Our creators ALL | 249 designers

Gao Yang, the founder of GY Design Studio, completed his studies in Germany and is currently a teacher at the Central Academy of Fine Arts.

As a designer and educator, he is committed to research on Chinese culture and bridging the gap between traditional and modern design. He strives to create high-quality products that educate users about traditional culture while meeting their needs as contemporary consumers.

Gao Yang has exhibited his original works in various exhibitions and competitions across the region. He is a recipient of the Maison&Objet Design Award China, Golden Pin Design Award, and the Loewe Foundation Craft Prize.

h220430 was established by prominent Japanese product designer and architect, Satoshi Itasaka, founder of architecture and interior design firm The Design Labo. The name h220430 comes from the date the brand was born – on April 30th Heisei 22 (Japan’s calendar denotation for 2010).

Focusing primarily on lighting and furniture, h220430 aims to design products that will provoke communication, and not only for their shapes. The brand would like their works to provide opportunities for people to ponder and act against the numerous impending worldly issues such as environmental deterioration and continuous conflicts all over the world.

Hacienda Crafts, a community based social enterprise, was established in 1994 to augment the incomes of the farm workers at a sugarcane plantation in Hacienda Santa Rosalia by providing opportunities to create products from natural materials. This was in response to the social and economic issues in Negros Island due to the Philippine sugar industry crisis of the 1980’s. What the land and economies of scale could no longer provide, entrepreneurs emerged to fill the gaps.

Armed with design skills and based in the hacienda, the opportunity soon became a business. Hacienda Crafts started with producing placemats, candle holders, and seasonal items for export, buying materials gathered and sourced locally. Eventually, it entered the home and interiors sector with lamps, furniture, and art pieces. From the initial group, Hacienda Crafts has since expanded its supply chain to other artisan individuals and groups all over the Philippines.

At Hacienda Crafts, traditional and utilitarian craft skills like basket making, fishnet weaving, and loom weaving are expertly incorporated to form creative contemporary and market-oriented design, intended to reflect the hacienda lifestyle as well as elevate and preserve cultural traditions and heritage craft. Hacienda Crafts items furnish homes, resorts, hotels and restaurants in the Philippines and abroad. Ninety percent of the artisans are women who work from home and are able to go about their lives while earning an additional income for their families.

Hai Sang Hong is a celebrated historical Hong Kong based family business established in 1973. Their iconic flagship store is located on the Dried Seafood and Tonic Food Street in Sai Ying Pun.

With the vision of "Food Culture and Culinary Arts” and dedicated in searching for high quality marine foodstuffs globally, Hai Sang Hong also provides famous recipes for clients to ensure they can make tasty and nutritious dishes for their families.

In order to ensure food safety, Hai Sang Hong insists on importing ingredients with international standardized packaging. Accredited under the "Quality Tourism Services" Scheme by Hong Kong Tourism Board for 20 consecutive years, longstanding corporate clients include Mandarin Oriental Hotels and Hong Kong Jockey Club.

Hans Tan is a designer and an educator based in Singapore. His work tiptoes on the boundaries between design, craft, and art. He believes that design not only helps us “do”, but it also helps us “understand”. His practice deploys design as a medium, making use of utility as a pretext for visual discourse, while maintaining a keen focus in developing materials and processes. The embedded narratives in his works comment on design and its industry as a phenomenon, especially in the contexts of heritage, consumption, and waste.

In 2009, Hans was spotted by Designnet Magazine South Korea as one of 36 Young Asian Designers and was also the winner of the Martell Rising Personalities Award 2009. He was awarded with the distinction of “Les Découvertes” (best innovative product) at the fall edition of Maison&Objet 2012 in Paris, and he is a two-time winner of Design of the Year at the President's Design Award, Singapore's highest design accolade. In 2018, Hans was honored with the Designer of the Year at the President's Design Award 2017/18 for the impact of his body of work and his contributions to the design community through education.

Hans’ works have been shown in exhibitions such as “Singletown” at the Venice Biennale, “Surface art/design” in Dortmund and Cologne, “No Boundaries” at ArtStage Singapore, and “Beauty” at the Cooper Hewitt Design Triennial, Smithsonian Design Museum New York, “Shifting Objectives” at M+ Museum, Hong Kong, and “Local Icons East/West” at MAXXI Museo, Rome. His works are held in private and corporate collections, as well as public permanent collections including the National Collection of Singapore, M+ Museum, Hong Kong, the Cooper Hewitt Smithsonian Design Museum, New York, and the National Museum of Ceramics Leeuwarden, Netherlands.

