Deric Wu (Wu Hao), a director of Xingmei International Investment Group and the founding CEO of the renowned Chinese brands Sanyou Hui and Hongmen, has over ten years of experience in product art design. He has become a versatile artistic business leader and design expert. His creation, the “Longmen Tea Box,” has garnered hundreds of millions of views in over 18 countries. In 2017, it made its debut in Times Square, New York, and on the NASDAQ screen as the world’s first story tea box. The design of “T-one” tea ceremony innovated the first velvet tea bag in the Chinese domain, inheriting and promoting the hospitality methods of Eastern nobility. His expertise encompasses industrial design, 3D art design, graphic design, experience design, and design systems. His contributions to Eastern aesthetics and modern commercial applications have profoundly influenced the Chinese field, significantly enhancing the visual communication and emotional conveyance of art design and Eastern aesthetics on the global stage. His main works include Longmen, T-one, Songhe Fragrance Box, Pure One, etc.
Q: How has learning about intangible cultural heritage crafts inspired and revolutionized your design thinking?
A: Starting with materials and combining their historical and cultural aspects, I’ve developed a design thinking approach: “Material — History (Culture) — Production — Technology — Design.” This also includes innovating a new fabric (or material) by combining fish skin with various composite materials.
Q: What inspired you in this project?
A: The design inspiration for the Longmen Tea Box comes from the ancient Eastern story “Fish Leaping Over the Dragon Gate.” This story, deeply rooted in Chinese traditional culture, symbolizes the magnificent and determined journey of numerous fish transforming into dragons to cross the Dragon Gate. It teaches us that only through relentless effort and struggle can we realize our dreams.
Q: Did you discover any new knowledge areas during the production process? How did you achieve breakthroughs?
A: Combining home design with modern social contexts is challenging. In designing the Longmen Tea Box, I skillfully integrated modern home concepts with traditional Eastern elements. The box’s exterior is sleek and modern, while the interior details exude a rich traditional charm. The internal partitions are shaped like the Dragon Gate, symbolizing the grandeur and resilience of the fish leaping over it. The intricate fish carvings further emphasize the theme.
For color selection, I primarily used deep red and gold. Deep red represents nobility and the oceanic world behind the Dragon Gate, the habitat of the fish. Gold symbolizes the noble Dragon Gate, the fish’s desired destination. The blend of these colors not only conveys the traditional story background but also imparts an elegant and dignified feeling.
Overall, the design inspiration for the Longmen Tea Box comes from the ancient Eastern story of Fish Leaping Over the Dragon Gate. I aimed to integrate this story into modern home design, using simple lines, modern forms, traditional elements, and colors to convey respect and inheritance of traditional culture. I also hoped to bring an attractive home experience to modern people, as if they were in a world full of magic and fantasy.
Q: What are your new insights and feelings towards China’s intangible cultural heritage or traditional crafts?
A: China’s intangible cultural heritage and traditional crafts are expressions of a nation’s cultural life. For instance, the non-heritage gilding technique used in the Longmen Tea Box originates from the lifestyle of ancient Chinese nobility and has a strong national character. Each traditional craft has its value and significance and should be protected. Like gilding, we often combine modern illustrations with traditional craftsmanship without much “innovation,” so each craft needs to evolve with the times for true innovation.
Q: The Longmen Tea Box is themed around exceptional, personalized luxury. How do you define personalized luxury in your work?
A: Personalization, from a product perspective, means designing according to the character and preferences of specific social groups, including their unique life experiences. Luxury isn’t just superficial or materialistic, but an inner calm and natural grace. For example, the “Hongmen Eastern Series,” though lacking in technological and novel elements, is still highly coveted. This is my understanding of a preferred, personalized luxury.
Q: How do you view the relationship between traditional craftsmanship and design innovation? What are your new insights and feelings towards China’s intangible cultural heritage?
A: I believe traditional craftsmanship is a cultural accumulation essential for design innovation. Design innovation should build upon traditional craftsmanship, which should be a method of inheritance and innovation. Chinese intangible cultural heritage is multifaceted and worth exploring in depth. Practical experience brings new perspectives, different from merely understanding intangible cultural heritage through texts. It’s an amazing experience, and I plan to broaden my horizons and break conventional impressions of things.
