Interview with Kenichi Mizuno

I first worked at a company that manufactured automotive parts. I was involved in production, but I strongly wanted to create better products through design. I asked the company president for several years to let me try design work. When I finally had the chance, the result was well received. That experience made me realize that manufacturing knowledge and creative thinking could come together in a powerful way.

My priority is to create something that excites me first, and then allows that excitement to reach others. I always want to exceed expectations. This creates pressure, but I believe that if I am not excited by an idea, it cannot truly move other people.

At first, I feel joy because someone has trusted me with a design project. Then I feel pressure, because I must create something new. With experience, I can often sense a direction that may please the client or open a future possibility. That moment gives me strong motivation to keep working.

I was shaped by a strong competitive spirit and by growing up in a pottery town where clay was part of everyday life. As a child, touching and shaping clay became natural to me. I also felt that creating was one of the few things I could truly rely on. That feeling still drives me today.

Now that I am over 55, I think more about what I can leave behind and pass on. I want to create works that show younger people that design can still be exciting, difficult, and worth fighting for even as we grow older. Noshudo Zero is one important milestone for me, but I would like to continue creating works that go beyond it.

My advice is to welcome the work that comes to you. When I was young, I sometimes avoided work that did not suit my pride or interests, and I regret some of those moments. Even if a project is not your favorite category, take it seriously. Being trusted with work is already something to be grateful for.

I do not think of myself as an elevated or perfect designer. For me, design has been a way to survive. I use design because it is what I can do best. If I can suggest one thing, it is to value the immediate power of design. A design that makes people feel “this is good” at first sight is still very important.

I may look like a rather ordinary and even boring person in daily life. I do not have many hobbies because my work has become my hobby. I enjoy designing most. Outside work, I like driving, watching movies, going out for lunch or dinner with my wife, and traveling when I can.

I do not consciously follow trends very much. Trends become old quickly, just like fashion. What was new yesterday can look outdated after a few years. Instead of chasing other people’s trends, I try to update myself every day and go beyond my own previous ideas.

It is like asking who decides what food is delicious. If many people love it, that is one kind of value. But if a design is made for one specific person, like haute couture, it only needs to make that person happy. Design usually has someone on the other side, so I believe good design is something that can be loved by the people it is meant for.

For client work, a design is ready when the client is satisfied and my own idea or theme is properly included. For my personal works, I sometimes stop myself, step back, and look at the design again after some time. This helps me avoid losing the original axis of the idea before deciding whether to complete it or refine it further.

In terms of physical size, I have designed large automotive parts and, when I was younger, window displays for shopping malls that were around ten meters wide. But in terms of impact, designing a Japanese sword was the largest experience for me. It had the greatest cultural and emotional weight.

To be honest, I do not know many designers deeply enough to name one favorite. I have not lived my life by following famous designers. I simply like what moves me at that moment. My inspiration often comes more from products, cars, craft, tools, and everyday experiences than from specific designer names.

My lifestyle may look free, but I actually manage my time quite strictly. I often feel that every minute is precious. At the same time, ideas constantly grow in my mind and sometimes disturb me. I live while struggling with that every day. In terms of culture, everyday Japanese life, manufacturing culture, driving, food, and small routines all influence me.

My work philosophy is simple: deadlines must be kept. As a professional, delivering on time is essential. I do not want to work with people who do not respect time. For me, keeping promises and meeting deadlines is not special; it is the basic responsibility of professional work.

As a designer, I believe I can help small and medium-sized companies rediscover their own potential. Many companies have excellent manufacturing skills but may not know how to turn them into original value. By adding ideas and design thinking, I can help them create something surprising and regain confidence. I want to show that wisdom, ideas, and creativity can create new possibilities regardless of company size.

Participating in the A’ Design Award gave me a special feeling because it is connected to Italy, Como, and the region near Milan, which has a strong image of design, fashion, and culture. Being accepted and evaluated there felt different from other international awards. I also felt that the award valued inspiration, which made me very happy.

I design because it is the field where I can use my strongest abilities. Since childhood, making and drawing were natural to me. Design became a way to live, work, and communicate value.

I chose design, but in a way, I also feel design chose me. It was the one thing I could truly rely on, and I felt that if I lost it, I would lose an important part of myself.

I mainly design industrial products, automotive-related products, concepts, and symbolic design works. I would like to design more projects that connect manufacturing, craftsmanship, mobility, culture, and emotional experience.

