Interviews with Jiawei Wu

I like to read books that make me study the layout by myself in the beginning. With my graduate school experience in Pratt Institute and exploration, I decided to be a graphic designer. The graduated study broadened my visions that my teachers and classmates were willing to share their thoughts with me honestly. I’ve been doing freelance work to enrich my experience. For me, to be a designer is a wonderful journey where I create an ecosystem to nourish good artwork that meets the audience’s needs.

Usually, I spend more time discussing core ideas to create a series of sketches or a moodboard to communicate with clients. When I form a general framework, I will design multiple directions to explore widely. Then discuss with the team to find the best suited one, and come up with more details to support the core idea and apply it to wider range communication designs. For me, I care about story-telling and design systems. I tend to consider a unique story behind design works and a balance based on the information I receive. Moreover, the design system is another key point for me to weigh designs. Illustrator, Indesign and Photoshop are the most important tools for me. If there are some new trends or knowledge that could enhance my works, I am always open and willing to learn.

Excited and nervous. I enjoy the exploring process where I can see unexpected directions which is exciting. But after ensuring the final direction, I wish to execute it perfectly. Sometimes, I do worry whether I mess the projects up.

I majored in Digital art about films in my undergraduate school. I enjoy the charm of the storytelling and visual language. When I got interested in graphic design, I started to think of another way to tell a story within a single project. Interdisciplinary experience enriches my way of thinking. At the same time, I am also ensuring that design is the right path for me. Because I like to use systematic structures to solve problems and work that can illustrate my thoughts.

I hope I can be an art director in a design studio where I can collaborate with talented designers. For now, I am still enriching my experiences and learning from other art directors. Besides full time jobs, I am open to take freelance work that can train my design skills and critical thinking independently.

Learn to manage your own time, and be able to estimate the workload and the time of the next draft. Treat each task as a learning opportunity, and the more you do, the more feedback you get. State your thoughts in detail in every draft. When in doubt, ask them in a timely manner, and you are responsible for the results.

Be bold. Be active. The design process is a journey for designers to learn, grow and build their own style. Sometimes it might be boring during the process, but designers will gain critical thinking and professional skills.

Generally, I have a regular schedule for work days. I like to take shower in the morning to fresh myself and feel more focused when I step into work mode. After work, I like to cook at home and that makes me relaxed. For some boring business days. I will try to adjust my schedule such as arrange work effectively and plan some training for myself so that I will not waste my time.

I will learn the latest design trends and merge them into projects based on the client's needs. If the trends do not fit with projects, I will not use them for sure. For every design work, it should have its own style, not just following the trend without context. I hope my design works could convey unique stories with suitable styles that meet needs. So, I will do lots of research before I decide the final direction to find the proper one.

For me, I care about story-telling and design systems. I tend to create unique stories behind design works and a balance based on the information I receive. Moreover, the design system is another key point for me to weigh designs. To me, good design and great design both bear a nice look with a particular aesthetic. But great design is distinguished from good design by better problem solving results.

I will check the connection between storytelling and visual language. Then I will evaluate it to see whether it meets the client’s needs. If the process is smooth, I will share with my client to discuss the plans I prepared. Usually, I will analyze each plan’s advantages and differences which will explain my ideas more comprehensively. After the client’s final decision, I will improve my design to the complete one.

Avant restaurant is a fine-dining restaurant and has become famous in China. During the whole process, I think I am not only the branding designer to design a modern and elegant branding identity including logo and some applications, but also I created a unique experience to lead customers to feel a journey after they finish the meals. The owners of the avant are young Chinese who studied in different countries. They combine techniques from different regions of the world with local ingredients and traditional Chinese food. Their cuisine is related to city memory. Thus, I designed the menu like a passport. When customers finish one dish, they can get a ticket based on dish content and city memory. After they finish all the dishes, it seems like they enjoyed a global journey. For their social content, I created an online event for customers to vote for which is their favorite city they want to travel to. I designed layout templates，content banners by combining the traveling season and limiting ingredients. I set some topics such as lost in Bangkok for summer limitations. Due to the covid-19, traveling is limited and this idea worked successfully to appeal to customers. My clients were happy to work with me because I made the extra value for them. For myself, this freelance experience brings an amazing experience becauseI firstly lead the design direction by myself. I designed a visual system to tell a story about a journey and travel.

