This project explores fragrance as a direct translation of place and craft. Each scent is derived from a region where a material practice is still alive, capturing the environmental conditions that shape both the object and the maker.
Rather than constructing abstract perfumes, the work focuses on **real geographies: coastal air, humid forests, mineral-rich ground** distilling them into scent. The bottle becomes a vessel for more than fragrance; it holds landscape, process, and memory.
Brand Philosophy
At its core is the idea of the commons, what is shared rather than owned. Land, materials, and knowledge exist collectively, and craftspeople act as stewards of these resources, working within the limits and possibilities of their environment.
Scent becomes a way of making this relationship tangible. Each fragrance reflects not just a place, but the conditions that sustain it, suggesting that what we experience sensorially is shaped by shared ecological and cultural systems.
Brand Logo
The logo is built from individual vessel forms that come together to create a flower-like structure. Each element represents a distinct origin, while the overall composition reflects unity through accumulation.
This relationship mirrors the project itself - multiple landscapes and crafts converging into a single system, where difference forms cohesion.
Trajan is rooted in classical Roman inscriptions, carrying a sense of permanence and historical weight. Its association with carved stone and monumentality aligns with the project’s focus on enduring materials and long-standing traditions. The typeface introduces a quiet authority, allowing the work to feel timeless without becoming decorative.
The wordmark has been refined so that the serifs of the two “M”s meet at the center, creating a moment of connection within the letterforms.This subtle modification reinforces the idea of convergence and shared ground, where separate elements are drawn together into a unified whole.
The first fragrance is informed by the practice of urushi lacquer, rooted in Japan’s humid, forested regions. The process depends on climate—requiring moisture in the air for the lacquer to cure—making the surrounding environment inseparable from the craft itself.
The scent draws from hinoki wood, native to these regions, known for its soft, resinous, and slightly citrus profile. It evokes the atmosphere of the forest: damp, warm, and quietly aromatic.
Here, fragrance operates as an extension of place—not imagined, but observed and translated.
The “Vessel”
The vessel is conceived as a universal form—one that exists across cultures, histories, and geographies. Before distinction or decoration, vessels were among the earliest objects made to hold, carry, and preserve, shaped only by necessity and the human hand. This project draws from that lineage, using the vessel as a neutral, archetypal starting point.
Rather than referencing a specific culture, the form remains intentionally restrained, allowing material, finish, and scentto carry the identity of place
This personal project rethinks the makeup sample through a shift in material and format. Instead of conventional plastic testers, it proposes a vacuum-formed solution made from fiber-molded pulp—reducing waste while introducing a more tactile, grounded experience.
Developed in response to the excess of traditional sampling, the system treats the tester as a considered object rather than a disposable one. The molded pulp structure holds each formula with precision, paired with a minimal outer layer that maintains a clear, recognizable graphic identity. The result is a packaging approach that is materially conscious and visually restrained, positioning the sample as an extension of the product rather than an afterthought.
Art Direction
A Clear, Reusable System
This packaging is designed as a multi-use sampling system that prioritizes clarity, flexibility, and material responsibility. A resealable label—similar to wet wipe closures—allows the product to be opened and closed repeatedly, moving the tester away from a single-use format.
The system is built around three distinct card types: one for a single shade, one designed for formulas that require an applicator (such as mascara), and one that holds multiple shades for uses like contour or variation testing. Each format sits within the same structural logic, creating consistency across products.
Why Vacuum forming?
All components are housed in vacuum-formed cavities made from fiber-molded pulp, providing protection while maintaining a subtle, tactile quality. By extending usability and standardizing formats, the design simplifies interaction and reduces waste—positioning the sample as a more durable and considered object.
Designed to keep
The integrated key ring transforms the sample from something disposable into something worth holding onto. By giving the packaging a secondary function, it invites users to keep, carry, and revisit the product—extending its life beyond a single use.
This sense of collectibility encourages repeated interaction and builds a stronger connection to the brand. Rather than being discarded, each piece becomes part of a growing set—subtly shifting the sample into an object of retention, identity, and brand affinity.
The result
A packaging system designed to rethink how samples are experienced and used. Through a balance of minimal form, clear structure, and intuitive detailing, it creates a straightforward interaction that feels both elevated and accessible.
Olent is a sensory speaker designed for Aesop that merges sound and scent into a single, immersive object. Rooted in Aesop’s philosophy of intentional living and sensory design, the project explores how atmosphere can be shaped through the convergence of auditory and olfactory experiences.
Art Direction
How does it work?