They should accept the work in front of them and turn every project into experience. Do not be too selective too early. Pride is important, but unnecessary pride can stop growth.

A good designer can create a good answer. A great designer can exceed expectations, create trust, and make people feel that choosing that designer was the right decision.

For me, good design has immediate power and lasting reason. It should attract people at first sight, but it should also continue to make sense through function, meaning, quality, and context.

Good design creates value that cannot be achieved by function alone. It improves communication, builds trust, increases desire, and can help companies and people express who they are.

I would like to design more symbolic works that connect Japanese craftsmanship with contemporary design. I would design them for people who care about culture, technology, and emotional value.

My dream project is to create a larger cultural design work that combines mobility, traditional craft, digital modeling, and spatial experience. I want to create something that makes people say, “I never imagined design could do this.”

My secret ingredient is the combination of surprise and logic. I want my design to excite people emotionally, but there must always be a clear reason behind the form.

I do not follow one specific design master deeply. I am inspired by craftspeople, engineers, car designers, manga artists, product makers, and people who seriously create things.

I like designs that move me instantly. I am attracted to objects that have strong presence, clear intention, and a sense that someone made a brave decision.

One of my most important designs is Noshudo Zero. It reinterprets the Japanese sword as a circular symbolic blade, connecting tradition, craftsmanship, and contemporary design in a powerful way.

People should observe more, experience more, and take each project seriously. I improved by working on real projects, facing pressure, making decisions, and learning from both success and regret.

I am not sure. Perhaps I would still have worked in manufacturing or something related to making things. Creating has always been close to my life.

Design is a way of living. It is not just decoration or styling. It is a way to discover value, give form to thought, and move people.

Many clients, collaborators, craftspeople, engineers, friends, and family members have supported me. My wife has also been very important, because daily support gives me the strength to continue.

Practical experience helped me most. Working with real companies, real manufacturing, real deadlines, and real responsibility shaped me more than theory alone.

One obstacle was proving the value of design. Especially in Japan, design is sometimes misunderstood as decoration. I had to keep showing that design can create real business and cultural value.

Designers should present their work clearly, honestly, and visually. A design should first communicate its power, and then the designer should explain the logic, background, and value behind it.

I want to continue creating works that connect manufacturing, craftsmanship, mobility, and culture. I also want to keep developing 4DESIGN as my personal creative project.

My ultimate goal is to leave behind work and thinking that can continue beyond myself. I want my design to encourage people, companies, and future creators.

People expect clarity, originality, quality, responsibility, and something beyond the obvious. I believe they also expect a designer to bring confidence when a project is difficult.

Design can help people recognize value that was hidden. It can support craftsmanship, improve communication, create pride, and connect people with products, culture, and ideas.

I am currently focusing on client work and developing the value of my recent award-winning projects. I am also interested in future projects that combine mobility, craft, and symbolic design.

Projects that exceed the client’s expectations give me the most satisfaction. Noshudo Zero was especially meaningful because it carried cultural weight and deep responsibility.

I would like design to be understood more deeply, not only as styling or decoration. Design should be recognized as a way to create value, strategy, emotion, and meaning.

I think design will move beyond fixed categories. AI, digital tools, craft, mobility, and culture will overlap more, and designers will need to define their own role more clearly.

It depends on the project. Sometimes an idea appears in minutes, but refining it into a form that can be presented or produced may take days, weeks, or months.

I start by understanding what the project must communicate and who it is for. Then I look for the point that can create surprise, value, and meaning.

My motto is to create design with surprise and logic. I want my work to excite people, but I also want it to have reason and responsibility.

Both can happen, but I do not want to simply follow trends. I believe strong design can create its own current, even if it does not follow what is fashionable.

Technology is a tool that helps ideas become clear and precise. CAD, rendering, and digital modeling are important, but technology should support human imagination, not replace it.

I use sketches, CAD, 3D modeling, rendering tools, Photoshop, and a pen display. The tools change depending on the project, but the thinking behind the design is always most important.

Color, materials, and ambient define how people feel a design. They are not secondary elements. They can change the emotional quality, meaning, and presence of a design.

I would like people to ask why the design exists in that form. When they become curious about the reason behind the surprise, the design begins to communicate more deeply.

When I see a great design, I first feel it before analyzing it. After that, I start thinking about why it works and what kind of decision made it powerful.

My ideal partner is someone who respects both creativity and responsibility. I believe in collaboration, but the concept and final direction must be clear.