Tadanori Yokoo. His graphic design works are full of ukiyo-e collages, interweaving of psychedelic techniques and depictions and indictments of the consumerist society of Japan and the United States at the time. The mashup of visuals and texts makes them seem alive and tastefully grotesque.

I grew up in China and live in New York now. Chinese culture, such as Taoism's concept of nothingness, can be seen in my design works. There are also some Chinese calligraphy that have more or less influenced typography. I fuse my Eastern background with the Western lifestyle to create unique designs that speak to and attract people from around the world.

For now, I have a full time job in New York and I accept freelance by myself. When I am in the office, co-workers respect each other. We always communicate in our spare time to make the projects better. For me, the most important point in work culture is communication. If a designer has good communication skills, he/she will be a good listener with an empathic soul on the team. The whole team can leverage the same goal and they can co-exist.

I believe that design is a job with skills and prices. I am not a fan of pro bono projects actually. With formal relationships as a client/designer is an important anchor for me to create design works. I would be more than happy to be a mentor to young designers sharing my experience with them. I am sure that with more and more good designers participating this industry will definitely make our society better and better.

I really appreciate how A’ Design Award makes this community flourishing way more than before. By participating in this whole process, I have an opportunity to know designers from different corners of the world. Moreover, learning about their advantages and disadvantages to improve my skills and mindset as a designer. This platform brings people together, thanks a lot!

For me, I care about story-telling and design systems. I tend to create unique stories behind design works and a balance based on the information I receive. Moreover, the design system is another key point for me to weigh designs.

I plan to share this new on my social website so that I can meet more talented designers who I can learn from. I am still on the way to explore my possibilities.

Four days.

The owners of the avant are young Chinese who studied in different countries. They combine techniques from different regions of the world with local ingredients and traditional Chinese food. Their cuisine is related to city memory. Thus, I created a unique experience to lead customers to feel a journey after they finish the meals.

I intent to produce my work by myself.

With discussion with the client, the client’s products are neo-Chinese style. I feel it is a novel challenge for me. How to tell their stories and control the balance motivated me to accept this offer.

The clients offered me some photos.

The target audience is the young generation who enjoy food and travel in China.

There is a unique story behind the brand. The story is related to the client and each product. The design has its own powerful voice.

Actually, the client gave me serval plans. After discussion, we decided to use avant as the name, which including neo-Chinese cuisine and characteristic of the target audience.

Illustrator, Indesign and Photoshop are the most important tools for me.

I think I am not only the branding designer to design a modern and elegant branding identity including logo and some applications, but also I created a unique experience to lead customers to feel a journey after they finish the meals. I hope my work can create a connection with the audience or create a world for them to experience. My designs allow the audience to be involved with amazing moments under a logical design system and clear elements.

I worked on this design by myself.

Technology is a kind of resource. To truly enjoy this resource, we must materialize technology into concrete real products, and design is the bridge of technology materialization and commercialization, that is, various technologies must be transformed through the comprehensive utilization of design. Meet people's needs and be accepted by society.

Yes, sometimes. As a practitioner engaged in the design industry, I collect a lot of materials before starting a project. Not only can I collect a lot of excellent works, but also cultivate the ability to appreciate art, and in the process of collecting, inspiration will continue to emerge.

The client and I had different opinions about branding style and name. He can’t ensure the point of view. I felt I had a responsibility to gain clarity about the core concept . I asked him impression about his cuisine and the mood he liked. And I designed three totally distinctive topics with references for him. I analyzed the advantages and weaknesses of three plans and listened to him to help him find a favorite one. Based on his decision, I created the darkroom-themed. For me, the designers should be the partner of the client and teammates. Making the balancing on every project is tough. I am willing to make my audience catch amazing moments of designs and enjoy the moment to be a part of lovely projects.

I want to share my work widely and to communicate with professional designer, which can help me improve my works in next steps.

Communication skills. If a designer has good communication skills, he/she will be a good listener with an empathic soul on the team. The whole team can leverage the same goal and they can co-exist.

I like to read books that make me realize the layout in the beginning. With more understanding and gradual interests, I decided to be a graphic designer.

I choose to become a designer.