The speaker integrates essential oil cartridges within a ceramic basin, allowing scent to diffuse naturally as sound plays. As music resonates, subtle vibrations interact with the oil, creating a layered sensory experience. Users select and load scents based on mood, transforming everyday listening into a ritual that engages both sound and atmosphere.
Aesop’s Radiomatique already positions sound as an extension of brand experience—curated, intentional, and atmospheric. This project builds on that foundation by pairing sound with scent, creating a unified sensory system. The speaker becomes a physical embodiment of Radiomatique, where fragrance and audio work together to shape space and mood.
Ideation
The sketching process began by studying Aesop’s existing objects, focusing on their restrained geometries and softened forms. Iterations explored how fragrance vessels could be integrated seamlessly into the speaker, resulting in a form language that feels both familiar and distinct. The final design reflects Aesop’s balance of utility and quiet sculptural presence.
Biomimicry & Materiality
Prototyping focused on both acoustic performance and scent diffusion, testing perforation patterns, internal structures, and oil dispersion methods. The form draws from biomimicry—specifically river rocks shaped through erosion—resulting in a softened, organic geometry. This reference informs not only the aesthetic but also the slow, natural release of scent.
Ceramic was chosen for its porous, tactile, and timeless qualities. Bisque-fired stoneware allows for subtle absorption and diffusion of essential oils while reinforcing Aesop’s material language of honesty and longevity. Each piece carries slight variation, emphasizing individuality and the hand-crafted nature of the object.
The result
Olent extends Aesop’s approach to design beyond product into experience, transforming everyday rituals into multi-sensory moments. By uniting sound, scent, and form, the project proposes a new way of engaging with atmosphere—one that is intentional, immersive, and deeply connected to material and perception.
Makeup today is designed to be applied visually—relying on mirrors, precision, and sight-based tools. Tact Beauty challenges this standard by creating cosmetic tools that can be used entirely through touch.
Developed through user testing with the Helen Keller School for the Blind, the project focuses on enabling independent, precise application without visual guidance. By prioritizing tactile feedback, it rethinks how makeup can be experienced beyond sight.
Branding
Packaging design
An Industry Built for Sight
The beauty industry has made strides in inclusivity—expanding shade ranges, redefining gender norms, and embracing diverse identities. Yet accessibility remains largely unaddressed at the level of interaction. Tools are smooth, ambiguous, and visually coded, offering little to no tactile guidance.
As a result, visually impaired users are excluded from independently engaging with makeup—not by lack of interest, but by lack of design consideration.
In collaboration with theHelen Keller School for the Blind
This project was developed through direct engagement with students and educators at the Helen Keller School for the Blind. Through iterative user testing across two phases, insights were gathered around grip, orientation, feedback, and confidence in application.
These sessions revealed that independence is not only functional, but deeply emotional—tied to autonomy, identity, and self-expression.
Prototyping & Sketching
The design process moved through an extensive period of prototyping and refinement, testing variations in scale, geometry, and feedback systems. Early explorations prioritized form, while later iterations became increasingly responsive to user behavior and sensory feedback.
The final form emerges as a direct response to these insights—balancing clarity, comfort, and intuitive use through touch alone.
A Language of Touch
Each element of the tool is designed to communicate through touch—removing ambiguity and reinforcing control in the absence of visual cues. A flattened surface provides immediate orientation, allowing the user to understand positioning intuitively. Integrated magnets introduce a subtle auditory “click,” confirming alignment and secure closure through sound. Discrete braille labeling enables clear identification, embedding accessibility directly into the object rather than treating it as an afterthought.
The result
Tact Beauty proposes a shift in how we define inclusivity within the beauty industry—not only in who is represented, but in how products are experienced. By designing for touch, the project opens space for independence, confidence, and personal ritual beyond sight.
This project rethinks how a product is dispensed, experienced, and contained through packaging design. Focusing on Suisai Beauty Clear Powder, a powder-to-foam face wash, the work explores how packaging can move beyond convenience to become more intentional, reusable, and materially aware.
The redesign shifts the product from fragmented, single-use portions into a continuous, shared system, where form, interaction, and material reflect the nature of the product itself.
Product design
Current packaging
The existing Suisai packaging relies on individual single-use capsules, each containing a pre-measured amount of powder . While precise, this system creates excessive waste and limits the product to a repetitive, disposable interaction.
The design process began with the behavior of the product itself. As a powder that activates into foam, the material undergoes a visible and tactile transformation; expanding, softening, and becoming fluid in the hand . The form becomes an extension of the product’s lifecycle—from compact to expanded, from contained to expressive.
Final Form
The final outcome extends beyond the object itself into a broader visual and contextual system. Through mockups of posters and web applications, the design is placed within the environments where it would exist—moving from concept to communication.
Final Form & Features;