Interview with Khajornsak Nakpan

Khajornsak Nakpan ("KN") interviewed on Sunday, 15 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

KN : I have been working in the garment design industry for almost 20 years. An extended period embodied the ability and specialisation in Textile Design, Fashion Colouring, Visual Merchandising, Graphic Design, and motivating people's creativity in the industry.

How did you become a designer?

KN : I graduated with a Bachelor of Fine Arts, majoring in Western Painting, Poh-Chang Academy of Arts, Bangkok, Thailand. To begin working in the design field with visual art skills may broaden my potential and challenge. The enhancement of thinking in the abstract, from studying Fine arts to applying to the commercial design industry, can unfold my imagination and uplift my creativity.

What are your priorities, technique and style when designing?

KN : My favourite is using various design techniques such as drawing, collating, also computing, and I create freely to come up with artwork. Togethering doing severe research and experimenting can fulfil the complete content of the design. After the vital ideas of designing, I make mock-ups and physical models to construct the answer to the plan.

Which emotions do you feel when designing?

KN : Listening to Jazz music in the chic atmosphere with an excellent decorating style always personates my overwhelming emotions but is refined with experiences while designing dedicatedly.

What particular aspects of your background shaped you as a designer?

KN : Combining my diverse abilities and skills renders uniqueness to the design work. I focus on the aesthetics of postmodernism, especially conceptual art. I also pay attention to research methodology and process. My particular aspects of the background shaped my design work, demonstrating different aesthetic dimensions through the lens of adaptive science. The turning point from integrating multi-disciplines can always drive the Avant guard ideas.

What is your growth path? What are your future plans? What is your dream design project?

KN : Shortly, I aim to continue to drive the creation of new materials to improve the innovative design and harmonious living. The relationship between humans, the textile substitute material, and nature can lead to a ‘balanced reality,’ enabling us to preserve the “ecological cycle of happiness”.

What are your advices to designers who are at the beginning of their career?

KN : My advice will enthusiasm them to focus on studying philosophical aesthetics. It can uplift their design thinking and process of creativity. Especially, to support the logic of living in the changing of this century requires various theories in design to answer the social phenomena.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

KN : Predicting future ways of creation and human needs is a good tool for success. These stipulate with the integration method, supporting answers for a fantastic world of design.

What is your day to day look like?

KN : Even though my daily routine repeatedly begins at nine to six o'clock, I keep seeking new pieces of knowledge to cherish my brain, including nurturing my mind. The energetic analysis paradigm can enhance the force of design.

How do you keep up with latest design trends? To what extent do design trends matter?

KN : Keeping an eye on the trend in as many channels is essential for designing habits of mine.

How do you know if a product or project is well designed? How do you define good design?

KN : A well-designed project needs to be constructed from conceptual ideas enhanced with philosophical aesthetics and responds to functional use.

How do you decide if your design is ready?

KN : The sign of readiness reaches as much as the design drawn and shows a perfection or less visible failure could be the last decision to end the design.

What is your biggest design work?

KN : The project Bio Melanin Fibre for Fashion is the most considerable design work. A purpose of expressing goals—creating scientific innovation and adding value to the resources—reveals that the innovative substitute material from soil-synthesised melanin, its brown pigment that makes skin colours in humans, has excellent potential as an alternative material. Moreover, it is a sustainable material that is biodegradable and produces zero waste, which reduces its production impact on the environment. However, it takes three years to complete.

Who is your favourite designer?

KN : My favourite designer is Issey Miyake, a Japanese fashion designer. His innovation expresses to experiment with new methods of pleating that would allow both flexibilities of movement for the wearer as well as ease of care and production. The garments are cut and sewn first, then sandwiched between layers of paper and fed into a heat press, where they are pleated. The fabric's memory holds the pleats and when the garments are liberated from their paper cocoon, they are ready to wear.

Would you tell us a bit about your lifestyle and culture?

KN : The aspect of the essence of motherland culture cultivates the settled intention that the profound value in it would challenge human perceiving towards designing the objects which long have relationships with us.

Would you tell us more about your work culture and business philosophy?

KN : I believe that working with partners could fix up errors and provide more mature solutions. In addition, the sense of respect for each other diminishes the ego, unfolding the complexity dimension.

What are your philanthropic contributions to society as a designer, artist and architect?

KN : Teaching with a totally enthusiastic and continually updating the explicit knowledge and donating mindfulness to students is one of the philanthropic contributions to society as the designer-lecturer.

What positive experiences you had when you attend the A’ Design Award?

KN : Learning objectives of the A’ Design Award figure out the systematic estimation, which is the ladder of improving the design analysis and creation process. In addition, managing the A’ Design Award operation provokes me to consider the importance of the context in design. The holistic advantage appears to testify to the oblique of the social agreement and the acceptance of estimating can enlarge the value of hard work.

Khajornsak Nakpan Profile