Brand design work. My work can create a connection with the audience or create an environment for them to experience. The branding system allows them to be involved with impactful moments under a solid design system and clear elements. Meanwhile, it would be a precious experience to update my skills.

Be bold. Be active. The design process is a journey for designers to learn, grow and build their own style. Sometimes it might be boring, but designers will gain critical thinking and professional skills.

To me, good design and great design both bear a nice look with a particular aesthetic. But great design is distinguished from good design by better problem solving results.

For me, I care about story-telling and design systems. I tend to create unique stories behind design works and a balance based on the information I receive. Moreover, the design system is another key point for me to weigh designs.

Good design is not a work of art, users need to get a certain value, such as beauty, utility or pleasure. At the same time, good design will maximize the benefits of both parties at the commercial level.

Generally, I prefer to work with clients from the fashion industry on their branding identity projects. Besides, I would like to challenge myself with different clients because I want to see where my next step is.

Collaborate with some writers on their book designs.

I pay more attention to a system cohesively connecting everything from beginning to end, and more extra elements to tell a story to the target audience.

I get more influenced by Japanese designers such as Takashi Kono and Tadanori Yokoo.

MUJI, as an example.eIts brand represents a minimalist concept. When the audience goes to their stores with structural space zones, they literally feel a minimalist lifestyle with each of its elements to send one message. Transparent stationery, natural millwork, solid colors, and soft textile always maintains the brand purity from any evidence of living. It seems the audience is experiencing the real world created by MUJI. I hope my design work can apply minimalist philosophy that creates a connection with the audience and allow them to find amazing moments with a logical design system and clear elements.

I like the Avant restaurant branding project. It is a fine-dining restaurant and has become famous in China. During the whole process, I think I am not only the branding designer to design a modern and elegant branding identity including logo and some applications, but also I created a unique experience to lead customers to feel a journey after they finish the meals.

Stick with your dreams and passion, and keep practicing your design skills. In the process of time, pay attention to the collection of preliminary data. As a practitioner engaged in the design industry, I collect a lot of materials before starting a project. Not only can I collect a lot of excellent works, but also cultivate the ability to appreciate art, and in the process of collecting, inspiration will continue to emerge.

An exploring journey. Solving problems with the best suitable tools then generating idiosyncratic designs is an interesting and wonderful process.

Camille Chassagne. The excellent art director in Savvy studio. When I first took a job in NYC, she supported me a lot and taught me how to be a professional designer.

Enthusiasm and continuous practice. Reflect and innovate.

When I first came into the design industry, my works were only in pursuit of aesthetics and lacked the inherent storytelling and point of view. In a process of continuous training, I keep improving my design skills and works, hopefully to convey a more powerful voice.

Choose the most suitable display avenues and tools. Be highly familiar with the details in the presentation. It is necessary to empathize with the understanding of the audience.

I will help one of my good friends to launch a motorcycle accessories brand, which is from Japan with a very zen and craftsmanship oriented brand spirit. I am very excited about this upcoming project because it contains all of my favorite elements in one place. Can’t wait to see it come to life!

I want to keep exploring and broaden my vision. I feel there is no ultimate goal for me because every designer will keep challenging themselves and find a novel area.

Not only handing in an answer sheet that meets expectations, but also unexpected surprises and added value.

Design is the act of capturing the essence of a problem and bringing harmony and order to it. Some social issues are beyond the government's capacity, and designers need to pay attention to these issues with fraternity. Not only the design process, but also the recombination of various resources through these design schemes to rebuild the relationship between people.

Currently, I am working on a Chinese fashion brand. The client’s products are neo-Chinese style. I help them build an identity that brings an innate sense of ancient and modern Chinese style to daily life. We aim to offer an evolution of Chinese culture. This project is a new challenge for me.

I like the Avant restaurant branding project. It is a fine-dining restaurant and has become famous in China. During the whole process, I think I am not only the branding designer to design a modern and elegant branding identity including logo and some applications, but also I created a unique experience to lead customers to feel a journey after they finish the meals.

More social creative design works. The problems to be solved by social innovation are broader and require more time to implement, and solve the problems of most people. I would like to see more designers incorporating this point to their design works.

From material product design to spiritual service design. Enhance the experience while maintaining the aesthetic sense. Physical design transforms into virtual design.

It depends on the projects. Some small projects such as posters need two days. Some more complicated branding works might take two months.

