shaping the vision: the design evolution at iriver
jun 2007 - dec 2009
Story이 이야기는 짧은 시간이었지만, 아이리버의 크리에이티브 디렉터로서 새로운 디자인 언어를 구축하고, 브랜드 전반의 비주얼 언어를 통합해 나간 과정을 담고 있다. 타 부서 및 최고 결정권자들과의 유기적인 협업을 통해 디자인이 기업 전략의 중심이 되는 구조를 만들어냈고, 이를 바탕으로 아이리버 디자인의 미래를 새롭게 설계한 여정이다.
"나이키에서 글로벌 크리에이티브 디렉터로 활약했던 Ed Boyd의 존재와 역할은 제게 깊은 인상을 남겼고, 이후 커리어의 중요한 동기이자 기준점이 되었습니다. 나이키에서 LG전자로 자리를 옮기며 유사한 역할을 기대했지만, 다양한 제약 속에서 그 기대를 온전히 실현하기는 어려웠습니다. 이후 핵심 프로젝트를 성공적으로 마친 뒤, 아이리버의 크리에이티브 디렉터 제안을 받았고 이를 수락하게 되었습니다. 당시 아이리버는 재도약을 모색하던 시기였으며, 첫 임원 인터뷰 자리에서 지금도 기억에 남는 최고의 CEO이자 기획자를 만났습니다. 그리고 제안을 해준 공동대표는 제 친구이자 디자인 전반에 대한 신뢰와 권한을 전적으로 맡기며, 아이리버 합류의 결정적인 계기를 만들어주었습니다." - YOO2007
재정립된 새로운 디자인 언어의 수립과 시장에서의 증명
회사 임원들과의 첫 인터뷰 자리에서 저는 미공개된 미키마우스 모양의 MP3 플레이어, ‘M 플레이어’를 소개받았습니다. 세 개의 단순한 구로 기능과 디자인이 완벽한 균형감의 조화로 구성된 디자인은 제 안에 깊은 인상을 남겼습니다. 처음 디자인한 디자이너들에게 깊은 감동을 받았습니다. 이는 아이리버의 새로운 디자인 언어를 구축하는 데 큰 영감을 주었습니다. 하지만 제품 디자인과 달리 조악한 포장, 밋밋한 칼라, 그리고 섹슈얼한 마케팅은 과감히 스칸디나비안 디자인의 영감을 불어넣어 아이리버만의 새로운 미학으로 다듬어 갔습니다. 합류 후 저는 목업 집으로 달려가 60가지 칼라를 제작했고, 그중 10가지의 저채도 세련된 칼라를 시장에 선보이며 아이리버 디자인 언어에 대한 자신감을 표명했습니다. 애플이 강세인 시장에서도 소비자들은 이 제품을 2개씩 구매하며 돌풍이 시작되었고, 우리는 새로운 디자인 언어의 방향성을 성공적으로 증명할 수 있었습니다. ‘M 플레이어’는 아이리버 디자인의 미래를 형성하는 중요한 전환점이 되었습니다.1
Right before the first launch, I redesigned the kitschy packaging to be minimalist, inspired by a New York trip to add the 'floating package' concept.
We took a bold approach by launching ten different colors, and it was a huge success. One customer even bought several to match their fashion style.
Make the Mplayer express emotions.
01 A concept where customers can build or customize the product their way.
02 Me : A concept where customers can fully personalize every aspect of the product, from features to design.
2008
Good design is good business. – Thomas Watson Jr., former CEO of IBM
A Cohesive Design Strategy for Brand Renewal
Distinct by Design
과거 혁신 기업으로 명성을 떨쳤던 아이리버는 제가 합류했을 당시에는 어려운 시기를 겪으며 새로운 성장 기회를 모색하고 있었습니다. 첨단 기술과 개발 역량의 공백을 인지한 저는 독창적이고 전략적인 디자인을 통해 아이리버의 경쟁력을 강화하는 데 집중했습니다. 브랜드의 통일되고 강력한 목소리의 필요성을 깨닫고, UI, 마케팅, 브랜드 비주얼이 디자인 조직 내에서 원활하게 협업할 수 있도록 팀을 재구성했습니다. 이를 통해 제품 패키징, 제품 디자인, UX/UI, 리테일, 전시 디자인이 일관되고 통합된 브랜드 내러티브 아래 조화를 이루도록 만들었습니다. 전략적으로 혁신적인 기술보다는 현실적으로 가능한 기술과 혁신적인 디자인의 좋은 조화였다고 생각합니다.
