MUJI and the Aesthetics of Simplicity : A Comparative Study on Minimalist Product Images

Breidenich, Christof; Christ, Nicole; Takayasu, Keisuke

The Journal of the Asian Conference of Design History and Theory, 2022, 4, 154-163

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Identifier to cite or link to this item: https://doi.org/10.18910/91150

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Title
MUJI and the Aesthetics of Simplicity : A Comparative Study on Minimalist Product Images
Creator
CreatorName
Breidenich, Christof
CreatorName
Christ, Nicole
NRID
1000070346659 1000070346659
researchmap permalink
keisuke.takayasu keisuke.takayasu
CreatorName
Takayasu, Keisuke
Subject
Simplicity
Minimalism
MUJI
Kenya Hara
Aesthetics
Description
Session VIII : Reviewing Product Design
Abstract
Simplicity goes beyond being a physical facet to become a cultural phenomenon. Depending on the requirement of the given moment, a certain kind of simplicity has been found or produced, and has been assigned different meanings over time. Just as simplicity, minimalism is also nonuniform. Some believe that removing unnecessary elements can serve a specific purpose, whereas others believe in the widespread acceptance of appearances without conspicuous feature. Twentieth century’s claim of simplistic modern design was largely based on functionalism, which tried to design out unnecessary elements. Even today, simplicity is often argued to support optimization; however, as the number of simplified utilities increases, the market demands the perceived differentiation of products. Therefore, it has become crucial, especially now, to connote meaning to the beauty of simplicity, if not relying on styling to acquire higher sales. Moreover, more personalized products may draw greater empathetic consumers. When people are already aware of the meaning being expressed by a thing’s simple appearance, they tend to find sincerity in lean constructions, humility in restrained surfaces, and tenderness in the exposure of natural materials. Since its foundation in 1980, MUJI has consistently emphasized simplicity and its own ‘branding’, named ‘no brand’, expresses a type of postmodernist minimalism. MUJI inherited the modernist requirements of simplicity, but it was not all about function tout court. MUJI aims for a simplicity that accepts all kinds of concerns while allowing several diverse meanings to be attached to the quality. Moreover, MUJI advertisements have given various meanings to simplicity in a way that has increased its familiarity. Since 2002, communication designer Kenya Hara has played a significant role in establishing MUJI’s minimalist aesthetic, often referencing the rich resources of traditional Japanese culture. MUJI’s product images engender a kind of modern-day Orientalism in Western countries.
Publisher
The ACDHT 2021 OSAKA Executive Committee
Source Title
The Journal of the Asian Conference of Design History and Theory
Volume (Issue)
4
Page
154-163
Date of Issued
2022-03
Language
English
Handle URL
https://hdl.handle.net/11094/91150
DOI
https://doi.org/10.18910/91150
eISSN
21897166
Access Rights
open access
oaire:version
Version of Record
Category
本学関連学会 Related Societies
The Journal of the Asian Conference of Design History and Theory / No.4