Let’s get into it then – tell us about your design journey and how it began.
It started off in 1992, when I left college. Design wasn’t particularly a big thing back then, but London at the time was actually great for me, as there was a good and small design community then. It was easier to be noticed in many ways as there was less of it – if you ended up doing something that stood out, it really stood out. If anything was published in a magazine, it was a thing, a movement, not just something superficial.
What do you think made you stand out from the rest?
I was doing something very different from everyone else when I was in London – I was just doing my own thing, although I didn’t exactly know it was my thing at the time. I had to do whatever I could to survive, and in a way that kind of defined my future. I remember back then everyone was very punk, whereas I was very bubbly and colourful –it was a different scene.
Growing up in the UK, what sort of things inspired you and shaped you into the person
you are today?
Coming from London, the cultural aspect definitely comes across in design – I think the creative environment you exist in infiltrates the design and I guess that’s my way of interpreting the poetical or ironical or the political, and this is what comes from British design. London is unique in a way because it can change the way you work, it can make you thrive in a way. I also don’t use a computer so have a fairly good grasp with shapes and forms.
You now base yourself in Hong Kong – why Hong Kong?
My first ever show was in Hong Kong, but I worked in Japan a lot though. My career actually took a leap in ’96/’67 there, and often things from Japan infiltrate the Chinese and Taiwanese markets. Because I travel so much, especially around Asia, there was more opportunities here. There were good opportunities in Europe, but it was limited compared to Asia, plus each time I was in Asia, I always found things that I could do here, that I couldn’t do in Europe.
What do you like about the Asian market then?
Well, in Europe, I felt kind of smothered there – design was already packaged and defined, whereas in Asia it wasn’t packaged in the slightest and I was freer – I could do what I want and it felt so liberating.
What’s been the best thing about working in Asia?
I guess the surprise! You never know what’s round the corner at any moment in time.
So far in your life, what has been your proudest moment?
I should say the birth of my son, right? But in my design life, there have been quite a few highlights – you never really know what the highlights are until you look back. I guess I’m still very proud about my Magis Dog House – it’s not exactly relevant to what I do now, but it was relevant to that time, it was rather empowering to do something like and it was also a fun project! If anything though, I’m proud of what’s about to come too – I have a very big exhibition coming up in Europe in February, which basically summaries everything I have done for the past 10 years. You know, you never know what opportunities lay ahead.
For aspiring designers out there – what advice would you give them?
The best thing a designer can do is travel the world. It’s the most enriching thing any human can do. Learning from the world is definitely the best thing you can do – for anyone and everyone!
What can we expect to see from you in the future then?
Well there are quite a few great things coming up – I’m about to launch a new range of faucets for a new company that I have started, which will hopefully go global. But you’ll also see some smaller, more historical projects from me, which I am currently working towards to in Europe – it’s not always about money, this particular project
is more about history, culture and design, so it will be something special.
Anything you want our readers to know about Michael Young?
…is still alive! Michael Young is still alive.