ID
Industrial Design Language : 아이리버 산업 디자인은 미니멀리즘 철학을 유지하면서도 시장의 매력을 더하는 요소들을 신중하게 반영하는 데 집중해 왔습니다. 저의 목표는 제한된 엔지니어링 여건과 자원 속에서도 소비자에게 깊이 공감받는 독창적인 디자인 언어를 만드는 것이었습니다. 출시된 각 제품은 큰 인기를 얻으며, 이러한 방향성이 우리의 디자인 원칙과 시장 요구를 효과적으로 조화시켰음을 입증했습니다.
photo - iriver design group
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UX/UI
2009 ML UI: Revolutionized traditional UI concepts and launched it in the market, seamlessly blending sophistication into the hardware for ultimate harmony. The large grid functions as an easy-to-press button while evoking the feel of a sleek magazine layout.
Boldly implemented flat UI for the first time in the industry to achieve refined consistency in design language.
Enhancing usability and delight through a unique combination of physical and software UI.
Enhancing usability and delight through a unique combination of physical and software UI.
Squarecle Icon: Born from the continuity of iRiver's industrial design language.
Where Inclusivity Meets Elegance : Integrating the UX team into the design team was a transformative process that pushed boundaries. It took considerable time and effort to get a deep understanding of this field, but that challenge led to some groundbreaking results. I embraced a bold approach by implementing flat UI early on, pairing it with an innovative, magazine-style design that effortlessly complemented the hardware. The introduction of square UI was a game-changer, setting a new standard in the industry. We then ventured into uncharted territory by combining physical dials with screen UI, creating a truly multisensory experience. This fusion of hardware and software wasn’t just functional—it was a statement of iRiver's distinctive design language, merging usability with a unique sense of creativity and elegance.
Iriver's latest PVP, dubbed the P7, has an interface unlike any we've seen before.
"Iriver appropriately describes its main menu screen as magazine-like, laying out each of the player's functions on a single screen, compartmentalized into an attractive arrangement of boxes. " -- CNET" In 2007, I merged the UX team with the industrial design team, which allowed me to achieve a strong consistency in our design language. This approach enabled us to boldly apply designs that were uniquely 'iRiver'—both distinctive and usability-enhancing—to the market. One standout example was the 'Magazine UI,' a completely new style that went beyond the industry's first use of flat UI. It was a design that had never existed before, and bringing it to life involved overcoming significant challenges. There was a lot of concern from decision-makers since the concept was unconventional at the time. With limited resources, I worked closely with a junior designer, collaborating directly to bring the project to completion. Despite these hurdles, the design debuted to great acclaim at CES. However, one regret was that the use of low-cost chips prevented the natural fluidity we had envisioned for the UI's motion." - Yeongkyu YOOPackaging
Reimagining Packaging: iriver’s Bold Step Towards Sustainability
At iriver, we’ve redefined what packaging can be. It’s no longer just about protecting a product—it’s about creating something meaningful, sustainable, and beautiful. We’ve stripped back unnecessary printing, focusing instead on the tactile elegance of embossing and debossing. But the real shift came with our “re-valuable design” concept—packaging that doesn’t end its life when it’s discarded. Instead, it transforms into something functional, something worth keeping. It’s a simple idea with profound impact, and it’s how we’re leading the conversation in sustainable design.
Exhibition & Store
“iRiver made arguably the strongest design statement at C.E.S. this year. The Korean company has recently undergone a rebranding under the aegis of its creative director, Yeongkyu Yoo, who left Nike to reinvent the electronics maker. Everything we saw — the slick, white exhibit enclosure, the light-box display cases, the product packaging and the chic products themselves.”
