MAHO SEKIZUKA

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer MAHO SEKIZUKA ("MS") 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?

MS : I’m based in Sanjo City, Niigata Prefecture, where I explore adventurous expressions that combine design with specialized printing techniques. My design journey began at a night technical school in Tokyo. By day I worked, and by night I quietly moved my hands. Within those limited hours, I faced materials directly, searching for the boundary between technique and sensibility. Today, I work at Prograf Co., Ltd., focusing on branding and poetic copywriting. Within the physical constraints of print, I continue to challenge how freely “sensation” can be expressed.

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

MS : To make the intangible tangible. I’m drawn to the act of translating emotions, memories, and atmospheres into paper and form. It feels like sending a quiet letter to someone’s heart.

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

MS : Rather than choosing it, I found myself on this path. I was captivated by materials and printing techniques— and before I knew it, they had become my language.

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

MS : I mainly work on branding, packaging, and copywriting—expressions rooted in print. In the future, I’d like to create tactile narratives that fuse printing, poetry, and space.

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

MS : More than mastering technique, they should hold onto questions. Why are you creating this? For whom? What do you want to leave behind? The depth of those questions defines the depth of the design.

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

MS : A good designer arranges beauty. A great designer stirs the senses. The ability to create emotional resonance—that’s the difference.

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

MS : Whether it leaves an echo. After seeing it, after touching it—does something linger in the heart? I sense its value in the silent reactions it evokes.

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

MS : Good design endures. It becomes memory, culture, and part of someone’s life. That’s why I see it not as an investment, but as a form of inheritance.

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

MS : If I had time, I’d create “touchable poetry” for emotions that defy words. Quiet works that gently reach into someone’s inner world.

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

MS : I begin by observing the background and the environment in which the design will live. Then I ask myself: *How should this design exist in the world?* I construct a scenario—who will encounter it, in what moment, and with what emotion. Words and forms emerge gradually, shaped by that imagined scene. Finally, I refine the space and rhythm, leaving subtle cues that gently stir the viewer’s feelings.

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

MS : To ask: *How should this design exist in the world?* I devote time to building a scenario, not only of how it will be used, but how it will exist. Once that foundation is clear, the form and language quietly rise to meet it. Design begins not with decoration, but with intention.

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

MS : Peter Saville, Shirō Kuramata, Rei Kawakubo, Yohji Yamamoto. Their works blend information and mystery in poetic ways, and challenge conventional beauty. I’m deeply moved by how they engage not just the eye, but memory and emotion.

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

MS : One of the designs that moved me most deeply is Peter Saville’s artwork for music releases. The waveform graphic for *Unknown Pleasures* transforms scientific data into poetry—quietly visualizing the emotional depth and solitude of the music. The floppy disk–shaped sleeve for *Blue Monday* features color stripes that correspond to letters; when decoded, they reveal the title and catalog number—a playful fusion of visual design and hidden structure. This interplay of information and mystery evokes a poetic tension—where visual clarity meets conceptual play. In product design, I resonate deeply with Shirō Kuramata’s *Miss Blanche* and *Cabinet de Curiosités*. Roses and memories are suspended in acrylic, creating a sense of floating between dream and reality. His work carries both fragility and quiet tension—teaching me the beauty of leaving behind what cannot be fully expressed in words. And the asymmetrical, black-based garments by Rei Kawakubo and Yohji Yamamoto. Their 1980s collections—known as the “shock of black”—embraced imperfection over perfection, challenging Western ideals of beauty. Through shadowed fabric and deconstruction, their designs invite introspection—offering new perspectives each time they’re worn. What these works share is the power to reveal the invisible—and a reverence for emptiness. They don’t over-explain; instead, they pose quiet questions, leaving space for the viewer’s own interpretation. That’s where I feel the deepest resonance. In my own work, I continue to explore these principles—poetic emptiness and structural play—as the foundation for new forms of expression.