Hans has also actively engaged in curatorial work and has produced several exhibitions with a keen interest in the discursive capacity of design to engage public perceptions. He is an associate professor at the Division of Industrial Design, National University of Singapore, where he has received multiple teaching awards. His penchant for design pedagogy is guided by the concept of deformative inquiry. He has developed imaginative thinking tools that provide novel approaches to the design process based on generative deformations, use of language, and systematic reflection. He was placed on the honor roll in 2018 for being a three-time winner of the NUS Annual Teaching Excellence Award and received the Outstanding Educator Award in 2019.

A graduate from the China Central Academy of Fine Arts, Xiao Tianyu is committed to finding better ways to integrate local culture and his own aesthetic. He believes that collaborating with craftspeople is crucial for design because failing to consult craft heritage compromises the quality of the final product and how it is made. Molding his design ethos around "identifying and understanding" user needs, Xiao Tianyu's graduation furniture series, Harmony, demonstrates his signature style - combining local Chinese culture with a more contemporary design aesthetic.

Focusing on design of chairs, he spent hours researching different ways of sitting. Furniture from the Ming Dynasty era, for example, encourages one to sit upright in quite a regal manner, whilst slouching on a sofa is considered a more comfortable way of sitting. His Harmony series is a marriage between the two. In 2013, Harmony was collected by the M+ Museum in Hong Kong.

Xiao Tianyu's furniture series has received several awards and accolades, including the 4th Excellent Design Award for Sitting in 2009, the 2010 CAFA Creative Life Excellent Design Award, and the finalist award in the Creative Design category for the China Pavilion at Expo Milano, Italy in 2015.

Hazel Lim is a visual artist with a background in painting and employs text, crafting methods, and drawings in her artistic practice. In her current research on the Aesthetics of Care, crafting techniques such as needlework and paper craft are used to investigate the utility of diagrams, image making, and color theory, whilst at the same time, interrogating the relationship of craft to the domestic and feminine.

Hazel currently leads the BA(Hons) program in the McNally School of Fine Arts, LASALLE College of the Arts, and has taken part in exhibitions showcased in Singapore, Indonesia, Korea, Ireland, Germany, Austria, US, and Vietnam. Hazel was an Associate Artist with Substation, Singapore from 2004-2012 and is one of the artists commissioned for the Singapore Biennale 2013/2014 and showed her work entitled A Botanical and Wildlife Survey at the Singapore Peranakan Museum. She recently collaborated with her partner, Andreas Schlegel on a commissioned installation work, The Oort Cloud and the Blue Mountain for The Children Biennale 2019 in The National Gallery of Singapore and the Kinderbiënnale 2021 at Groninger Museum, Netherlands, and Staatliche Kunstsammlungen Dresden, Germany, and Singapore Art Museum: Tanjong Pagar Edition, 2022.

Hélène Le Chatelier studied Art in Paris at l’Ecole Nationale Supérieure des Arts Appliqués et des Métiers d’Art, Olivier de Serres, where she graduated in Fine Art Fresco painting with honors. Since her first exhibition in Paris right after her graduation, Hélène embraced various modes of expression (painting, sculpture, photography, video, installation, and writing).

Known for her ink bodyscapes and her works with paper-engaging writing and abstract landscapes, Hélène studies the influence of memory and social context on our intimate space. Her polymorphic practice explores the influence of displacement on the way we construct and deconstruct our identity, forced that we are to engage and to re-negotiate continuously with our individual and collective memory. It also questions our interconnected link with nature and the reciprocal influence between humans and their environment.

In this age of migration and globalization overwhelmed by a constant flow of data, where human relationships are caught between our irreconcilable needs for both security and freedom, Le Chatelier's work exposes the volatility, fragility, and the liquid aspect (elusive, leaking, escaping, unstable) of human bonds even with oneself as well as with nature. She questions the paradox between the incongruity of language and the need to label and define the untold, the unsaid, the not represented here, or the not represented yet. She talks about transition, movement, and transformation, highlighting the representation of our indeterminate and transitional state as a constant of our human condition.

Born in Belgium, following a career in international finance through Hong Kong and Beijing, Hilde started her journey into Chinese calligraphy and ink raising a simple question: would working with abstract symbols and characters, resonate, would an audience feel something, is it art?

Learning traditional calligraphy techniques and rules of composition from one of the last great Chinese Masters in Hong Kong, opened for her the door into 3,000 years of Chinese calligraphy and the oldest symbol system in the world, a magical space where painting is less valued than poems and calligraphy.

It is in the flow, energy, and empty space and quality of the brush strokes of the works of the traditional calligraphy masters that she finds her inspiration to reinterpret Chinese calligraphy and create unique contemporary interpretations of Chinese ink. For her, the magic happens in the space between technique and when she also breaks the rules, or what she calls “the technique of no technique” and emptiness.

Jewelry designer Huang Hong started painting at the age of five. She went to the affiliated high school of Beijing Academy of Arts and Crafts to receive professional painting training, before she went abroad to study jewelry design at the European Institute of Design in Italy.

