We, as the Designer Interviews ("DI") had the distinct pleasure and opportunity to interview award-winning, most creative and innovative Kevin Yang ("KY").
With backgrounds in sculpture and product design, Kevin is seeking the commercial balance among functional works of arts, fusing creativity and user-centric solutions that elevate the everyday needs and wants. By focusing on user experience, interactions and corresponding CMF designs, Kevin is keen to dismantle, rebuild, and transform the mundanes into extraordinaries with inspirational touches and design proficiency.
Kevin Yang Designs
We are pleased to share with you original and innovative design work by Kevin Yang.
Kevin Yang Design - Project XYLO Midi Device
Kevin Yang Design - Commi Board Prototyping Tool
Designer Interview of Kevin Yang:
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?
KY : I received my Bachelor’s degree in Fine Art Sculpture from the Slade School of Fine Art in the UK, and later completed a Master’s degree in Design Products at the Royal College of Art. Since high school, I’ve always been drawn to creating objects as a way to express my thoughts, critiques, and understanding of the world around me. I love experimenting with new materials and methods of making. During my fine art studies, I became deeply interested in ready-made art, which led me to create non-functional works and installations. Through that experience, I began to recognize my growing desire to merge artistic expression with functionality — to create objects that not only convey ideas but also serve a purpose. This shift in perspective naturally led me to the field of product design, where I continue to explore the intersection between art, design, and meaning.
DI: What is "design" for you?
KY : To me, art and design are universal languages through which meaning is conveyed beyond the boundaries of words, ethnicity, and culture. Every created piece — whether artistic or functional, all carries a message that resonates and understood on a human level.
DI: What kinds of works do you like designing most?
KY : There are two kinds of design I love, each represents part of my creative drive. I tend to design and create with the mindset of functional art — fusing existing elements and exploring how meaning and utility can coexist. For me, each project is an opportunity to learn, observe, and experiment with something new — whether it’s a material, a technique, a texture, a message, or a way of thinking. I’m always curious about how these discoveries can be fused to express my understanding of an object. At the same time, I make personal electronics. Not only out of love or need, but because they sit at the intersection of design and technology — fast-paced, ever-evolving, and filled with innovation. With their short life cycle, they capture the latest ideas, materials, and trends, offering a snapshot of the present and a glimpse of the near future. To me, this field feels like the front line of design, where creativity, technology, and experimentation come together to shape and teach me how I can and will "design".
DI: What is your most favorite design, could you please tell more about it?
KY : My favorite design is the “Coffeepot for Masochists” from A Catalogue of Unfindable Objects by Jacques Carelman. To be fair, the entire collection in this book is full of brilliant and thought-provoking designs, not just the coffeepot — but that particular piece stands out because it has become one of the most iconic and recognizable examples. A Catalogue of Unfindable Objects is a design collection that documents absurd, humorous, and intentionally impractical products. Each object in the book takes the logic of design to its extreme — exaggerating form, function, or purpose — to the point where it no longer works. This book opened up a completely new way of thinking for me. It encouraged me to stay curious, to see beauty not only in success but also in failure — in the “impossible” and the “unusable.” It made me realize that failed or absurd designs often reveal the most honest truths about how we create and how we think. Most importantly, the curiosity and humor continues to shape my own creative process today, inspiring me to explore and find meaning in the unexpected. - in a fun way.
DI: What was the first thing you designed for a company?
KY : The first thing I ever designed for a company was a set of visual identities (VIs) for an international education agency. It was a freelance project I took on during my freshman year, introduced to me by a senior alumna. It was my very first experience working on a real commercial project. I was learning as I designed — understanding not only the creative side but also the commercial aspects, such as branding consistency, client communication, and meeting professional requirements. That project gave me a valuable look into how design works in the real world. It taught me how design can balance creativity with practicality, and it marked the beginning of my journey into the field of design practice.
DI: What is your favorite material / platform / technology?
KY : My favorite technologies are rapid-forming methods, especially the various approaches to 3D printing and subtractive forming. I find it essential to see a design physically evolve in my hands — to feel its form, texture, and functionality as it takes shape. With the latest advancements in 3D printing, the process has become almost as fast and intuitive as sketching. It lets me experiment, iterate, and refine ideas quickly, turning thoughts into tangible objects. I see rapid forming as a new kind of creative language — a way to think and sketch through making. From the very initial idea, it bridges the gap between imagination and reality, giving me the ability to refine each steps of design not only visually but also through touch and experience.
DI: When do you feel the most creative?
KY : I feel most creative when I’m traveling and questioning the surroundings. During my time at the Royal College of Art, my tutor Alon Meron once gave us an exercise: to observe our surroundings and redesign 100 everyday objects we encountered on our way to university. That project trained me to notice small details and question design choices we often overlook in our daily journeys from point A to B. Since then, observing and questioning the designs around me has become a personal habit. Whenever I travel, I like to slow down and really look — whether it’s a bus stop sign, a piece of street furniture, or a cultural landmark. I imagine how I might reinterpret or refine these designs in my own way. Those quiet moments of observation are when I feel most inspired, forming my own little archive memo of daily design ideas.