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

MS : My greatest design is the *Utsuroi* sake packaging. It expresses emotional and seasonal transitions through material and space. It quietly resonates with the viewer’s own memories.

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

MS : Cultivating the ability to truly see. No matter the environment, sensitivity to beauty and subtle discomfort is the foundation of design. In Tokyo, amidst the rapid pace and constant stimulation, I was drawn to fleeting moments of stillness. The flow of people, the reflection of light, the unconscious choices of color and form—within these fragments, I sensed the seeds of stories. In Niigata, I find inspiration in the transitions of nature, the presence of seasons, and the culture rooted in the land. Touching the layers of time and traces of human activity in quiet landscapes deepens my design perspective. Even when the surroundings change, the ability to see can continue to grow. That, I believe, is the first step toward becoming a better designer.

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

MS : I might have become a washi paper artisan—or a manga artist. As a washi maker, I’m drawn to the quiet dialogue with natural materials—working in rhythm with the seasons, humidity, and the sensitivity of the hands. There’s a beauty in the layering of fibers and the way light passes through them, as if time and memory are woven into the paper. As a manga artist, I’m fascinated by the interplay of words and images—how subtle emotions and atmospheric shifts can be told through visual storytelling. The silence between panels, the pause between lines—these spaces speak gently to the reader’s heart. Both paths share a common thread with design: the desire to give form to the invisible.

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

MS : Design is the act of shaping forms that touch the heart. Beyond function or beauty, it resonates with memory and feeling. To me, design is a quiet poem.

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

MS : The team at Prograf, and my family who quietly watched over me. Even without words, their trust and presence gave me strength— like air that gently lifts you when you need it most.

DL: What helped you to become a great designer?

MS : Believing in emptiness. The courage to leave things unsaid, and to trust the viewer’s imagination. Also, noticing the quiet wonders hidden in everyday life.

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

MS : Age, being a woman, being a mother—and the environment I was in. These factors sometimes shaped how I was perceived, and what opportunities were offered. When I was younger, I was seen as inexperienced. As I grew older, people questioned my adaptability. Being a woman, and a mother, occasionally led to assumptions about how committed I could be to my work. But within these roles and circumstances, I believe I cultivated a deeper sensitivity—an ability to notice the unseen, and imagine the lives of others. Constraints can carry quiet strength. That strength is what anchors my design.

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

MS : Not by explaining everything, but by allowing the work to speak—through its texture, rhythm, and emotional resonance. A good presentation leaves space for the viewer’s own interpretation, like a poem with no fixed ending.

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

MS : I’m exploring the intersection of sound and tactile design—where ambient music and material textures coalesce to evoke memory and emotion. Expect something that doesn’t just speak to the eyes, but lingers in the senses.

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

MS : To create something that transcends age, gender, and era—something that quietly touches the heart. Design that becomes part of someone’s emotional landscape and lives on, quietly.

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

MS : People may expect clarity. But I believe what’s more valuable is nuance—the ability to hold ambiguity, to offer beauty that doesn’t shout but whispers.

DL: How does design help create a better society?

MS : Design can help us reclaim sensitivity. It reminds us of values beyond efficiency— like the subtle irregularities of handcraft, or the texture that lingers in memory. By drawing attention to these quiet details, design enriches our relationships—with objects, and with each other. It also gently encourages the user forward, becoming a bridge that connects people across roles, backgrounds, and perspectives.

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

MS : I’m exploring a project that blends ambient music, design, and print— a way to reimagine how we experience sound and perceive time. Like music dissolving into space, I hope to create a sensory dialogue between sound, sight, and touch.

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

MS : Utsuroi Sake Packaging. Because it allowed me to express the beauty of impermanence—how design can hold time, memory, and emotion in a single gesture. It’s a piece that continues to evolve with each person who encounters it.

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

MS : Less emphasis on speed and novelty. More attention to emotional depth, cultural sensitivity, and the quiet power of restraint. I hope the industry embraces slowness as a form of innovation.