Usually, I spend more time discussing the core brief to make a sketch or a moodboard to communicate with the client. When I find a general outline, I will design Multiple directions to explore widely. Then discuss with the team to find the proper one, and come up with more detail to support the core idea and apply it to wide range communications design.

Design is the act of capturing the essence of a problem and bringing harmony and order to it.

This changes frequently. When a trend starts, acceptable designers will follow the trend, maybe they will succeed and break through and lead the next trend. Or some other designers who stick to their own style will bring a brand new trend.

Technology is a kind of resource. To truly enjoy this resource, we must materialize technology into concrete real products, and design is the bridge of technology materialization and commercialization, that is, various technologies must be transformed through the comprehensive utilization of design. Meet people's needs and be accepted by society.

Illustrator, Indesign and Photoshop are the most important tools for me. If there are some new trends or knowledge that could enhance my works, I am always open and willing to learn.

A full understanding of these three aspects is indispensable, and it is the basic knowledge that designers must master. To a certain extent, the mastery of design colors, styles, materials and the use of ambient can reflect a designer's aesthetic taste and professional skills.

37. What do you wish people to ask about your design?
The concepts behind designs, and share their own thoughts with me. I love to see how people react to my designs to compare with my original intentions.

Want to explore the design thinking behind these works and reflect on my own work.

Huei Tai Chen, he is a good designer who has the same aesthetic as me and helps me a lot.
I think co-design will bring more creative thinking and make the project more effective.

My friends and co-workers. They are nice enough to share their opinions to help me to evaluate my works.

A Japanese magazine called Idea. I can learn distinctive styles and professional opinions that can help me improve my work.

Continuously learn and summarize. As each work progresses, I will reflect on myself or discuss with others to optimize the work. When I'm not working, I also read and observe life for inspiration.

Tadanori Yokoo. His graphic design works are full of ukiyo-e collages, interweaving of psychedelic techniques and depictions and indictments of the consumerist society of Japan and the United States at the time. The mashup of visuals and texts makes them seem alive and tastefully grotesque.

When I first started participating, I felt hard. Once I am familiar with the process, I find it easier.

Black, Tokyo, meat, summer/fall, paper and Lemaire.

I used Microsoft Word to do stationery layout design based on the client's needs.

I like graphic design with passion and I enjoy the process when I explore more possibilities in my works.

Actually not. I thought I would be a retailer.

Technology is getting increasingly advanced, and everyone's vacation may be spent on an alien planet.

My style always varies with the client's needs. But I am trying to maintain a timeless and elegant style that is cosmopolitan, sophisticated and rich in influence. Every project is accented over time. I care about story-telling and systems in my design work. I am still trying to find a unique story and making a balance based on the information that clients provide. For my personal design style, the logical system with a story is the key point of my design. I hope my work can create a connection with the audience or create a world for them to experience.

Jiawei’s career aroused to a revolutionary level due to her influential voice as a top artist upon the awards and the recognition she has earned from internationally and nationally acclaimed competitions such as GDUSA, NOVUM Design Award, MUSE Creative Award, C2A Creative Communication Award, and International Design Award.

An exploring journey. Solving problems with the best suitable tools then generating idiosyncratic designs is an interesting and wonderful process.

Branding design and book design. For branding design, it allows designers to use skills to tell a story and build an invisible architecture in the graphic design field. For book design, the printed materials such as paper or other unique techniques are experimental methods . I really enjoy seeing how talented designers create a wonderful book but with reasonable typography.

MUJI, as an example.eIts brand represents a minimalist concept. When the audience goes to their stores with structural space zones, they literally feel a minimalist lifestyle with each of its elements to send one message. Transparent stationery, natural millwork, solid colors, and soft textile always maintains the brand purity from any evidence of living. It seems the audience is experiencing the real world created by MUJI. I hope my design work can apply minimalist philosophy that creates a connection with the audience and allow them to find amazing moments with a logical design system and clear elements.

Usually, I spend more time discussing core ideas to create a series of sketches or a moodboard to communicate with the client. When I find a general framework, I will design Multiple directions to explore widely. Then discuss with the team to find the best suited one, and come up with more details to support the core idea and apply it to wider range communications design.

