2025-11-01
Sarah Chen
Design Dispatch, New York
Q: Hi Woojin! Thanks for joining us. To start, could you tell us a bit about yourself and your background?
A: Of course. I’m a multidisciplinary designer focusing mainly on branding, visual, graphic, and typography design. I graduated from the School of Visual Arts (SVA) in 2021. While in school, I did internships at places like the Whitney Museum of American Art, Savvy Studio, and Fay Studio. Typography and branding always fascinated me, and I spent a lot of time exploring those areas.
Q: What was your first step after graduation?
A: Right after graduating, I joined Ogilvy. That was an incredible experience because I had the opportunity to work on the New York Philharmonic rebranding project, which ended up receiving awards and nominations from D&AD and The One Club.
To talk more about the project, the creative concept drew inspiration from New York itself. Just as the city’s grid surrounds the Philharmonic, the audience surrounds the orchestra, making the institution the beating heart of the metropolis. This idea translated into a logo designed to hold not only a symbol but also an experience—evoking the anticipation, energy, and shared emotion of live performance. Extended across programs, concerts, and musician profiles, the system unified the Philharmonic’s identity while honoring its role as a home for everyone who loves music.
The result was a brand that bridged heritage with modernity, reminding audiences that the Philharmonic is more than a concert hall—it is a living, central part of New York’s cultural life. Through this work, our team demonstrated the power of design to tell stories, connect communities, and place one of the world’s great orchestras firmly at the heart of the city it represents.
Q: What made you decide to move to Mother Design after Ogilvy?
A: I wanted to dive deeper into branding. At Mother Design, I got to work on identity projects for Adobe and an upcoming project for Marathon that hasn’t been released yet. Mother gave me the chance to focus more on the nuances of branding and how design systems can really transform how a brand is perceived. It was also a place that encouraged experimentation, which I loved.
Q: You’re now at GlossGenius. How is working in-house different from your agency experiences?
A: It’s a very different perspective. At agencies, I had the chance to work across many brands, which was exciting. But working in-house lets me focus deeply on one brand. At GlossGenius, I’m part of the rebranding process, and because I’m inside the company, I get to see everything up close, from leadership goals to product details. That level of insight just isn’t possible at an agency. Honestly, this feels like the most fun stage because we’re creating something completely new. Recently, I designed swag for our 100K customer milestone, and I got to play with typography, which I love. It turned out to be one of the most enjoyable projects so far.
Q: Looking back, how did your childhood and upbringing influence your design perspective?
A: I grew up between Seoul and Beijing, and I also traveled a lot with my family. That exposure really shaped how I think. Each city had its own visuals, arts, and unique aesthetics, and I always found that fresh and inspiring. I think those experiences helped me think more openly and widely, and they gave me a broader lens for how I see design today.
Q: What inspires you the most in your everyday life?
A: I always like watching things. When I’m outside, I try not to look at my phone because there’s so much happening around me. Of course, I still use my phone to take pictures of interesting details. I also love documentaries—about history, people, nature—and of course movies. I believe watching and thinking are essential because what you see affects how you think, and how you think affects your ideas.
Q: You also dedicate time to personal projects. Can you tell us about them?
A: Yes, personal projects are really important for me. I like creating conceptual brands with unique ideas and then designing the branding around them. Two recent ones are Arkiv, which is like a furniture library that collects and preserves unique pieces, and Forever Café, a coffee shop imagined as a home for stray cats. These projects let me explore without restrictions and push me to think differently from client work.
Q: What have been some of the most exciting or rewarding moments in your career so far?
A: The New York Philharmonic rebranding project was a huge highlight because of the recognition it received and the scale of the project. But honestly, right now GlossGenius feels especially rewarding. Being able to build something new and see the impact up close has been eye-opening. I’ve learned things here that I couldn’t have learned anywhere else.
Q: And finally, what’s next for you? What do you hope to keep exploring as a designer?
A: I want to continue creating stories for brands, whether through agency work, in-house projects, or personal concepts. I think the most important thing is to keep observing, thinking, and experimenting. As I move forward, I hope to bring even more openness and curiosity into my work. For me, design isn’t just about shaping brands—it’s about shaping how people see the world.