From Vision to Visual: The Role of Key V

Opinions I June 18, 2025 I Written by ASIA DESIGN PRIZE

From Vision to Visual: The Role of Key Visual Design in ADP’s Rebranding

Creative Director Yena Choi

Founder of B for Brand & CEO at Romantic Tiger

What motivated you to run both the B For Brand design agency and the Romantic Tiger fashion brand simultaneously? Are there any synergies or points of connection between the two?

I believe branding is not a theoretical exercise—it must be tested and validated in the market. That’s why I operate both the B for Brand agency and the Romantic Tiger fashion brand at the same time. The hands-on insights I gain from planning and running Romantic Tiger provide a practical foundation for every project we take on at B For Brand. For me, design is not just about form-making; it’s a strategic tool for translating a brand’s philosophy and direction into a visual language that creates real impact in the market. In that sense, the rebranding of the Asia Design Prize was more than a visual update—it was a meaningful project that redefined the identity and value of Asian design itself.

What kind of brand is the Asia Design Prize, and how do you perceive its unique value or role?

I believe the most fascinating aspect of design lies in how the same problem can be interpreted and visualized in entirely different ways depending on cultural context. In that sense, Asian design feels like a collective embodiment of those possibilities—an ever-evolving space of sensory experimentation. The diversity in color, form, structure, and materials rooted in each region’s unique cultural DNA constantly provides me, as a designer, with new stimulation and deeper questions. Some works resonate deeply by faithfully continuing the thread of tradition, while others completely subvert that tradition to offer astonishing reinterpretations. I think the true allure of Asian design lies in these creative collisions that occur at the threshold between past and future.

In this light, I see the Asia Design Prize not simply as an award, but as a space for discourse and a cultural nexus—one that proposes and experiments with the philosophy and identity of Asian design on a global stage. It goes beyond merely showcasing trendy work; it’s a brand that demonstrates how Asian ways of thinking and aesthetics can open up new possibilities and directions within the global design conversation. Personally, that’s why ADP fills me with anticipation and excitement every year. Through this platform, I encounter fresh perspectives and approaches that directly or indirectly influence the brands and projects I manage, helping me make better decisions. I believe the Asia Design Prize is not only a reflection of where Asian design stands today but also the most reliable compass pointing toward its future.

What design area were you responsible for in the Asia Design Prize rebranding project, and what strategic goals and visual direction did you focus on in your work?

Following the 2025 edition, I once again took on the role of designing the key visual for the Asia Design Prize rebranding. The key visual is not merely decorative or background imagery—it is a visual declaration and strategic communication tool that encapsulates the brand’s identity and philosophy at a glance. My approach centered on three pillars: delivering the core message of the rebranding clearly, making a strong and memorable first impression, and emotionally resonating with the target audience. Built upon the newly defined “Legacy Red” and the youthful, trend-forward energy of the refreshed BI, I felt a strong need to establish an additional layer of visual language unique to ADP.

My solution was the use of a holographic element—not as a mere visual effect, but as a symbolic amplifier of ADP’s multilayered future vision and global presence. The shimmer and layering of the hologram deliver a synesthetic experience that flat graphic design cannot achieve, serving as a powerful visual language to express the brand’s direction and stance. Using BI-derived motifs and dimensional line compositions, I visualized ADP as a platform for creative collisions between designers and brands. The overall mood aimed to balance elegance with a forward-looking tension. Ultimately, this key visual is not just a graphic—it’s a condensed, sensory declaration of the brand’s philosophy: “LEGACY BEYOND ASIA.”

As a designer, how do you define ‘good design’—particularly ‘good Asian design’? And how was that value reflected in the Asia Design Prize rebranding?

The core values I place at the center of design are threefold: Balance, Beautiful, and Boundless. These are not only my definition of good design but also the essential qualities I believe Asian design must embody. Balance is the harmony between aesthetics and strategy—true design power emerges when beauty effectively serves both function and message. Beautiful refers to visual energy that evokes emotion, even in a single dot; it’s not about decoration, but the internal vibration that moves the viewer. Boundless reflects my belief that design should not be confined to the visual—it should extend to the other senses, invoking auditory, tactile, and even olfactory empathy. In the Asia Design Prize rebranding, I approached the project with the intention of realizing these three values in practice.

For example, the hologram acts not only as a visual layer but also evokes a tactile sensibility; lingering lines and wave motifs inspire auditory imagination; and the signature color “Legacy Red” functions as a visual emotional device that instantly stirs a sense of warmth and sentiment. Together, these elements invite the imagination to sense a Zen-like tone and taste—an aura rooted in Asian spirit and emotion. Rather than treating ADP as a product consumed visually, this design approach aimed to immerse audiences in its philosophy and worldview through a full sensory experience. In doing so, I hoped to present a living example of what ‘good Asian design’ can truly mean.

The choice of 'hologram' as a core visual language is striking. How did you intend to visually express the message ‘LEGACY BEYOND ASIA’ through this element?

The hologram was not used as a simple visual device, but as the most condensed and intuitive medium for expressing the core message of this rebranding: “LEGACY BEYOND ASIA.” What made this element particularly meaningful was how its multilayered nature directly corresponded to the inherent complexity of Asian design. First, the multifaceted nature that shifts with the viewer’s perspective symbolizes the diverse cultural contexts and interpretations across Asian countries. Just as a hologram reveals different colors and patterns depending on the angle, Asian design too is read and interpreted differently within each regional context—a metaphor I wanted to subtly embed. Second, the futuristic sensibility of the hologram was key.