Clients, engineers, craftspeople, and makers have influenced me greatly. Working with people who actually make things has shaped my sense of design responsibility.

I cannot name one specific book. I am influenced more by everyday information, news, manufacturing sites, conversations, travel, vehicles, and real objects than by a single design book.

I developed my skills by continuing to work, observing carefully, using CAD and digital tools, communicating with makers, and facing pressure from real projects.

I would like to meet the craftspeople and creators of the past who made objects that still move people today. I would ask them what they were thinking when they created them.

Awards are encouraging, but I do not want to become arrogant. Recognition is useful because it helps communicate the value of design, especially for an independent designer.

I like black because it has strength and clarity. I like places where manufacturing and culture exist together. I enjoy good food, driving, and quiet time with my family.

Sometimes people imagine designers as very stylish and elegant, but in reality I often spend long hours struggling quietly at a desk. The gap between image and reality is sometimes funny.

A good day is when an idea finally appears after struggle. I motivate myself by telling myself that I can do it, and by imagining the moment when the client or viewer will be surprised.

It was not obvious to me. I did not even know the word design. But I loved making and drawing, and one praised drawing in childhood changed how I saw my own possibility.

I cannot imagine clearly what will happen in one thousand years. But I believe people will still need beauty, surprise, tools, stories, and objects that help them understand themselves.

I am not a designer who began from a perfect theory. I have used design to survive, work, communicate, and create value. I want to keep making designs that have both surprise and reason.

I started my company when I was 30 years old. I was young, and perhaps optimistic, but I moved forward believing in the possibility of success. With the help of many people and through many lessons, the company has now continued for more than 25 years.

D-WEBER inc. is the business base through which I work with clients, manufacturers, and collaborators. At the same time, 4DESIGN is my personal design project and creative label, led by me as an individual designer, Kenichi Mizuno. It is not a separate large organization, but a platform where I can express my own design identity more directly.

For many years, I worked almost alone, and even today the studio remains compact. I am both a designer and a business owner. What I am proud of is that we receive projects from leading Japanese companies and manufacturers that compete globally. Through client work and personal projects, I continue to explore how design can create surprise, trust, and value.

For me, design is a way of living. It may sound exaggerated, but honestly, this is what I can do, and this is how I feel I must live.

Design is also a field where I do not want to lose. By “winning,” I do not mean defeating others. I mean earning trust, receiving work, creating value, and continuing to live honestly through design.

Design is not just decoration or a convenient word. It is a way to discover value, give form to thought, and move people.

I like working with things that already have familiar forms or existing value, and then finding new possibilities within them. Starting from zero is interesting, but I am especially attracted to the challenge of slightly changing something people already know and creating a new discovery.

I like the moment when people say, “I had never thought of it that way.” That kind of surprise is very important to me.

All of my works are important to me, including many products designed for clients. However, if I had to choose one, I would mention the Japanese sword project, Noshudo Zero.

The Japanese sword is one of Japan’s most respected cultural symbols, so when I received the opportunity, I felt both honor and fear. This was not a project that could be treated simply as an idea or a form. It required respect for culture, craftsmanship, and the people involved.

I still remember the atmosphere at the venue when the design was presented and people reacted to it. It was a very deep and unforgettable experience.

One of the first products I designed after becoming independent was an aluminum wheel for automobiles. Before that, I was also involved in window displays and commercial displays for shopping malls.

These early experiences were very important because they taught me that design must communicate directly with people in the real world.

My favorite material is metal. I have worked with metal for a long time, especially through automotive-related design. I also like clay and other materials that can be touched, shaped, and understood by hand.

In terms of technology, 3D CAD and computer graphics feel very natural to me. They suit the way I think. Since I also have experience in photography and visual presentation, I enjoy tools that connect form, light, image, and communication.

I feel most creative between the first idea and the final presentation. Sometimes an idea appears instantly, and sometimes I have to think for many days. The process of building the idea, refining it, and preparing it to be shown to others is when I feel the strongest creativity.

During that period, there is excitement, anxiety, tension, and joy. I also feel creativity strongly when I see people’s reactions after a presentation.

I focus on whether the design can go beyond expectations. When I receive a project, I feel pressure to create something better than what the client first imagined.

I care about form, balance, impact, and feasibility. But above all, I want the client to feel that asking me was the right decision.

Design gives me many emotions at the same time: excitement, anxiety, concentration, and pressure. After working deeply on a design, I often feel completely exhausted, but that exhaustion is also part of the reward.