Paper. Paper’s texture offers a timeless and elegant style that is cosmopolitan, sophisticated and rich in influence.They are neutral, earthy with the muted shades. Design works with fit papers will build a sleek, and the allegory of the perfectly proportioned design system features a peaceful, self-assured life.

When I talk with other designers in different fields, I gain lots of inspiration. Their opinions will challenge my existing mindset, bringing more creativity and potential directions that I eager to explore.

Storytelling. There is always a story behind my projects. I apply my design skills to make the stories connect with visual design and make a connection with the audience. If there are some new skills that can elevate storytelling better, I am always open to learning and enjoying the creating process.

Excited and nervous. I enjoy the exploring process where I can see unexpected directions which is exciting. But after ensuring the final direction, I wish to execute it perfectly. Sometimes, I do worry whether I mess the projects up.

Happy and nervous. I am glad that the audience can appreciate my design works. People would feel happy if they are recognized. On the other hand, I will feel a little bit nervous about my design work. I worry about their perfection and next development.

A good design should have a system cohesively connecting everything from beginning to end, and more extra elements to tell a story to the target audience. Let audiences experience the amazing moments of designs.

For me, I care about story-telling and design systems. I tend to consider a unique story behind design works and a balance based on the information I receive. Moreover, the design system is another key point for me to weigh designs.

The designer's sense of social responsibility does not lie in solving problems in a direct way by reversing reality, but in indirect ways to change people's thinking and views, providing new insights, thereby transforming their own behaviors. This is an indirect, time consuming and role-to-sustainable social responsibility.

From material product design to spiritual service design. Enhance the experience while maintaining the aesthetic sense. Physical design transforms into virtual design.

My Last exhibition was at the New York Art Expo. My art work was exhibited. For the next exhibition, I want to join some design fair and communicate with talented designers.

Life, movies and design websites. I like to observe my life and chat with people that can help me collect more interesting details about their experience. For movies, I could immerse experiences or stories that I’ve never experienced in real life. And for design websites, I could learn much more from professional designers’ critical thinking and their unique logical system that broaden my visions.

that is cosmopolitan, sophisticated and rich in influence. Every project is accented over time. I care about story-telling and systems in my design work. I am still trying to find a unique story and making a balance based on the information that clients provide. For my personal design style, the logical system with a story is the key point of my design.

I live in New York now. Chinese culture, such as Taoism's concept of nothingness affects me a lot. There are also some Chinese calligraphy that have more or less influenced typography. I fuse my Eastern background with the Western lifestyle to create unique designs that speak to and attract people from around the world.

I work with a senior art director now. Before we start a project, we will share our moodboards and discuss to find a proper solution. After we get the client’s approval, we will arrange work parts effectively.

Recognition and communication are important. The company should respect the professional's suggestions and communicate in time, which can help each other to create excellent works. Before companies ensure a designer to collaborate with, they should ensure the designer's style and logical thinking via interview. Not only consider the skills, but also the possibility of designers.

Usually, I spend more time discussing the core brief to make a sketch or a moodboard to communicate with the client. When I find a general outline, I will design Multiple directions to explore widely. Then discuss with the team to find the proper one, and come up with more detail to support the core idea and apply it to wide range communications design.

Bed, pillow, candle, vase and curtain.

An adventure. Usually, I get up to work and finish work at home. But sometimes having dinners with friends, good weather are unexpected gifts for a regular day.

Be bold. Be active. The design process is a journey for designers to learn, grow and build their own style. Sometimes it might be boring during the process, but designers will gain critical thinking and professional skills.

For a positive part, the designer can express themselves and critical thinking through design works. They can challenge themselves and make them more professional. For a negative hand, communicating with clients might be tough sometimes. The clients will change the designer's works. Finding a balance requires more effort.

Ensure the consistency in visual identity. Make the connection between storytelling with visual identity. Avoid unprofessional mistakes. Enjoy the creative process. Put emphasis on details.

Communications. If a designer has good communication skills, he/she will be the good listener and empathic soul of the team. The whole team can leverage the same goal and they can co-exist.

Illustrator, Indesign and Photoshop are the most important tools for me. Besides, I collect some inspirations from instagram, fashion magazines, novels and behance.

I set goals and prioritize them every week. Then I will set up action items based on these goals everyday to accomplish design tasks effectively.

