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Designing Design
Kenya Hara

approx. 464 p.
400 color ills, 50 drawings
16,5 x 24,0 cm
Hardcover
EUR 39.90 / GBP 29.90
ISBN 978-3-03778-105-0 english

Available May 2007

Japanese design in pure form

Representing a new generation of designers
in Japan, Kenya Hara (born 1958) pays tribute
to his mentors, using long overlooked
Japanese icons and images in much of his
work.
In “Designing Design”, he impresses upon the
reader the importance of “emptiness” in both
the visual and philosophical traditions of
Japan, and its application to design, made
visible by means of numerous examples from
his own work: Hara for instance designed the
opening and closing ceremony programs for
the Nagano Winter Olympic Games 1998.
In 2001, he enrolled as a board member for
the Japanese label MUJI and has
considerably moulded the identity of this
successful corporation as communication
and design advisor ever since. Kenya Hara,
alongside Naoto Fukasawa one of the leading
design personalities in Japan, has also called
attention to himself with exhibitions such as
“Re-Design: The Daily Products of the
21st Century” of 2000.
Kenya Hara is one of the key figures
behind the international success story
of the MUJI brand
Captures the essence of Japanese
aesthetics and simplicity in modern
design
First-ever survey and insight into Kenya
Hara's work

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 An illustration of the flow of decision criteria
for packaging forms, 2002

Muji for several years. I intuitively felt that his participation would be vital to
restructuring Muji’s product quality. It was the 8th of January 2002, when I
brought Mr. Fukasawa to Mr. Tanaka’s office to introduce them. Over Japa-
nese tea and buns, we talked of many things, including the prospect of Mr.
Fukasawa taking care of matters of product design.
“This work kept me up at night, it was so fascinating.” These are
the words of Ikko Tanaka, one of Japan’s most illustrious designers. Our con-
versation took place just three days before his sudden death. So transpired the
11th hour passing of the Muji baton from the senior generation to ours.

Muji’s Origin, Muji’s Challenge

The concept of Muji is the offspring of the good rapport between the aes-
thetics of graphic designer Ikko Tanaka and the vision of Seiji Tsutsumi, an
undisputed leader of Japan’s distribution industry. The company came into

M U J I ─Nothing, Yet Ever y thing

Muji magazine advertisement, 2002
existence in the fall of 1980. Its basic concept was the creation of a group of
extremely straightforward, low-cost items by thoroughly simplifying the pro-
duction process.
Muji’s initial slogan, “Lower Priced for a Reason”, was the work of
Kazuko Koike, who helped prepare Muji’s debut. Ms. Koike, a well-known
curator of contemporary modern art, also acted as a Muji slogan copywriter.
Muji’s management is unique in that creators and managers carry equal weight
in supporting the company’s vision. Rationalizing the production process is a
common idea today, but Muji’s simplification has never resulted in cheapen-
ing. Instead, it has led to the manifestation of aesthetics. Muji, established as
a private brand of the Seiyu supermarket, has grown into a solid corporate en-
230 | 231
Concept book for Milano Salone, 2003
Contrasting the Earth/the earth and Muji products.
seas branches in Europe and Asia that have attracted a tremendous global
response.
Muji also has some issues to resolve. In the beginning, the rationalized
production process led to an overwhelming price advantage. But as today’s in-
dustries have founded their production base in countries with low labor costs,
we find it difficult to replicate the price advantage of the early days. We could
compete on product cost by following the same methods, but the Muji con-
cept isn’t based on being “cheap”. We can’t lose our precious spirit in a frantic
effort to lower costs. Furthermore, the whole idea of producing in a country
with low labor costs and selling them in countries with high labor costs is not
sustainable. Muji should be based on the ultimate rationale of adequate qual-
M U J I ─Nothing, Yet Ever y thing
pearance has nothing to do with flavor. It was simply a shifting of priorities
that led to a low-priced dried shiitake product. The same can be said of paper.
If the bleaching process is skipped, the finish color is pale beige. Muji uses
this paper for packaging, labels, and other materials. The thorough effort of
simplifying the production process has led to the emergence of a whole list of
products with unparalleled aesthetics. The clear-cut contrast of these products
with the conventional, excessively produced merchandise of the era affected
not only Japan, but the rest of the world. Muji products earned the support
of consumers, who are highly conscious of their living environment, and of
opinion leaders, with their sophisticated perception. There are more than 270
Muji branches in Japan, and more than 6,000 products. Muji also has over-
232 | 233
An illustration of the flow of decision criteria
for packaging forms, 2002
Muji for several years. I intuitively felt that his participation would be vital to
restructuring Muji’s product quality. It was the 8th of January 2002, when I
brought Mr. Fukasawa to Mr. Tanaka’s office to introduce them. Over Japa-
nese tea and buns, we talked of many things, including the prospect of Mr.
Fukasawa taking care of matters of product design.
“This work kept me up at night, it was so fascinating.” These are
the words of Ikko Tanaka, one of Japan’s most illustrious designers. Our con-
versation took place just three days before his sudden death. So transpired the
11th hour passing of the Muji baton from the senior generation to ours.
Muji’s Origin, Muji’s Challenge
The concept of Muji is the offspring of the good rapport between the aes-
thetics of graphic designer Ikko Tanaka and the vision of Seiji Tsutsumi, an
undisputed leader of Japan’s distribution industry. The company came into
M U J I ─Nothing, Yet Ever y thing