Zilian(Joy) Li

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer Zilian(Joy) Li ("ZL") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

ZL : I entered the creative field through visual storytelling—studying photography at first, then moving into filmmaking to train my sense of rhythm and narrative structure. Later, I pursued an MBA in the U.S. to explore how design connects with business, technology, and culture. I didn’t follow a traditional academic path. My background is interdisciplinary, blending creative expression with system thinking and strategic problem-solving.

DL: What motivates you to design in general, why did you become a designer?

ZL : Design, for me, is a way to respond to reality. What truly motivates me is the satisfaction of solving problems—seeing chaos and bringing clarity, structure, and better possibilities through design. I became a designer because I believe design can improve human life. It helps make complexity more logical, and the world a little more humane.

DL: Did you choose to become a designer, or you were forced to become one?

ZL : I originally wanted to become a film director—but the film industry is slow, with long production cycles. Real life, on the other hand, demands faster expression and quicker feedback. So outside of filmmaking, I started using design to convey ideas, solve problems, and build systems. Design gave me a faster, more efficient way to engage with the world and create impact. So no, I wasn’t forced to become a designer—but reality and timing pushed me in that direction, and through practice, I realized this was the path that truly fits me.

DL: What do you design, what type of designs do you wish to design more of?

ZL : I don’t just design individual products—I build 0-to-1 systems. I love starting from brand positioning and moving through business strategy, visual identity, user experience, and execution. What excites me most is designing projects that span concept, structure, and launch as one integrated journey.

DL: What should young designers do to become a design legend like you?

ZL : Don’t rush to prove your talent. First, develop your ability to solve complex problems. Practice judgment, synthesis, and communication. Turn your expressive energy into structural power—and commit to long-term thinking. Go deep, not just wide.

DL: What distinguishes between a good designer and a great designer?

ZL : A good designer solves the brief. A great designer redefines the problem. That’s the difference—are you executing what's given, or are you reframing the question entirely?

DL: What makes a good design a really good design, how do you evaluate good design?

ZL : I define great design as something that genuinely solves a problem, communicates without explanation, and can be used, scaled, or extended over time. Aesthetics are valuable—but not the core.

DL: What is the value of good design? Why should everyone invest in good design?

ZL : Good design saves time, reduces friction, improves clarity, and builds trust. It’s not an add-on—it’s your operating system for interacting with the world. Investing in design means investing in efficiency and brand equity.

DL: What would you design and who would you design for if you had the time?

ZL : I’d design better information spaces for everyday people—so they don’t have to suffer from complexity, redundancy, or institutional chaos. For example: a more human immigration information system, or a platform that helps creatives make better career decisions. Not to build smarter tools—but to create gentler systems.

DL: What is the dream project you haven’t yet had time to realize?

ZL : My dream project is to build a platform for global Chinese creatives—not just a showcase space, but a structural support system. It would gather opportunities, projects, resources, and cultural expression. I don’t just want China to be seen—I want Chinese creatives to see each other, and cross boundaries together.

DL: What is your secret recipe of success in design, what is your secret ingredient?

ZL : My secret is simple: I treat creativity as structure. I don’t chase inspiration—I build reusable logic. Even the most complex project falls into place when the structure is sound.

DL: Who are some other design masters and legends you get inspired from?

ZL : I admire designers who express profound ideas with minimal language—like Sagi Haviv. He reminds me that a logo can be just a shape, and still carry the weight of an era.

DL: What are your favorite designs by other designers, why do you like them?

ZL : I love designs that transcend time—like architecture, typography, or old brand systems. What amazes me is how "they still speak, even after decades."

DL: What is your greatest design, which aspects of that design makes you think it is great?

ZL : My greatest design is the "Anti-Ordinary Incubator." It’s not a single piece—it’s an evolving system. What makes it great is that it’s not just about me—it creates a channel for many others to speak.

DL: How could people improve themselves to be better designers, what did you do?

ZL : See design as long-term structural thinking, not just short-term artistic output. I train daily in judgment, logic, language, and business sense—not just style or taste.

DL: If you hadn’t become a designer, what would you have done?

ZL : I might have been a film director. I’ve always had a strong sense of framing and storytelling. But that’s exactly why I chose design—it’s more efficient, with faster cycles and direct impact.

DL: How do you define design, what is design for you?

ZL : Design is the ability to turn chaos into order. It’s not just aesthetic—it’s a tool for reframing problems and mapping out pathways.

DL: Who helped you to reach these heights, who was your biggest supporter?

ZL : It wasn’t one person—it was a network of people who trusted me: partners, clients, friends. They gave me space to define not only the projects, but also myself.

DL: What helped you to become a great designer?

ZL : Not inspiration—but training. What I train daily is: information distillation, emotional framing, and structural thinking. These three are the core muscles of my design practice.

DL: What were the obstacles you faced before becoming a design master?

ZL : The biggest obstacle wasn’t resources—it was not being easily categorized. I work across fields, cultures, and languages. Sometimes people didn’t know where to place me. But then I realized: being undefined is a form of freedom.

DL: How do you think designers should present their work?

ZL : Don’t just showcase the visuals—present the solutions. Designers should clearly explain what problem they solved, what decisions they made, what strategies they used, and what impact it created.

DL: What’s your next design project, what should we expect from you in future?

ZL : My next major project is the continued evolution of the "Anti-Ordinary Incubator," a long-term initiative I founded to support Chinese creative professionals in building global paths. I’m currently designing its AI assistant (GlowPass), a global opportunity database, and a membership system aligned with visa strategies.