It depends on the projects. Some small projects such as posters need two days. Some more complicated branding works might take two months. Also, it depends on the designer's skillsets.

The most frequently asked question to me is “why do you want to be a graphic designer”.

From my first job in NYC, I met an excellent art director in a design studio. She supported me a lot and taught me how to be a professional designer. When we collaborated on branding works, she respected my ideas and trusted me to finish the whole project. It was a good start for my career.

Some clients are my friends. Some people who worked in the fashion industry saw my website and wanted to collaborate with me.

Brand design. My works can create connections with the target audience or create a environment for them to experience. The branding systems allow them to be immersed with amazing moments under a cohesive design system and interesting elements. Meanwhile, it would be a precious experience to upgrade my skills.

I plan to join a creative studio that I can meet more talented designers who I can learn from. I am still on the way to explore my possibilities.

I develop my design by myself.

Currently, I am working on a Chinese fashion brand. The client’s products are neo-Chinese style. I help them build an identity that brings an innate sense of ancient and modern Chinese style to daily life. We aim to offer an evolution of Chinese culture. This project is a new challenge for me.

People contact me by emails. tilv7ljun5@gmail.com

Every material choice must first serve the story. I’m naturally curious about how different materials express emotion, and I often experiment with their tactile and visual qualities.For Meandre, the fragrance already carried a sense of nature, so it felt right to highlight craftsmanship and honesty through materiality. I studied various types of wood and stone to find the right balance — one that felt both raw and refined. Walnut offered warmth and longevity, while the stone-like texture grounded the concept with quiet strength.The harmony between these materials not only reflects sustainability but also deepens the emotional resonance of the design.

At the beginning, I wanted the fragrance to feel like a slow, meditative walk through the woods — something fluid and continuous. The word méandre naturally suggested movement, so I explored visual metaphors that could express it: winding paths, flowing rivers, scattered branches.Among these, the branch stood out as a symbol of memory — a trace of the journey itself. I used it as the inspiration for the cap, while the bottle’s body took on the tactile texture of riverbed stones. These two elements together became metaphors for the gentle rhythm of nature.Every detail in the design tells part of that wandering story, creating a sensory connection between landscape and emotion.

I started the project by sculpting the bottle prototype out of clay — something I had never done before. The challenge was to carve smooth, elegant curves that still felt natural and stone-like. My first attempts were very rough; it felt almost like playing with mud.Over time, I studied basic sculpting techniques to refine the form. The branch-inspired cap was another experiment: at first, I left the natural roughness of twigs, but later smoothed it out to improve touch and usability. Instead of replicating nature literally, I wanted to express its feeling through crafted precision.The process was one of constant iteration — learning to let the technical and artistic sides inform each other until they reached harmony.

From the very beginning, I conducted small-scale interviews with friends, designers, and potential users to understand what “walking through the forest” meant to them. Their responses went far beyond trees — they mentioned the sound of flowing water, fallen acorns, stones by the path.Those sensory references inspired me to translate not only the visuals but also the gestures and emotions of wandering. The idea of collecting small fragments from nature became central to the design.Rather than adopting every piece of feedback, I carefully curated the insights that aligned with the story. The result is a design that feels both personal and universal — built from shared memories and sensory cues.

The woody notes of the fragrance established a calm and organic tone from the start. I wanted the colors to feel soft, balanced, and quietly confident — much like nature itself.I also studied the lifestyle and aesthetic preferences of the fragrance’s intended audience: cultured, introspective individuals who value subtle sophistication over ostentation. This research helped me refine the color harmony across the materials — from the bottle and cap to the packaging card.The sense of refinement doesn’t come from one color alone, but from how every tone and texture transitions naturally into the next, creating a holistic and elegant atmosphere.

The information card was designed to be more than just a product insert — it’s an extension of the story.Visually, I kept the typography minimal and airy to evoke a sense of breathing space. The imagery features a quiet corner of the forest, reinforcing the theme through visual poetry rather than description.Materiality was also important: I chose heavy-weight textured paper to create tactile depth, so that the moment of holding and reading the card would echo the tranquility of the forest itself.

Three key insights came from this journey: 1. Storytelling is the essence of design. A compelling package is not about how “cool” it looks but about how coherently it tells its story. 2. Material research deepens meaning. Understanding how materials behave — visually, tactilely, symbolically — allows them to become storytellers themselves. 3. Packaging is interdisciplinary. It merges graphic design, industrial design, sculpture, and communication. This project taught me that packaging design is a synthesis of art and systems thinking.

