Focusing on Graphic Design to Communicate Effectively

YanagimotoNorihiko Terayama and Shunsuke Umiyama, whom I interviewed for my OPENERS series "How to see design," were influenced by "droog design" from the 2000s. They say that encountering "droog design" (a Dutch design collective founded in 1993, which produced leading Dutch product designers such as Richard Hutten, Marcel Wanders, and Hella Jongerius, and has since led the Dutch design scene) sparked their awareness of becoming designers. First, Kumagai-san, who is of the same generation, could you tell us what influenced you as a designer?

KumagaiWhile I was aware of "droog design," I wasn't particularly influenced by them. The creator who made an impact on me was "ora-ito" (around 2000, they began creating product and advertising designs for companies and publishing them online, evolving virtual designs into actual projects and garnering significant attention. "ora-ito," which started as a personal project, has now grown into a design office based in Paris). It was around the time "ora-ito" was creating designs for companies without permission and publishing them online. I followed it closely in real-time back then. I was shocked to see that this kind of work could be made known to the world and also be commercially viable.

YanagimotoI see. Indeed, you're not a pure product designer, are you? You have a stronger graphic approach.

KumagaiI studied architecture and interior design at school, but when it came to presentations, I needed boards and materials. To communicate effectively to people, I started focusing on graphic design. As I did that, I became increasingly interested in the world of graphics. The sheer volume of work is also much greater (laughs).

YanagimotoSo, you pursued practical skills like "winning competitions," and as a result, you ended up doing graphic design work. Was there a shift in your mindset that led you to approach three-dimensional forms again?

18th Installment: Interview with Akihiro Kumagai (ALEKOLE) on "Product Thinking" (Part 2)

YanagimotoIn 2008, you unveiled the Olympus camera bag (CBG-2) at "DESIGN TIDE." Could you tell us how that design project came about?

KumagaiThe year before, at "DESIGN TIDE 2007," there was an Olympus camera promotion exhibition held very close to where I was exhibiting. I happened to visit it. That's where I met the person who would later be in charge of the camera bag. Later, as part of a project to design accessories for Olympus, the topic of "not having a good camera bag" came up, and I proposed a camera bag. It was a series of coincidences... it started with a casual conversation.



YanagimotoThat must also be a testament to your communication skills, Kumagai-san. Being able to turn chance encounters into opportunities. The "OLYMPUS CAMERA BAG / CBG-2" has been well-received, even by older demographics, I hear.

KumagaiThe brief was "simple, unisex, and functionality befitting a camera manufacturer." At the time, I noticed that people often don't take their cameras out of their bags after returning home and keep them stored there. So, I designed it with a cylindrical form that could stand on its own, allowing lenses to be removed from the top for quick shooting. The positive reception from older users seems to be partly because it "resembles a bento box" (laughs).

YanagimotoA bento box... (laughs). It makes sense that people who pursue photography (like with DSLRs) as a "hobby" tend to be older, considering the cost of equipment. It must have resonated with those who approach photography with a "more than amateur, less than professional" mindset. By the way, you also have a more artistic piece (SPACE DEBRIS) that uses "carbon" as a motif. Could you tell us about that?

KumagaiA company that handles carbon sheets approached me asking, "Can we do something with the offcuts?" Even with carbon, offcuts don't come with quality guarantees. So, I created mobiles that utilized its lightweight and tensile strength. Currently, the size isn't fixed, and I personally want to engage more deeply with the material.



In the next installment, we will explore "Why Kumagai became a designer without seeking employment" and "Where the origins of his communication skills lie." Please look forward to it.