DL: What’s your ultimate goal as a designer?

ZL : My ultimate goal is to use design to build systems that help others succeed. Not just self-expression—but creating tools that enable possibility for others.

DL: What people expect from an esteemed designer such as yourself?

ZL : People expect me to bring direction, structure, and clarity—not just visuals. They look to me for systems and judgment, not just aesthetics.

DL: How does design help create a better society?

ZL : Design doesn’t just change surfaces—it reshapes processes, language, structure, and even access to power. It makes information fairer, experiences softer, and choices clearer. It gives people new ways to live.

DL: What are you currently working on that you are especially excited about?

ZL : I’m excited about the international upgrade of the "Anti-Ordinary Incubator." We’re integrating AI tools, membership systems, and a global opportunity database to turn "growth path" into a useful and humane system.

DL: Which design projects gave you the most satisfaction, why?

ZL : The projects that satisfy me most are the ones that change lives—helping someone get a visa, win an award, or find their direction. These aren’t flashy—they’re empowering.

DL: What would you like to see changed in design industry in the coming years?

ZL : I’d love to see less visual anxiety—and more discussion around structural solutions and cross-disciplinary collaboration. Designers should be strategic partners, not just stylists.

DL: Where do you think the design field is headed next?

ZL : Design is shifting toward system-building and AI collaboration. Future designers need to master storytelling and aesthetics, but also workflows, data, and tool logic. They’ll become information architects.

DL: How long does it take you to finalize a design project?

ZL : It depends on the structure. A 0-to-1 system design can take 3–6 months. For strategy and visual integration projects, it usually takes 4–8 weeks.

DL: When you have a new design project, where do you start?

ZL : I start with three questions: Who are you? Who are you talking to? What action do you want from them? If these aren’t clear, design doesn’t begin.

DL: What is your life motto as a designer?

ZL : Less is more.

DL: Do you think design sets the trends or trends set the designs?

ZL : Good design doesn’t follow trends—it sets them. Trends emerge when enough sharp decisions align.

DL: What is the role of technology when you design?

ZL : Technology is an amplifier. It can’t replace judgment—but it boosts speed and opens new directions. I use AI extensively, but I never let it decide for me.

DL: What kind of design software and equipment do you use in your work?

ZL : Figma, Adobe Suite, Notion, Runway, Midjourney, and ChatGPT. I’ve built a custom creative ecosystem around these tools.

DL: What is the role of the color, materials and ambient in design?

ZL : They’re emotional languages—they create first-glance trust. But without structure and logic, even the richest visuals become a cover-up.

DL: What do you wish people to ask about your design?

ZL : I wish they’d ask: “Why did you design it this way?” Not “How did you make it look so good?”

DL: When you see a new great design or product what comes into your mind?

ZL : I immediately break it down—structure, logic, intent. For me, good design isn’t for admiration—it’s for analysis.

DL: Who is your ideal design partner? Do you believe in co-design?

ZL : I believe in co-design—if we share language and goals. My ideal partner aligns with my values and isn’t afraid to challenge me.

DL: Which people you interacted had the most influence on your design?

ZL : The people who shaped me most weren’t designers—they were sharp thinkers from other fields. They taught me that design isn’t for insiders—it’s for dialogue.

DL: Which books you read had the most effect on your design?

ZL : “Invisible Cities,” “How to Read a Book,” “Designing Design,” “The Pyramid Principle.” These taught me structure, perspective, and articulation.

DL: How did you develop your skills as a master designer?

ZL : Not by doing more—but by deconstructing better. I analyze others’ work—and my own logic. The more I reflect, the more stable I become.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

ZL : If time and space were no limit, I’d love to have a deep conversation with Dilraba Dilmurat. I’ve admired her since 2008, long before she became a global star. I’ve watched her grow from someone unknown into an icon, and during many difficult, lonely nights, she gave me the courage to keep going. Whenever I felt like giving up or losing direction, I’d ask myself: what would Dilraba be doing right now? How would she handle this? She’s been a silent companion through countless hard moments—and proof that strength and grace can co-exist. Beyond her brilliance in acting, I’m curious how she preserves authenticity under overwhelming exposure—and how, as a woman of ethnic minority background, she holds space for cultural identity and expression in such a visible world.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

ZL : Awards are by-products of the process—not the purpose. I won’t be defined by recognition, but I know it gives me responsibility and voice.

DL: What is your favorite color, place, food, season, thing and brand?

ZL : Color: Forest green Place: LA coast Food: Spicy hotpot Season: Early summer Thing: Notebook Brand: Dyson

DL: Please tell us a little memoir, a funny thing you had experienced as a designer?

ZL : Once a client looked at my redesigned logo and asked, “Did you use AI for this?” I smiled and said, “No, I used my brain.”

DL: What makes your day great as a designer, how do you motivate yourself?

ZL : When a complex project starts to click and everything falls into place—that moment of clarity keeps me up all night in the best way.

DL: When you were a little child, was it obvious that you would become a great designer?

ZL : As a kid, I was always “fixing things”—manuals, menus, notebooks. I never planned to be a designer, but I had a natural intolerance for mess.

DL: What do you think about future; what do you see will happen in thousand years from now?

ZL : If humanity still exists, it’ll be because imagination survives. Design is a real-world extension of imagination—I hope it remains warm and respectful.

DL: Please tell us anything you wish your fans to know about you, your design and anything else?

ZL : I’m not designing my life—I’m using design to understand the world. If you ever feel lost, unseen, or slow—let’s build our own path, together.