While the word “legacy” is often tied to the past, I wanted to emphasize it as a “living tradition” that is still evolving in the present. The shimmering surface of the hologram symbolically conveys the potential for tradition to extend from the present into the future. Lastly, the refraction and diffusion of light characteristic of holography became a sensory metaphor for the idea of “Beyond Asia.” It visualizes the creative energy born in Asia as it radiates outward across the globe—translated through the universal language of light. In this way, the hologram functions not just as a decorative flourish but as a compact visual rhetoric and a tangible embodiment of ADP’s philosophy and vision.

How did collaboration with other teams unfold during the project, and were there any insights or memorable moments along the way? If there were challenges, how did you overcome them?

What left the strongest impression on me during this project was the pursuit of diversity in expression within unity of philosophy. Within a collaborative structure where multiple studios and directors brought their own expertise and sensibilities, the key challenge was to maintain the core identity of the brand while allowing space for each party’s individuality and interpretation to naturally coexist. Our communication went far beyond typical briefings or task instructions. It began with in-depth discussions about the brand’s philosophy and vision. Because all teams deeply empathized with and understood the direction ADP aimed to take, a solid foundation was laid for each of us to interpret and implement that vision in our own language.

One of the biggest challenges was ensuring that the key visual, spatial design, trophy, and content—though belonging to different domains—could harmonize within a single brand universe. Each needed to be independently refined while still interwoven into the brand’s overarching narrative. We addressed this by holding regular cross-check sessions, where we shared updates, exchanged feedback, and gradually closed the gaps between disciplines. The greatest insight I gained from this process was the realization that branding is not an act of control, but a posture of direction-setting. When a clear concept and philosophy serve as the core, individual creativity can freely unfold around it, resulting in a richer, deeper brand experience. This project reaffirmed that belief for me in the most vivid and rewarding way.

Did this project lead you to rethink the identity of Asian design? Or did it reveal any new possibilities for Asian design through the work?

What became most clear to me through this rebranding project was the realization that Asian design is no longer an alternative or supplement to Western design—it is now an independent center of gravity. In the past, Asian design was often interpreted through a Western lens, or reduced to the modern reinterpretation of traditional motifs. But what I experienced throughout the entire process of this project revealed that the essence of Asian design is far deeper and more layered. Asian design embodies a unique cognitive structure—one that integrates emotional resonance, cultural strata, and temporal context into a holistic experience. This creates a completely different trajectory from Western design, which often prioritizes functional efficiency.

One moment that especially crystallized this for me was during the development of the holographic key visual. I came to strongly believe that the future of Asian design lies in the creative convergence of technology and tradition. It’s not about superficially borrowing traditional patterns, but about fusing Asia’s philosophical mindset and emotional depth with cutting-edge visual technologies to create an entirely new language. I’m now convinced that such approaches will become a driving force for Asian design to lead global trends. This project became a meaningful platform where we could test and validate that very potential.

What personal meaning does this rebranding project hold for you? Were there any lasting insights or emotional takeaways?

The ADP rebranding was far more than a visual assignment—it was a project that made me reflect deeply on the relationship between design, society, and the value that design can create. Through this experience, I came to understand in a tangible way that design is not simply about making things “beautiful.” It plays a powerful role in helping brands shape cultural identity and lead social discourse. Running B For Brand, I’ve asked myself time and again: What is the essence of branding? Through this project, I feel I’ve found a clearer answer. True branding is the act of redefining a reason for being. And when that philosophy is translated visually, it gains the power to reshape perception and emotion.

Personally, this project also intersected in an unexpected but meaningful way with my experience running Romantic Tiger, giving me a new perspective from a different context. It reaffirmed my belief that a brand is an entity that continuously produces and communicates value—and in that process, design is not just a tool, but a fundamental strategy. More than anything, I hold onto the hope that the visual language we created in this project will go on to inspire countless designers, becoming a starting point for new forms of creation. That potential, in itself, is the most elemental power of design—and it is also the reason I continue to do this work.

What kind of future do you envision for the Asia Design Prize through this rebranding? What are your expectations or forecasts regarding the role ADP will play moving forward?

In 2025, the Asia Design Prize received submissions from designers and brands across 22 countries. This isn’t just about increasing numbers or broader participation—it’s a symbolic indicator that ADP’s growth has now entered a phase of qualitative evolution, not just quantitative expansion. And this shift is by no means accidental. In recent years, global interest in Asian design has risen rapidly, and at the center of that momentum, ADP is increasingly serving as a definitive benchmark and hub. The brand philosophy and visual system established through this rebranding go far beyond a surface-level facelift. They represent a fundamental shift—redefining the values, attitudes, and identity the brand must embody. The many strategic questions raised and the depth of interpretation explored during the process laid the foundation for ADP to grow into more than just an award ceremony—it is becoming a cultural platform.

I believe the future of ADP is very clear. For designers, it will be a formal and symbolic platform to showcase their work to a global audience. For brands, it will serve as a strategic launchpad for expanding beyond Asia into the global market. And for the public and design students, it will become a central pillar in the creative ecosystem—offering inspiration, aspiration, and a vision of what’s possible. ADP is no longer just a place to recognize outcomes—it is evolving into a powerful medium that defines the value of Asian design and connects its essence with the world. This rebranding will accelerate that trajectory, and within it, we will witness how the future of Asian design moves from possibility to reality.