Minimalism Meets Meaning: In Conversation with Ichiro Iwasaki

In this exclusive conversation, celebrated Japanese designer Ichiro Iwasaki delves into the nuanced philosophy behind his cross-cultural design practice. From his beginnings at Sony Design Center to his collaborations with Arper, Vibia, and SIGMA, Iwasaki reflects on how precision, empathy, and spatial awareness define his approach. He shares thoughts on sustainability, negative space, and technological evolution – all while staying rooted in Japanese values of harmony and naturalism. His insights remind us that great design doesn’t just function – it feels.

 


Having started your career at Sony Design Center and later spending time in Milan’s design studios, how has this blend of Japanese and Italian design cultures influenced your approach to furniture design?
I learned the fundamentals of design at Sony in Japan and was proud of the quality of that education. However, my time in Italy exposed me to something almost opposite. I realized that the precision-driven approach – like working with 1/100 mm accuracy – was a standard specific to certain industries, not a universal one. Now, a deeply Japanese part of me is infused with new perspectives, values, and sensitivities influenced by the Latin culture in which my clients operate.
Your career spans from electronics at Sony to furniture design. How has this diversity shaped your understanding of form, function, and user interaction?
In European furniture design, few have a background like mine. Product designers often work across various genres without being specialists. I approach every project from the consumer’s point of view – not as a specialist. As the project evolves, I learn its technical context, but I always start from a user’s lens. This objectivity helps uncover the essence of what the product should be, and I believe that’s why many of our projects – even highly specialized ones – have succeeded.

KIIK for Arper – A versatile furniture collection intended for transitional spaces like lounges, waiting areas, and meeting zones.
Principles like kanso (minimalism) and shizen (naturalness) are central to Japanese design. How do you bring these into contemporary furniture while remaining innovative?

We don’t intentionally embed traditional Japanese aesthetics, but they emerge naturally through our relationships. Overseas clients, in particular, are aware of our cultural background and approach us with respect for it. That context often results in designs that feel subtly Japanese, especially when viewed in a European design landscape.

Ralik for Arper – A modular seating system designed for flexibility and ease of use in dynamic environments.


With Arper’s focus on sustainability, how do you approach material selection and environmental responsibility?

When we speak of sustainable products, the conversation often focuses on materials and recycling systems. But we shouldn’t forget the sustainability of the design itself. Even if materials are eco-friendly, a short-lived design contradicts that goal. Take the
Ralik modular sofa we designed for Arper – most modular systems lose flexibility after assembly. In contrast, Ralik‘s modules work independently and connect using a simple, durable, and precise linking device that requires no special tools. The aim was a system that adapts with spatial changes over time, ensuring true long-term usability.

PX-01-STK for Pyrex – A kettle which utilises Pyrex glass


The Japanese concept of ma (negative space) plays a vital role in your design. How does this affect spatial balance?

Ma represents a space with built-in freedom and flexibility. Furniture must be beautiful, but it should also seamlessly integrate into its surroundings. Especially with contract furniture, the contexts vary greatly – from offices to hospitality. Our collections are designed to be adaptable through various upholstery, colors, and configurations, enabling them to harmonize across different cultures and scales.

Sigma BF – A full-frame, mirrorless camera known for its minimalist design and focus on a pure photographic experience


How do you create designs that resonate globally while staying authentic to your roots?

I always respect the cultural history of both the object and the client. Design, to me, emerges from meaningful dialogue. Despite cultural differences, when something feels universally “good,” it probably is. That essential goodness, discovered through collaboration, keeps the design authentic and resonant. For instance, long-term relationships with clients like Arper (Italy), Vibia (Spain), and SIGMA (Japan) have shown me how different contexts require different design responses – even when working in similar domains like product design.

The Closer collection for Vibia is a sculptural lighting series featuring innovative textile shades. It was exhibited at Euroluce 2025.


With your experience in both technology and furniture, how do you see technology shaping the future of furniture design?

We’re already seeing furniture that integrates IT and AI, especially in certain regions. Integration with mobile devices – like phone charging or laptop setups – has changed how we think about furniture design. That will continue. But unless human senses themselves evolve, comfort in furniture won’t drastically change. Where tech truly impacts design is in material development. For instance, The Closer collection we designed for Vibia, launched at Euroluce 2025, uses knitted materials that retain their 3D shape. The result is a shade that’s soft yet form-stable, offering an unprecedented lighting effect – light and air seem to blend. This new expression is made possible only by cutting-edge materials.
Cine Lens, SIGMA – Part of SIGMA’s high-performance Cine Lens lineup


The Japanese idea of wa (harmony) is central to your work. How do you achieve harmony while addressing contemporary functionality?

Furniture must serve not just its end-users but also the architects and interior designers planning the space. It should be flexible enough to support different spatial narratives. I try not to impose my subjective viewpoint as a designer. Instead, I seek a balance – between form and function – that naturally fits into the setting. Listening to a variety of voices helps us strike this harmony.

C, ISSEY MIYAKE – A chronograph wristwatch from the iconic ISSEY MIYAKE Watch Project. Developed in partnership with Seiko


How does your analytical background influence your creative process?

I don’t rely on abstract inspiration or just academic research. For me, everything begins with the project brief. It’s packed with information that defines the project’s core needs. Respecting the brief helps me determine which elements to challenge and which to preserve. That moment – when I first receive the brief – is always the most exciting. It marks the beginning of a meaningful, grounded creative journey.

 

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