- The New York Times
“I saw it as a critical step in refining the overall design integration and elevating it to its highest standard”
“ During the process of integrating design language from product to packaging, I was always frustrated by the inconsistent visual messages coming from the marketing team at consumer touchpoints. Every meeting with them felt like a repetitive cycle of evaluating external designs, and I could see my time and energy being wasted on inefficient discussions. Eventually, I was given full control over retail and exhibition design by the company CEO. Although this added even more responsibility to my already heavy workload, I saw it as a critical step in refining the overall design integration and elevating it to its highest standard.
At exhibitions like IFA in Europe and CES in the U.S., I designed the space to reflect iRiver’s unique identity. From selecting materials and fonts to the final setup, I was able to communicate iRiver’s message more clearly. After the exhibition, the immense creative effort I poured in felt worth it, even though I lost a few kilos in the process. The white, floating booth at CES, built with a very limited budget, stood out and caught people’s attention, playing a key role in boosting iRiver’s global brand recognition.
Retail was no different. Instead of the usual rigid product service spaces, we launched the first-ever 'iRiver Lounge' in Korea— a space inspired by the feeling of a café. This innovative store concept was groundbreaking at the time and successfully communicated a fresh brand image to our audience “ - Yeongkyu YOO
“I’m jealous of Yeongkyu Yoo who is the creative director of iRiver. I worked with him at Nike and when I visited his booth at CES, he introduced me to his upper management and everyone separately told me that they were here to support Yeongkyu’s vision. Yeoungkyu had complete creative control and everything from the product to the booth was done under his direction.”
- Scott Wilson ( Former Creative director at Nike )
Domino — Founded a Design-Driven Brand
Domino project : Crafting the Voice of Design.
Established Domino, a Design-Driven Brand where design takes the lead in every decision.
By expanding the responsibilities of the design team, it embodies the value of a brand that integrates and collaborates across all processes, from product planning and industrial design to sales, in a more solid way. It was born to uphold the commitment of maintaining a consistent vision from start to finish, aiming to build trust that remains unchanged over time.
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The design team was responsible for everything from product planning and design to making sure the design principles were reflected in the places where the products were sold, offering consumers a transparent and clear voice
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I was responsible for retail and design at domestic and international trade shows, proving the powerful impact of design integration in the market. During this process, I worked on strengthening iRiver's product design but felt that seeing products scattered in electronic stores was disrupting the perfect design voice. However, given the challenging situation at the company, I chose to pursue a new experiment rather than take the risk of changing the retail environment.
This led to the creation of the Domino brand. The design team was responsible for everything from product planning and design to making sure the design principles were reflected in the places where the products were sold, offering consumers a transparent and clear voice. One key differentiation was having the design team decide early on where the product would be sold, which traditionally was the role of the sales team. I believed the MoMA Design Store in New York would be an ideal first location for Domino, so I went there and met with the curator, resulting in our first sale.
Additionally, I presented the product to Kenya hara, the art director at Muji at the time, and received positive feedback. He even mentioned, 'Sony should wake up.' Afterward, I met with the representative from Muji, and they expressed a strong interest in selling the product. Unfortunately, after I left iRiver, progress on this front came to a halt. The product quickly gained recognition in the market after its release, and I had plans to expand the lineup and further solidify the design team’s role. However, after leaving iRiver, these plans were no longer able to move forward, which I regret.
Designing Tomorrow: The Heart of Teamwork, Motivation, and Vision in the Design Studio
As the head of the design group, I worked on strengthening the team's capabilities while envisioning and gradually implementing three dreams for the future of the design center.
First, much like Philips’ “Vision of the Future”, the goal was to define and present a forward-looking vision for iriver—crafting innovative designs, technological advancements, and comprehensive product strategies that align with the company’s future aspirations.
Second, to continually inspire our in-house designers and nurture their creativity, I aimed to foster collaborations with brands we admired. These collaborations encouraged us to dream bigger and explore new possibilities. Notably, partnerships with MUJI and Groovisions came to fruition as part of this initiative.
Third, the ultimate vision was to evolve iriver’s design capabilities into a global design studio, akin to BMW Designworks—a consultancy that provides creative and innovative design solutions across diverse industries while continuing to champion iriver’s design identity. This vision began materializing as our design expertise gained global recognition, leading to design requests from international companies.