During her studies in Italy, she was exposed to jewelry design directors and top European metalsmith masters from luxury brands including Cartier, Boucheron, Bulgari, De Beers, and Dolce & Gabbana. Not only did she learn about traditional European jewelry making craftsmanship and avant-garde design theories, but under the guidance and support of her teachers, she insisted on finding her own design language which was inspired by both Eastern and Western cultures. While still in university and led by former jewelry design director at Dolce & Gabbana, Huang interned at various companies in Europe, including French jewelry brand Reminiscence and wearable tech brand Garmin.

Upon returning to China, she apprenticed under contemporary jade carving master Qijing Qiu’s studio. Since then, she has focused on exploring oriental art jewelry, adhering to her original design intention. She often fuses gold jewelry with traditional jade elements to achieve the perfect marriage of classic Chinese craftsmanship and modern Western aesthetics. Her jewelry beautifully showcases traditional Chinese craft forms in unexpected and innovative designs.

Hyozaemon is a Japanese brand focusing on producing quality chopsticks, made from natural wood, and decorated with 100% natural lacquer. Each piece is dependable, safe, and stylish at the same time.

In addition to specializing in chopsticks, Hyozaemon also aims to educate consumers about the longstanding history and traditions around them. For instance, Japan is the only country in the world where there is differentiation in cutlery for men and women. Building upon traditional techniques, the brand is also dedicated towards keeping traditional crafts alive.

Hyozaemon received the Good Design Award in 2015. 

IKEUCHI ORGANIC is an organic textiles company, creating high-quality products with the utmost safety and minimal environmental burden. The company began as a towel factory in Imabari, Ehime in 1953 and has since evolved into a contemporary brand with a mission towards a sustainable future.

At the root of IKEUCHI ORGANIC manufacturing is human energy. All products are created as collaborations with partners, farmers growing organic cotton, and workers in the factories. The certified organic cotton used as a raw material has passed strict EU accreditation criteria involving review of the fields and the working conditions of producers. The dyeing process employs ozone bleaching and world class wastewater treatment facilities, with the whole process powered by wind generated green electricity.

IKEUCHI ORGANIC is dedicated towards creating a realistic, new organic style that is beautiful, unique, visionary, and has no environmental burden.

INJIA ART is a creative cultural brand that belongs to the Jingdezhen Yin Tong Cultural Development Company Limited founded in July 2016. The company has multiple cultural brands under its umbrella, and provides support in product design, research and development, production, visual merchandising, and sales and marketing to its brands to promote Jingdezhen’s thousand-year-old ceramics craftsmanship. By integrating the local customs of life in Jingdezhen into its products, the company aims to enhance the quality of life through culture and creativity.

The company’s distribution channels cover more than 600 bookstores, 34 airports, and 13 museums, cooperating with well-known enterprises, such as China Resources Group, Vanke Real Estate, Sogou, Rolls-Royce, Yantian Port Group, POP MART, Hangzhou City Investment, Palace Museum, Hebi Municipal Government, Yantian Minzong, and more, on customized cultural collaborations that are well recognized within the creative industry.

ipse ipsa ipsum celebrates the people behind the brand, the unique materials they present, and the craftsmanship they provide. The name, which means "for himself, for herself, for itself" in Latin, reflects a tapestry of individuals, artisans and designers who collaborate across various disciplines to create pieces that transform ordinary living spaces into extraordinary places. Together, they bring fine quality, sensibly-priced, semi-luxurious handcrafted pieces to meet the evolving needs and desires of their customers.

Each piece is intricately handcrafted by an artisan, using a fine balance of traditional techniques and contemporary twist. Traditional techniques such as hand etching, nickel plating, hand hammering, sword making, and iron mongery are rekindled to produce fine, innovative products. Glass mouth-blown into ornate shapes, leather immaculately stitched by hand, sand casting, and wax moulding molten metal, the artisans work with the unique characteristics of each material, transforming every piece into a work of art. No two pieces of furniture are perfectly identical, with variations in tone and details, which is precisely what makes handcrafted pieces distinctive and extraordinary.

ipse ipsa ipsum is an advocate for sustainability with an emphasis on reusing and recycling. Materials, like marble and cotton, are sourced from offcuts and waste from factories, while the bone inlay is made from the bones of cows slaughtered for meat or leather. The brand has a commitment to no plantation timber and instead gets the raw material by recycling old door and window frames. They are also committed to reusing and recycling packaging materials.

JAIIK LEE graduated from Hongik University in 2000, where he majored in metal art and design. He received his MA from the graduate school of the same university in 2005. He received his second MA in hammering work from the Rochester Institute of Technology in the USA in 2011.

