with strong communication skills. To succeed, passion for design is essential, but equally vital are the ability to take criticism constructively, the skill to explain your ideas logically, and the capacity to manage your own mental and physical well-being. Understanding both the pros and cons is crucial to determining whether this is truly an appealing career path for you.
DI: What is your "golden rule" in design?
YK : It means that the work should not be a work of self-satisfaction. Design must solve someone's inconvenience or dissatisfaction and enrich their lives. Functional and easy to use. And beautiful. Beauty is very important. It improves the quality of living space and brightens every day. This is the kind of design I aim for.
DI: What skills are most important for a designer?
YK : The ability to observe, and the ability to make it your own. For example, even if you eat a five-star dish and know its flavor, it's difficult to recreate it yourself.
DI: Which tools do you use during design? What is inside your toolbox? Such as software, application, hardware, books, sources of inspiration etc.?
YK : Take photos of scenes, objects, or events you find appealing and print them out. Think about why you found them appealing and sketch your ideas in a notebook. All you need is a camera, a notebook, and a pen.
DI: Designing can sometimes be a really time consuming task, how do you manage your time?
YK : I haven't really managed my time much. I think many designers are like me—constantly thinking of new ideas. While eating, showering, taking walks, feeding my pets.
DI: How long does it take to design an object from beginning to end?
YK : Depending on the scale, it takes about two months. If there's flexibility, it can take up to a year depending on the project.
DI: What is the most frequently asked question to you, as a designer?
YK : Why did you decide to become a designer? That's the question. I suppose one's upbringing tends to manifest in the characteristics of their design.
DI: What type of design work do you enjoy the most and why?
YK : When I go for a walk, ideas start to come to mind. I carefully observe everything around me, thinking about how I could apply what I see to my designs. The most enjoyable part is turning the endless stream of ideas into sketches. When I actually start drawing, I often discover shapes I hadn’t imagined before. I also enjoy thinking about how to overcome the challenges that arise from those discoveries.
DI: What are your future plans? What is next for you?
YK : I am currently considering exhibiting at the Milan SaloneSatellite. I want as many people as possible to see my designs, and I hope to connect with many people to seize opportunities for commercialization.
DI: Do you work as a team, or do you develop your designs yourself?
YK : I develop my own designs. I would like to team up or collaborate with someone.
DI: Do you have any works-in-progress being designed that you would like to talk about?
YK : The detailed concept isn't finalized yet, but I'm envisioning typical stereotypical furniture. Stereotypical designs can be used in various ways, but they aren't universal. Being simple can also be rephrased as having stripped away everything else, paradoxically. This is furniture with customizability—it can be assembled with preferred parts to suit the location, the items placed on it, and the room's atmosphere.
DI: How can people contact you?
YK : Please message me via email or Instagram DM. email:yui.k.base@gmail.com InstagramURL:https://www.instagram.com/yui__kitahara/