“I had initially outlined simply as an idea, in the same way BMW Designworks or Philips Design Group’s Vision of the Future had done”
“ I spent several years at iriver, with days so busy that there was no distinction between night and day. Yet, the process of seeing results was an invaluable reward, driving me to work with strength and passion. Over time, the design language began to take shape, and as the designers adapted to this new language, I gradually stepped back from the micro-design management approach I had initially implemented. This was also the period when the designers started to seek more independence from me.
As I reached the peak of leading the design group, I began to realize the future of the design group, which I had initially outlined simply as an idea, in the same way BMW Designworks or Philips Design Group’s Vision of the Future had done. Fortunately, the plan began to progress smoothly, but as it advanced, I regretted not being able to find the right global talent to take responsibility for this business. One of the most exciting moments for me as a designer was when the CEO of B&O personally visited iriver's exhibition booth and invited us to their headquarters for discussions on design collaboration. However, it was a missed opportunity that I couldn’t visit the B&O headquarters due to the IFA exhibition in Europe. Similarly, while there were design collaboration proposals from Motorola and many other global companies, I had to put a halt to those projects because of the ongoing internal workload, which was a great disappointment.
As the head of design, this was an incredibly valuable period where I achieved many successful executions, but also realized areas where I still had much to learn, all in a short amount of time.”
The Conclusion – The Journey of 2 Years and 7 Months
My two years and seven months at iRiver were the busiest and most intense period of my design career, filled with passion and deep dedication to the company. Without exaggeration, I devoted nearly all of my time to creating exceptional designs.
Launching over ten products per year at a small to mid-sized company requires repeatedly iterating through many more concepts and design revisions. Until the iRiver brand reached the desired standard, I led every product from initial concept through to production, deeply involved in both design and execution. My hope at that time was that within about three years, the designers would fully understand the brand’s guidelines, allowing me to regain some personal space.
To achieve higher quality at every design touchpoint, I set the goal of ensuring consistency across not only industrial design but also retail and exhibition design. While this significantly increased workload, it also greatly motivated me. Assigning development staff directly to the design team and initiating early-stage sales activities from the design perspective were also innovative measures aimed at achieving greater design coherence.
As my workload intensified, I proposed a streamlined decision-making process to help the CEO and CDO quickly and easily finalize design decisions, thus alleviating bottlenecks. After more than two years, when our products began receiving market recognition for their outstanding design, the CEO's trust in our design team grew stronger, enabling us to make more autonomous decisions—a fact for which I remain deeply grateful.
However, entering the third year, I realized that merely elevating design standards would not suffice to satisfy the increasingly sophisticated consumer expectations. Facing these limitations, I proposed a new, visionary product lineup embodying iRiver's innovative identity, strategically balancing commercial viability with fresh, cutting-edge brand positioning. These products aimed to surpass our previous stylish offerings through technological and experiential innovation, requiring bold moves to stay ahead in a competitive market.
Ultimately, the company chose a safer, more stable path, diverging from the innovative spirit of the early iRiver. Respecting our different perspectives, I decided to leave the company after two years and seven months. Despite our differing paths, I still respect the company’s decisions, maintain a friendly relationship with the CEO, and remain deeply appreciative of his support for our design efforts.
Finally, I express heartfelt gratitude to the 25 designers in the design group who faithfully supported my direction and significantly contributed to creating outstanding products.
Currently, I have received offers from several companies, but I have declined them all. However, if I encounter another great opportunity similar to my experience at iRiver, where I can actively participate with the CEO in key decision-making, I would seriously consider it
All of Us
We came a long way—together. I'm deeply thankful to every member of the iriver design group who brought their dedication and design spirit to the table. None of this would’ve been possible without you.
Daehee Kim, Dowon Kim, Minjung Kim, Sujin Choi, Sanghyun Jeong, Sungjin Cho, Jinyoung Park, Taehee Jang, Semin Jeon, Yong Kim, Mincheol Kim, Eunsol Kim, Changhoon Lee, Wooshik Choi, Dongjin Han, Goeun Han, Hyewon Ok, Deokhee Jeong, Hyunsik Kim, Taeun Park, Sangil Lee, Donghoon Kim, Jiyong Kim
And to those whose names I may have missed—please know that your efforts and presence were equally valued and never forgotten..