I believe the future of luxury design will move away from the pursuit of status and toward human-centered storytelling.Luxury will no longer be defined solely by rarity or extravagance, but by authenticity, empathy, and craft. Sustainable materials will continue to play a key role — not as an aesthetic trend, but as a way to bring emotional honesty to design.Meandre reflects this transition: it’s not about showing opulence, but about evoking quiet connection through refined simplicity.

For me, every design element must serve storytelling. Beautiful visuals are essential, but true design goes beyond sight — it invites touch, rhythm, and emotion.In Meandre, I considered how each sensory layer could echo the same story: the texture of stone, the sound of a cap turning, the flow of opening and discovering. Each becomes a narrative moment within the experience.Multisensory design isn’t about overwhelming the senses — it’s about creating a system where every element, from sight to touch to pacing, works together to tell one cohesive story. That’s where emotional resonance begins.

The COVID-19 pandemic brought an unforeseen relevance to Avant’s branding. With international travel restricted, people craved a sense of adventure and connection to the world. The passport-style menu and personalized tickets became much more than design elements—they offered diners a metaphorical escape, a way to “travel” through flavors and stories without leaving their city.This context pushed us to lean even more into the storytelling aspect of the brand. Seasonal banners and layout templates were updated to reflect the “journeys” diners could take through Avant’s dishes, emphasizing unique ingredients and cultural inspirations.The pandemic highlighted the importance of creating meaningful, immersive experiences in challenging times. Avant’s branding offered a sense of hope and nostalgia, reminding people of the joys of exploration. It also inspired us to incorporate local pride, celebrating Shenzhen’s culinary heritage while maintaining a global outlook.

The research process for Avant’s brand identity was deeply collaborative, involving multiple rounds of user interviews and workshops with both the restaurant's founders and potential customers. These interactions provided invaluable insights into what diners sought in a fine-dining experience, particularly one rooted in cultural storytelling.Through workshops with the founders, we explored their personal journeys and the stories behind their dishes. This helped identify the concept of a “culinary journey” as the foundation for the brand. User interviews, on the other hand, revealed that diners valued emotional connections in their dining experiences. Many expressed how meaningful it would be to feel as if they were “traveling” through the meal, especially during a time when actual travel was limited.These findings directly shaped key design decisions. For instance, the passport-inspired menu emerged as a way to tie the dining journey into a physical, tactile experience. Similarly, the personalized ticket idea came from the desire to leave customers with a lasting memory of their “trip,” inspired by feedback that diners enjoyed taking home unique, tangible mementos.Ultimately, these interactions ensured that every design element was meaningful, not just visually appealing.

The visual system for Avant was inspired by the duality of its concept: blending the founders’ global culinary techniques with the authenticity of local Chinese ingredients. To represent this cultural fusion, we focused on creating a balance between modernity and tradition in the design elements.The key starting point was the founders’ overseas experiences, which inspired the use of travel-related motifs, such as the passport-inspired menu and ticket design. These elements symbolize global exploration and discovery. At the same time, we incorporated subtle nods to traditional Chinese aesthetics, such as minimalist brushstroke patterns and earthy tones reminiscent of Chinese landscapes, to honor the local roots.Typography also played a crucial role. We selected clean, modern fonts to reflect the global, contemporary aspect of the restaurant while pairing them with custom icons inspired by traditional Chinese culinary tools and symbols. These icons brought a sense of familiarity and warmth to the design, tying the international concept back to the local context.The color palette, primarily featuring deep blues and red, was chosen to evoke both sophistication and the essence of travel, reminiscent of passport stamps and tickets.Together, these elements created a cohesive system that celebrated the harmony of global and local influences, making the dining experience at Avant truly unique.

