My work ranges from consumer products like cameras, lenses, and binoculars to industrial products like semiconductor lithography systems. Before joining Nikon, I never imagined that a single designer could work on such a diverse range of products. For example, the exterior of a semiconductor lithography system and that of a camera share the same fundamental design principles, yet their use cases and users are completely different. Whenever I start a design, I begin by mapping out the user’s workflow—when, where, and how the product will be used. It can be challenging to learn each application from scratch every time. Approaching the work with a blank slate sparks an ever-growing curiosity to know more and keep learning.

We work together with engineers to explore and refine our designs.
The scope of our design is limited to the exterior. A product must first and foremost have the right framework to meet the required performance, quality, and objectives. On top of that, we evaluate whether it is truly easy for the user to handle. While engineers and designers have different roles, our goal is the same. Even if it is difficult to change the overall structure, a slight adjustment to the internals might lead to a better form. To explore that possibility, we hold countless meetings. The engineers trust us enough to say, “When it comes to design, ask the designers,” and I think that enables us to work as a great team.

I’ve always wanted to fill my surroundings with things I love. That passion was the starting point for wanting to become a product designer. But in my work now, I’ve come to realize that what matters more than my own preferences are the feelings and impressions of the countless users out there. Some people are petite, others are tall. Their heights, hand sizes, and eye levels vary enormously. I evaluate each design with the mindset of identifying with the user, imagining how each different person will feel when they hold the product.
There are many moments in design that I find enjoyable, but what I love most is the instant I discover the perfect proportions. Take a lens, for example—what kind of flow does it create across the design? An exterior that simply mirrors the lens’ internal construction isn’t necessarily the easiest to handle. It needs a form that lets the hand move over it smoothly. It also needs to look composed whether the lens is placed on its own or attached to the body. Sometimes, altering the proportions by just fractions of a millimeter makes the whole design come together. Finding that ratio is immensely satisfying.
Of course, it’s hard to see every aspect on one’s own, so I have a variety of people actually handle the prototypes and exchange feedback with them.

As a designer, having clear convictions about how I want things to be is naturally important. However, it isn’t in the customer’s interest if incorporating them all ends up raising the price. Even as I hold to those convictions, I’m careful not to become self-indulgent as a designer. Conversely, if something is necessary from the user’s standpoint but can’t be adopted due to cost constraints, I negotiate persistently. I believe good product design is the kind that balances user benefit with the designer’s convictions.

I’ve worked on many different products. The one that I went to the greatest lengths for in terms of exterior styling was the STABILIZED binoculars, which feature image stabilization. Given the nature of the product, the core market was expected to be concertgoers. It lets them watch their favorite performer without blur, and fits easily into a small bag. With its high stabilization and compact form, the fundamental architecture already delivered strong usability. From there, the question was how to express that performance and quality through styling. I generated and tested so many patterns that I couldn’t tell you the exact number. Another element that particularly stands out in my memory is the design of the eyepiece caps. They’re the type that snap onto the lens and are held in place by tension. As long as the seating diameter matched, there was a relatively high degree of design freedom. The previous caps connected the left and right eyepieces with a wavy profile that felt a bit rough, so I set out to create a more refined impression. I tested over twenty variations just for the cap shape, and I remember my supervisor asking, “You’d go that far for a cap?”

Few users will ever notice the caps. Most probably won’t even realize their shape has changed from the previous model. I put the same care into the caps as into the body and tested them thoroughly. The result was a design I could release with complete confidence as a designer. The STABILIZED went on to win Best of the Best in the Red Dot Design Award, one of the world’s most prestigious honors for outstanding products. When I’m out visiting electronics retailers for market research and spot the STABILIZED on display, I can’t help but feel a little surge of pride.

As a designer working within a corporate design department, I believe my role is to align closely with the company’s vision of what it wants to be. Where is Nikon headed, and what value does it want to deliver? Products are the most direct way to give tangible form to that intent and communicate it. That’s why I want to keep creating products that embody Nikon’s ideals.

What motivates me most in design is knowing there are users who truly love Nikon products. When I visit the Nikon Museum, I sometimes see people standing for a long time in front of past products or taking photos of the items on display. Every time I see that, I feel their deep affection for Nikon products. It reminds me to never betray their expectations with any future product we release. The most important thing for us is to keep earning the trust and meeting the expectations our users place in Nikon. How will they feel when they hold this product? I picture the people who will use the product and approach each and every design with care.

*Title and work duties are those at the time of interview