Since 2001, JAIIK LEE has held six solo exhibitions and taken part in over 80 group exhibitions. He has been creating metal objects, modern art accessories, light fixtures, and installation works.

JAIIK LEE displayed his metal objects series, called “Transition”, for the first time in a group exhibition titled ‘Between Languages’ that he organized in 2019. The first piece of the series, “Transition I” is now owned by the National Museum of Modern and Contemporary Art. In the same year, he received the Top Craft Award at the Cheongju Craft Biennale, Award for Promising Talent at the Itami International Craft Exhibition, and Outstanding Artist Award at the Craft Trend Fair. His work is in the collection of the Victoria and Albert Museum.

JAIIK LEE is a Finalist for the 2023 LOEWE FOUNDATION Craft Prize.

An autodidact photographer, Jeryl's innocuous fascination with capturing the world through his lens in 2014 has since blossomed into a followership of over 74,000 people across the world. He has since grown from strength to strength, having accumulated a repertoire of international brands under his stewardship, of which includes Allen & Gledhill, Accor Hotels Chain, Adobe, Contiki, Clubmed, Samsung and Red Wing Shoes.

Jeryl has also given photography workshops with Apple and Jaguar and continues to enrich the lives of others through the art of crystallizing delicate moments into photographs that will last a lifetime.

Selected images from Jeryl’s portfolio are available as limited edition fine art prints. For more details, please contact cs@vermillionlifestyle.com.

JIA, a Taiwanese homeware brand, started its journey with handmade tableware. The brand is dedicated to delivering high-quality handmade products made using natural materials.

JIA, as a brand, is also an advocate for traditional practices and techniques. They deliver modern homeware products that are reminiscent of traditional Chinese designs. Collaborating with local artisans and international designers, JIA blends tradition with modernity.

Today, the award-winning brand has a presence in over 45 countries and has exhibited its products across the globe.

jianze is a home and lifestyle design focused brand. Born for the new Generation Z and their multi-faceted lifestyle, jianze advocates the attitude of ‘never defined’. jianze, like Gen Z which is where the brand’s pronunciation comes from, is not about age, but the mentality. Converging at the cross-section of design and beauty, the brand expresses both attitude and aesthetics for the new Chinese consumer.

jianze is founded by Bea Wu in 2019. Led by creative director and designer Min Chen, the brand redefines the ‘rules of space’, and challenges any traditional standards or limitations to home design. 

As part of its launch collection, Min Chen invited Dutch design collective Raw Color visual design in collaboration with jianze to create a high-saturation visual system using 0 as their spiritual motif, to pay tribute to Gen Zero - the undefined generation Z, and to echo the fundamental intentions of jianze for no rules, and no stress.

Jinno Neko graduated with a degree in Fashion Design from the Hong Kong Institute of Vocational Education. While studying, she became interested in Japanese art and culture. In 2007, she began to use paper-mâché as a medium, and the Japanese folk toy dog “Inu Hariko” as her inspiration to create Jinno dog, also known as “Jinno Inu” in different forms, while integrating bamboo crafting techniques into her creations.

Jinno Neko has showcased her works at several individual and joint exhibitions while collaborating with different art and commercial organizations. In 2011, she took part in Dispatchwork Worldwide organized by Berlin artist Jan Vornman to restore Hong Kong’s historical buildings with Lego bricks. In the following year, Jinno Neko combined traditional bamboo crafting techniques with fashion design and participated in a joint exhibition organized by Groovisions, a design studio based in Japan, and LCX, a fashion store in Hong Kong. In 2014, Jinno Neko collaborated with Sony Music and used stray cats as the theme of her paintings to reflect on the connection between human beings and the environment. ​

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Joyce expresses herself through the plasticity and potentiality of clay. She combines the grotesqueness of cultural relics with domesticity in her making of utilitarian ceramics.

Joyce was born in Hong Kong in 1992. She took her bachelor’s degree at the Academy of Visual Arts of the Hong Kong Baptist University in 2015 and won the AVA award. She furthered her study in ceramics at the School of the Art Institute of Chicago and graduated with a Master of Fine Arts in 2019. She had the experience of visiting ceramic workshops in Jingdezhen and Red Gate Gallery in Beijing as artist-in-residence. Her artwork was featured in galleries and art fairs in Hong Kong, the United States, Australia, Germany, Indonesia and Malaysia.

Joyce is fascinated by ancient wares displayed in many art museums during her days in America. Although those ancient wares were found in different continents, Joyce discovered that they all share a lot in common in terms of form and decoration. By capturing and integrating the features of those ancient wares in her ceramics, such as the tripod of Shang Dynasty ding, the decorative human faces on the ancient Peruvian ceramic vessels, Joyce wishes to tell you the unheard and forgotten stories.