For me, design is not a calm process. It is more like entering deeply into a problem and staying there until the answer begins to appear.

When a design becomes a real product, the first feeling is “I did it.” Seeing an idea become an actual object gives me joy.

After that first excitement, I often start thinking about what could have been improved. But when I see positive reactions from people outside the project, I feel deep happiness and relief.

I believe successful design comes from continuous input. Even when I do not have a specific theme, I am always absorbing things through my eyes, body, and daily experiences.

A design becomes successful when those accumulated impressions suddenly connect with a project and become a clear form that moves people.

I am an intuitive designer, so I first consider whether the design captures the heart instantly. A design that needs too much explanation before it can be felt may be intellectually interesting, but for me, good design should have immediate power.

Concept and philosophy are important, but beauty and impact should be felt before they are explained.

I do not think designers can always carry a large social responsibility alone. In reality, many projects are shaped by clients, budgets, systems, and business decisions. So I am careful about saying that designers alone can change everything.

However, designers should at least be aware of whether their ideas are only for self-satisfaction or whether they truly contribute to people, society, and the future. That awareness is important.

I have not always been deeply involved in what is commonly called the design industry, so I do not see the future only through trends or styles. I am more interested in how quickly society changes and how designers can respond to that change.

In the age of AI, I believe designers should define their position more clearly. It is no longer enough to simply follow styles or categories. Designers need to imagine, create, present, and communicate ideas across genres.

My Japanese sword work is currently exhibited at a public facility in Seki City, Gifu Prefecture. I am very happy that people continue to see the work and that it has also attracted attention on social media.

At the moment, I do not have a specific plan for my next exhibition. My main business is very busy, and I do not have enough time to create new personal works. However, I also see this as a good situation, because continuing the business is also important.

The first thing I think about is who will see the work. At the same time, I always ask myself whether I can also feel excited by it.

If the creator is not excited, I do not think the work can truly excite others. For me, inspiration begins when I feel that I want to make an idea real.

My style is mostly self-developed. Of course, I have been influenced by many things since childhood, such as manga, anime, cars, pop culture, tools, and manufacturing. However, I did not learn design through one fixed method.

I believe a personal style is formed through continuous work, just as each person develops a different way of running. In my case, I always try to include a sharp idea, a twist, or an unexpected point. I do not want my design to become static or boring.

I live and work in Aichi Prefecture, Japan. The place where we live, the surrounding culture, family environment, and even economic conditions all influence design.

Growing up near towns connected to craftsmanship had a strong influence on me. Also, living outside Tokyo gives me a different perspective. The air, distance, people, and manufacturing culture around me influence the way I think and design.

Many of our current projects come through direct requests. Companies often ask us to work on difficult projects or projects that require a special design perspective.

I feel pressure, but I also feel great joy. I always try to provide something that makes the client feel they made the right choice. It may be form-making, design quality, communication, coordination, or a small “wow” beyond the brief.

If a company does not have an internal design department, the first step is to understand the value of design itself. Design is not only decoration or styling. It affects product value, communication, and business direction.

When working with companies that already have design departments, there is no room for superficial work. We are all professionals, so quality cannot be faked. As an outside designer, I always try to bring at least one strength that makes the collaboration valuable.

When I receive a project, I first feel happy, but soon I feel pressure. I start thinking about how to exceed expectations. Sometimes the idea comes quickly. Sometimes it does not appear until the deadline is close.

Once the idea appears, I can work for hours without noticing time. If nothing happens, I change my environment. I drive, watch a movie, or travel. Often, when I stop forcing myself to think and focus on something else, the answer suddenly appears.

Honestly, I do not have many design items at home that I can call special favorites. I am more interested in creating things than collecting or appreciating things made by others.

Of course, I respect good products and good design, but my instinct is usually to make something new myself.

I usually wake up around 5 a.m. and spend about an hour reading news and newspapers. It is one of my ways to stay connected with the world.

After breakfast, I go to the office, work on client projects, give directions to staff, check progress, and attend meetings or presentations. I try to finish work around 6 p.m., but when an idea comes to me, I often continue working at my home office.

I do not have many hobbies outside work, so I am often at my desk. However, I also value dinner with my wife. We talk about the day, future plans, and small everyday things while having a light drink together. It is an important routine for me.

My advice to young designers is to try many things and not narrow yourself too early. Even if a project is not exactly what you wanted to do, take it seriously and turn it into experience.

