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Isabelle Tan on the value of things often dismissed as ugly
Isabelle Tan's approach to design emphasizes the beauty in elements often considered unrefined or ugly, advocating for a thoughtful re-framing of these aspects in branding. Her experiences across diverse cultures inform her work, balancing Western minimalism with Asian maximalism, which is crucial for brands like Chanel and Miu Miu that seek to resonate with varied audiences. This perspective highlights the importance of intentional design in brand strategy, encouraging brands to embrace complexity and authenticity in their visual identities.
The Brand Identity: Singaporean by nationality, born in Malaysia and raised in Thailand, Isabelle Tan has spent her career so far navigating the space between different visual cultures. As a Junior Designer on the branding team at 2x4, she works across identities for clients including Chanel and Miu Miu. Before that, stints at Wkshps, Synoptic Office and ABRAMS helped shape an approach rooted in collaboration and adaptability.
Her GDUSA and A’ Design award-winning thesis, Voice Print, offered a glimpse of the sensibility she carries into commercial work – a fascination with things typically dismissed as unrefined or ugly, and the conviction that they deserve careful, intentional framing. In this conversation, Tan discusses growing up surrounded by multilingual signage, what she learned designing a guidebook for Miu Miu, and the creative tension between the density she grew up with in Asia and the minimalism she encountered studying in New York. TBI Hi Isabelle!
How are you? IT Good! TBI Do you associate your first interests in design with anything in particular, growing up between Thailand, Malaysia and Singapore? IT For sure! I was always exposed to things with multiple languages on them. I would notice signs and ads with all these languages, or when brands would adapt their logos for different countries. I was always really fascinated by how things all fit together, which languages would come first and where in the city you would see these translations. I remembered feeling a sense of satisfaction when the typefaces of the different languages would match or complement one another.
Having access to the internet early meant I would notice and also compare the differences with Western design; things felt simpler and bolder. Whereas in Asia, everything was always so dense, from the logos to the websites. It felt like people wanted to understand what things are, immediately and clearly. I liked how so much information could fit into the canvas. I remembered how I would try to cram my homework notes into one A4 page, just so that I could kinda see everything at a glance.
I think I still subconsciously design like this to this day. Having gone to an international school exposed me to Western media, and then studying in New York, where the education leaned more Western, made the difference more apparent.
In my work, I am constantly trying to find a balance between those two urges (Western minimalism and Asian maximalism). 256RECOVEREDIMGS It felt like my comfort zone was constantly challenged. It felt like my comfort zone was constantly challenged. TBI You studied Communication Design at Parsons – what was the most formative thing you took from that experience? IT At Parsons, I spent a lot of time discovering who I was as a designer. It made me look inwards and helped me hone in on my interests. I think it was because my comfort zone was constantly challenged, which pushed me to think and reflect a lot.
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Isabelle Tan's insights on embracing unconventional aesthetics in branding provide valuable perspectives for brand strategy professionals, making her approach significant and relevant, especially for high-profile brands navigating diverse markets.