In an oversaturated restaurant market, emotional connection becomes a key differentiator. For Avant, I approached this challenge by centering the brand identity on storytelling, ensuring every visual element resonated with diners on a personal and memorable level.The “journey” concept was our guiding principle, inspired by the founders’ own global experiences and the idea of taking diners on a culinary adventure. The passport-inspired menu and personalized tickets turned the dining experience into a narrative, where each dish told a story tied to its cultural or geographical inspiration. This narrative was reinforced visually through the choice of icons, typography, and design motifs that reflected both global and local influences.I also focused on creating a tactile, multi-sensory experience. From the texture of the menus to the keepsake tickets, every element was designed to evoke emotion and leave a lasting impression. By crafting a cohesive narrative through visual storytelling, Avant was able to stand out not only as a restaurant but as a brand that invited customers to become part of its story.

The customized tickets were designed as the perfect culmination of Avant’s “journey” concept—a tangible memory of the culinary adventure diners experienced. The process of creating these keepsakes began with the inspiration behind each dish. Working closely with the chefs, we explored the cultural, historical, or personal stories that informed the recipes.Once the narrative was clear, I translated these inspirations into visual elements, starting with location-based motifs—such as iconic landmarks, local flora, or regional patterns. For example, a dish inspired by Italy might feature subtle depictions of Tuscan landscapes or traditional tile designs. These visuals were paired with custom typography and color schemes that complemented the dish’s story.The tickets were further personalized by incorporating elements like the guest’s name or a unique quote from the chef, making each one feel special. By combining storytelling with thoughtful design, the tickets became not just mementos, but meaningful extensions of the Avant experience.

Selecting the color palette for Avant was a meticulous process aimed at balancing modern sophistication with youthful innovation. The goal was to ensure the palette worked seamlessly across various media—digital screens, print materials, and physical spaces—while staying true to the brand’s core identity.The primary colors included deep navy and vibrant red, chosen for their contrasting yet complementary qualities. Deep navy symbolized the modern, refined, and luxurious aspects of the brand, while vibrant red injected a sense of energy, innovation, and youthfulness. These colors together reflected Avant’s unique ability to blend timeless elegance with forward-thinking creativity.To ensure consistency across RGB, CMYK, and Pantone systems, extensive testing was conducted to align colors across different mediums and lighting conditions. This was particularly crucial for personalized elements like tickets and menus, where color accuracy directly impacted the brand’s premium feel. The result was a cohesive palette that maintained its depth and vibrancy, leaving a lasting impression whether experienced digitally or through tactile print materials.

The seasonal menu templates for Avant were designed with flexibility in mind, ensuring they could adapt to new ingredients and dishes while maintaining the brand’s cohesive identity. The key was to create a modular system rooted in the overarching "journey" concept.Each template began with a consistent framework, including key typographic styles, layout grids, and signature design elements like the passport-inspired cover. This ensured visual consistency across all iterations. Seasonal changes were introduced through accent colors, dynamic icons, and patterns that reflected the ingredients and inspirations of the season. For example, a spring menu might feature soft greens and floral motifs, while an autumn menu could incorporate earthy tones and leaf-inspired patterns.This approach allowed the brand to evolve with the seasons while staying true to its identity. The flexibility of the templates also streamlined updates, ensuring efficiency without sacrificing creativity or detail.

Receiving the Bronze A' Design Award was both an honor and a validation of the immersive storytelling approach we adopted for Avant. This recognition reinforced the importance of designing not just visuals, but experiences that resonate deeply with customers on an emotional level.The recognition highlighted how thoughtful, narrative-driven branding can transform a restaurant into more than just a dining space—it becomes a platform for connection and exploration. This has inspired me to push the boundaries of experiential design further, finding new ways to engage customers through every touchpoint.This recognition also underscored the value of collaboration. Working closely with the chefs, owners, and motion teams allowed us to create a brand that truly reflected Avant’s vision. Moving forward, I’m more committed than ever to crafting immersive brand experiences that blend creativity with cultural and emotional depth.

Avant’s success demonstrates how storytelling and cultural fusion can redefine the dining experience. I see its approach inspiring future restaurant branding that prioritizes emotional engagement and personalization.For example, Avant’s passport-style menus and personalized tickets show how creating participatory narratives can deepen customer connections.Future strategies could incorporate more interactive elements, like augmented reality experiences, to let diners explore the origins of their dishes or connect with chefs’ creative processes.Additionally, Avant’s adaptability highlights the importance of modular design systems that allow for constant refreshes while maintaining brand cohesion. By blending cultural heritage with innovation, Avant sets a benchmark for turning dining into an unforgettable, immersive experience.