DI: Which aspects of a design do you focus more during designing?
KY : The two aspects I focus on most when designing are the concept and the CMFs. To me, the concept forms the top line of a design — it’s the foundation of meaning and direction. A strong concept gives purpose to every decision that follows, shaping how a product communicates its story, function, and emotional impact. It defines why the design exists and what it wants to express. On the other hand, the CMFs represent the bottom line — they ground the concept in physical reality. The choice of color, material, and finish determines how people will perceive and interact with the design. It influences everything from emotional response to usability and comfort. I see the relationship between concept and CMF as a dialogue between idea and touch — one defines the vision, and the other makes it tangible. When both align, the design feels complete: it communicates clearly, functions well, and connects with people on both a visual and emotional level.
DI: What kind of emotions do you feel when you design?
KY : I feel a painful sense of urgency — the frustration of not being able to instantly bring my imagined design into physical reality. But at the same time, that delay helps consolidate my ideas through rounds of iteration and reflection.
DI: What makes a design successful?
KY : I don’t think I’m experienced enough to define whether a design is truly successful or not, but I believe a good design should be readable and able to survive — both in meaning and in the real world. A design is successful when it communicates effectively with its users and can be realized in the market. It should speak for itself — expressing its purpose, function, and emotion clearly through form and experience — while also being practical and creating enough value to exist in the market. The product itself doesn’t have to last forever, but the concept behind it should.
DI: How do you think the "design field" is evolving? What is the future of design?
KY : I think there are two major directions in which the design field is evolving. The first is a shift from “problem solving” to fulfilling “created needs.” This change is largely driven by the market, where wants have begun to outweigh needs. It’s a subtle but powerful transition — marketing now shapes desire, and designers are often guided to create for these emerging wants. As a result, design has become increasingly niche-focused, speaking to smaller audiences with specific values and identities rather than aiming for universal solutions. The second evolving field is the impact of AI. AI is redefining how design happens. I see it as a pyramid: those designing AI, those designing with AI, and those experiencing AI design. Each layer informs and influences the others, creating a continuous feedback loop. AI are really impacting the way how designers accelerate iteration, revealing new aesthetics, and challenging our assumptions. I believe it’s important for designers to adapt and collaborate with AI as a partner in exploration, using it to extend our ability to imagine, test, and create. Building our own databases and design weights perhaps will be key to unlocking the unknown possibilities AI can bring to the design process in the near future.
DI: Where does the design inspiration for your works come from? How do you feed your creativity? What are your sources of inspirations?
KY : As I mentioned earlier, I find that questioning the design choices around me is the quickest and most natural way to find inspiration. I constantly ask myself: Why did a designer I’ve never met choose to create this object in this particular way? What story or reasoning lies behind it, and how is that reflected through its form and function? For me, this process feels like a wordless conversation between designers — an exchange of ideas across time and context. Each object carries a message, and I’m curious about how I might respond to it through my own design language. This ongoing dialogue keeps my creativity active and helps me see design not just as creation, but as communication.
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?
KY : Learning while deconstructing, and having fun while reconstructing. =) To me, design doesn’t grow out of thin air — it’s built from a combination of existing inspirations, experiences, and observations. Deconstruction is always my first step in the design process. By breaking things down, I learn how they work, discover what makes them meaningful, and identify the qualities worth inheriting and evolving further. I like my work to include recognizable elements from existing products, so users can easily connect with the functionality — and sometimes, the humor within the design. The process of deconstructing and learning from what already exists, then reconstructing it in creative and fun manor, has become a defining part of my creative style.
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?
KY : As an ethnic Chinese Austrian who grew up in the UK, living abroad and traveling have always been natural parts of my life and identity. This multicultural experience constantly exposes me to new perspectives, cultures, and design languages. The biggest advantage of this background is the ability to observe and compare market trends across different regions — to see both the shared values and the unique differences between them. It helps me understand regional strengths, such as manufacturing approaches, regional techniques, and design aesthetics, while also building meaningful international connections. If there’s a challenge, it’s that being shaped by multiple cultures sometimes makes it difficult to define a single design identity — but I also see that as an opportunity to create my own hybrid language, combining influences from East and West.
DI: Could you please share some pearls of wisdom for young designers? What are your suggestions to young, up and coming designers?
KY : Definitely get in touch with design communities and find your field of design. I think its beneficial and economical for young designers to participate in design competitions. Beyond exposure and recognition, the real value lies in the process: pushing yourself to produce highly refined, finished works; and connecting with the wider design community. One of the most crucial aspects of these competitions is the chance to exchange ideas and experiences with designers from different categories and levels. Through these conversations and by learning from their work experience, you begin to refine your own focus and direction, consolidate your workflow, and better understand where your true interests and strengths lie.
DI: What is your "golden rule" in design?
KY : Questioning the design choice around you, and be more creative every day.
DI: What skills are most important for a designer?
KY : Executive force - Make rather than think.
DI: Do you work as a team, or do you develop your designs yourself?
KY : I am currently working as a part-time design practitioner, developing projects by myself.
DI: How can people contact you?
KY : Fell free to contact me via my email (kev@kevydesign.com) or DM me on instagram (Kevy.Design).