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

MS : Toward integration—where disciplines blur, and design becomes a bridge between emotion, technology, and tradition. I see a future where design is less about objects, and more about experiences that resonate across time.

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

MS : It depends on how long it takes to feel quietly right. Sometimes it’s quick, sometimes it lingers. I don’t measure by hours—I measure by emotional clarity.

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

MS : I begin by asking questions. Who is this for? What emotion do I want to evoke? Design starts by gently lifting the unspoken desires and subtle discomforts beneath the surface.

DL: What is your life motto as a designer?

MS : To create something that speaks without explanation. I trust in the quiet power of design that reaches people through feeling, not words.

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

MS : True design exists outside of trends. It touches deeper layers of emotion and culture, and in doing so, quietly shapes new perspectives.

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

MS : Technology is a quiet enabler. Not the star, but the structure that supports poetic experiences and emotional resonance.

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

MS : I mainly use Adobe Illustrator and Photoshop. But hand sketches and material experiments are just as essential— I move between digital and analog to expand my sensory range.

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

MS : Color creates atmosphere. Material evokes memory. Ambient presence becomes a pathway for emotion. Each element gently touches the viewer’s senses.

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

MS : I’d love to be asked, “What feeling did you put into this?” Beyond form and function, I hope people look into the emotional background of the work.

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

MS : I wonder, “Why does this stay with me?” Rather than wanting to imitate, I want to understand the structure of its emotion and thought. Searching for the reason behind beauty is the beginning of learning.

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

MS : Someone who respects the space between intuitions. Co-design is a crossing of philosophies— It reveals landscapes that one person alone could never reach.

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

MS : Junya Kamata. He was the first to recognize my work at a packaging design contest in Hokkaido. At a time when I lacked confidence and clarity, he saw the emotion behind the form. More than being awarded, it was the feeling of being truly seen that shaped my path. That experience still guides me to create designs that quietly reach someone’s heart.

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

MS : *Don’t Design* by Satoshi Miyata. Its message is not about avoiding design, but about seeing it as a way to build relationships. He practiced branding and strategic thinking long before it became mainstream. His approach taught me that design is not just visual—it’s emotional intelligence in action.

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

MS : Through daily observation and honoring subtle discomforts. Attending night school while working during the day sharpened my sensitivity to everyday beauty. Technique is a tool—but emotion is the compass.

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

MS : Isamu Noguchi and Shirō Kuramata. Noguchi’s work lives between sculpture and space, light and shadow. Kuramata’s designs dissolve boundaries—between material and memory, function and feeling. I’d love to speak with them about the invisible structures of emotion, and how silence, softness, and ambiguity can shape the soul of a space.

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

MS : Recognition is a gift, but not the goal. I’m grateful for those who notice what’s quiet and unseen. Fame isn’t difficult—it’s just not what I seek. I value resonance over visibility.

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

MS : - **Color**: Sumi ink black - **Place**: Omotesando, Tokyo - **Food**: Spice curry and bánh mì - **Season**: Late autumn - **Object**: Handmade washi paper - **Brand**: Comme des Garçons, Yohji Yamamoto, Zucca

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

MS : At the Asia Design Prize ceremony, an architect at my table said, “There’s a story living inside this small package.” He shared how difficult it is to express emotion in architecture, and how surprised he was by the quiet depth of my work. Later, he asked me to design his business card— A moment where design bridged disciplines and created a quiet connection.

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

MS : A great day is when I feel the design has quietly reached someone’s heart. When someone says, “I just had to pick it up,” That gentle impulse becomes my motivation.

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

MS : Not at all. I struggled to express myself in words and relied on feeling. But that sensitivity to the unspeakable is what shaped my design today.

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

MS : I hope for a world where emotional memory is cherished. Even with advanced technology, the desire for texture and resonance will remain. A thousand years from now, I believe people will still find beauty in silence.

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

MS : My design is made not to speak too much. It leaves space for your own memories and emotions to enter. If you feel something— That means your story has appeared within it. In that moment, the design is complete.