I have seen many people miss opportunities because they are too selective or too proud. Pride is important, but unnecessary pride can prevent growth. First, accept the task in front of you, do your best, and learn from it.

The positive side is that the title “designer” sounds attractive and creative. This profession can feel exciting and meaningful.

The difficult side is that many people do not clearly understand what designers actually do. Especially in Japan, I often feel that the value of design needs to be explained. Being a designer may look fun and cool from the outside, but inside it requires patience, responsibility, and constant explanation.

My golden rule is to encourage myself first. I tell myself, “You can do it.” I also try to praise my own design during the process.

At the same time, I allow myself to feel anxiety. That anxiety is important because it becomes the force that refines the design further. Confidence and doubt must both exist.

Observation and insight are the most important skills. Everything in life can become a hint for design.

Even when looking at something unrelated, an idea may suddenly appear. Designers need to keep their minds open in order to connect distant things. That way of thinking is very important.

My basic tools are simple: pencils, erasers, CAD, graphic tools such as Photoshop, and a Wacom pen display. Depending on the project, I also use 3D CAD and digital tools.

I often listen to radio or music while working. It helps me receive new information, understand the current mood of society, and collect small topics that may later connect to communication or ideas.

I manage my time quite strictly. I use digital calendars such as Outlook and the iPhone calendar to record what I need to do.

Putting tasks into the calendar also gives me pressure. I think that pressure helps me keep moving.

It depends on where you define the beginning and the end. Sometimes it takes a long time before an idea appears. In other cases, it may come in three hours, one hour, thirty minutes, or even three minutes.

After the idea appears, it usually takes from several days to about one month, depending on the project, to develop it into something that can be properly shown.

I am often asked, “What is a designer?” Young people also ask, “Can designers make money?” or “How can I become a designer?”

These questions show that design is attractive, but they also show that its real value and working process are still not fully understood.

One of my most important experiences was participating in a project for a major company and being asked to help lead the direction. It was especially difficult because the client members were also designers or members of a design department.

However, the final result became excellent, and we celebrated it together. It was hard, but very enjoyable, and I still maintain good relationships with those people.

My main clients are automobile manufacturers, automotive-related companies, and manufacturers involved in product development. I have also worked with suppliers connected to overseas automobile manufacturers.

Many projects are confidential, but most of my work is related to manufacturing, mobility, product design, and industrial development.

I especially enjoy form-making. I particularly like the moment when I am shaping surfaces in CAD.

For me, form-making is not only technical work. It is the moment when ideas, emotions, and logic begin to become visible.

As I get older, I think more about succession and continuity. I do not simply want to pass on what I have done. I want the company and its spirit to continue and to remain loved by clients and collaborators.

Outside work, I would like to deepen my relationships with family, friends, and the people who have supported me. In design, I want to continue questioning how the word “design” is used. Especially in Japan, this word is sometimes used too conveniently. I want to help recover a clearer understanding of what design can truly achieve.

I often lead the core direction myself, especially in the early concept and form-making stages. However, I do not believe design is created by only one person.

My studio is small, and depending on the project, I work with staff, clients, engineers, craftspeople, photographers, and manufacturers. The strongest results often come from collaboration. Still, I try to hold the first spark and the final responsibility firmly as the lead designer.

4DESIGN is also led by me personally. It is a creative label where I can express my own design ideas while collaborating with others when necessary.

At the moment, my main work is very busy, so I cannot talk much about personal works in progress. However, I am always thinking about projects that combine mobility, craftsmanship, digital modeling, and cultural storytelling.

Some ideas are still only seeds, but I would like to continue creating works that connect Japanese manufacturing culture, contemporary design, and global communication.

People can contact me through the official D-WEBER inc. website or through the 4DESIGN project platform.

D-WEBER inc. is my business base, while 4DESIGN is my personal design project and creative label. I welcome inquiries from companies, manufacturers, craftspeople, media, and anyone interested in meaningful design collaboration.

I believe design is not just a convenient word or a decorative service. It is a way to discover value, give form to thought, and move people.

I come from a small studio in a regional manufacturing area of Japan, but I believe clear ideas, strong skills, and sincere collaboration can reach the world.

Through D-WEBER inc., I work as a professional design business owner. Through 4DESIGN, I continue to explore design as an individual creator. Both are important parts of who I am, but the creative core always begins with my own questions, ideas, and responsibility as Kenichi Mizuno.

I want to keep proving that design can be practical and emotional, local and global, personal and professional at the same time.