StudioKALEIDO is a young Singapore-based design outfit led by Winnie Wu (creative director and designer) and Amanda Lee Koe (communications director and copywriter). While barely two years old, the studio has already worked on such noted projects as President’s Young Talents, One Point Six One Eight and Oh! Open House 2013

One Point Six One Eight for client Ethos Books

Apart from brand identity, design for print and publishing, exhibition graphics, ads and illustration, the studio also offers brand/campaign and publishing consultation, as well as copywriting and content creation. They are, in addition, exhibition curators and the people behind Singapore’s local literary journal, Ceriph.

One Point Six One Eight for client Ethos Books

Can you describe your design philosophy?

To stop chasing perfection, to break the rules within the rules, but also to always design within context in all that chaos. It is just too easy to find a designer who would claim to chase perfection and follow design rules. Imperfections are always more charming and I think this can be achieved even whilst paying attention to the details.

President’s Young Talents for client Singapore Art Museum

What projects are you busy with at the moment?

Branding for a pho restaurant and a Mexican takeout in Qatar, and catalogues for contemporary artists Haegue Yang and Sun Xun under the Singapore Tyler Print Institute (STPI) Platform Projects.

OH! Open House 2013 for client OH! Open House/Evil Empire

Which do you consider to be one of your most memorable projects to date?

Every project is memorable to me. I enjoy knowing the backstory to how each creation came into being. I’m not just talking about the process of the work itself, but all the other madcap stuff like client management and production horrors. If I have to name one I think it’d have to be OH! Open House 2013 because of its context (it is Singapore’s only art walkabout and for this edition the organisers took it up a notch by bringing art into corporate banks instead of the usual takeover of neighbourhoods and people’s homes), our involvement as both designer and participating artists, all the other artistic/editorial/curatorial talent involved, and the censorship and carpet-pulling we had to deal with.

M-Trospective: Michael Lee’s First Decade (2001 – 2011) for client Michael Lee

M-Trospective: Michael Lee’s First Decade (2001 – 2011) for client Michael Lee

Name your top 3 influences.

Street culture – think design work that’s influenced by street culture and that creates desirability in a more relaxed and honest context. A lot of what’s being perceived as desirable design these days seems to hinge on luxury lifestyles because it is a safer formula. However I think that producing more spontaneous work in a less sterile way can be appealing, and I haven’t seen much of that street spirit incorporated well into graphic design yet. Having a real ’streetwise’ approach to design also means to be really resourceful with what little you have and to make the best of it.

The Lasalle Show (Fine Arts) for client Lasalle-Goldsmiths

The Lasalle Show (Fine Arts) for client Lasalle-Goldsmiths

Asia – being based in Singapore, I realised that a lot of quality design work coming out of here does not reflect much about Asia, and is much more influenced by the west. I think that being westernised Asians we actually have a certain advantage because we’re able to straddle both East and West and bring Asian design to an international platform. Unfortunately, when we look at the rest of Asia, our work is comparatively culturally-diluted.

Contemporary art – I wouldn’t claim to know a lot about contemporary art or even like all of it in the first place, but I think rubbing shoulders with it has definitely opened up a lot of possibilities for me in the ways of seeing and approaching a subject. We do a lot of design work for artists and the dialogues are fruitful because they have a lot to say about the visuals and connotations behind the work, but at the end of the day, there is still a lot of mutual respect between us. It becomes kind of like a critique session for me from a point of view that is not a designer’s, but still well-informed.

Disappearing Moon for client British Council and Singapore International Foundation

What’s your favourite design quote?

I had to google for design quotes for this question, so I don’t really have one.

What is your dream project – real or imaginary?

There are just too many dream projects, especially those pertaining to high-profile clients. That aside, something we really hope to do some time in the future is to use both art and design to create awareness for mental health. I’m not a big fan of social design for-the-sake-of but this one hits close to home. Unfortunately, it’d involve quite a few organisations and a lot of money and work so it probably won’t happen in the near future.

Nowhere Near for client Chun Kaifeng/Fost Gallery

Who is your dream person to collaborate with?

Ai Weiwei/Rei Kawakubo/Hiroshi Fujiwara.

Nowhere Near for client Chun Kaifeng/Fost Gallery

Name your favourite decade of design.

The current one, because I’m a part of it and because I’m drawn to spontaneity and emerging trends.

What is your number 1 concern for the design industry in Singapore?

The number of design graduates is increasing every year but the quality isn’t there yet when we look at international benchmarks. I think the industry needs to create more platforms to keep young creatives challenged and excited in order to raise the standard. I don’t think I know many emerging local designers who are as hungry as I am and I feel that’s really the key. It is generally too comfortable in Singapore and hungry designers are a dime a dozen in places like Japan, London, Scandinavia, etc.

Name one item in the workplace you can’t live without.

A Nespresso machine.

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