Design as Intelligence ｜ FUKO CHUBACHI
Where Strategy Meets Aesthetic
Fuko Chubachi does not simply create visuals—she engineers meaning.
A New York–based art director and visual strategist, she first rose to prominence at Sony Music, where she shaped the imagery behind Beyoncé’s *B’Day*, among other era-defining projects. Her body of work spans collaborations with Mariah Carey, Michael Jackson, and a roster of global icons.
Since founding Hachikin Creative in 2017, Chubachi has moved beyond image-making into something more expansive: constructing the visual and experiential DNA of brands.
Beyoncé, I Am... Sasha Fierce (2008). Visual direction by Fuko Chubachi.
Building Brands from the Ground Up
We speak as she settles into her second home in the Catskills, where she has just completed an outdoor bath—built slowly, deliberately.
“I barely remember what I ate yesterday“she laughs, while describing her demanding schedule. Yet she divides her time between New York City and the Catskills so her two children can grow up surrounded by nature.
In this interview, we will explore how she has carved her path as a creative director.
IROHA: What are you currently working on?
FUKO: We’re developing a large-scale Japanese restaurant in Midtown from its very foundation.
Of course, the design must be beautiful however, what matters more is, defining why the space will be chosen and what compels people to return. We align the visual language with the lived experience.
At our studio, we don’t stop at branding. We design the entire journey—how a customer encounters, moves through, and remembers a space.
That means thinking across both digital and physical realms. Sometimes it comes down to the smallest of details like the texture of a coaster and the feel of a chopstick sleeve. Everything carries with it a sense of meaning.
Teruko at the Hotel Chealsea designed by Hachikin Creative
Design Is a Solution
IROHA: Your work seems deeply rooted in strategy.
FUKO: Exactly. I always say, “Design is a solution.”
Every client comes to us with a challenge—whether they want to improve something, increase sales, or gain visibility. Design is what steps in to solve that.
Without understanding the goal, you can’t define the solution. That’s why design must be grounded in market and brand strategy.
In the music industry, where I spent nearly 15 years, my role was to translate an artist’s intent into visual form — without ever diluting it.
Mariah Carey,#1 to Infinity (2015) Visual direction by Fuko Chubachi.
You protect the essence, but you also expand on it—so that it resonates.
Today, I feel a responsibility to go beyond what’s expected. If someone chooses to work with me, I want to give them something they couldn’t have imagined themselves.
That’s a mindset I only arrived at recently.
In my twenties while at Sony Entertainment, I worked across all genres. But when I was assigned to hip-hop visuals, I didn’t even know what was “right”—I didn’t know how many gold grillz would make a rapper look cool.
Over time, I began to understand what I was good at. Eventually, I became known for working with divas.
My goal back then was simple: to become someone people would say, “I want to work with Fuko.”
After my work with Beyoncé, that started to happen.
Usher featuring Juicy J, " I Don't Mind" (2014）Visual direction by Fuko Chubachi.
The “Copy Room Strategy” That Changed Everything
Fuko’s journey to the U.S. began when she was working at an advertising agency in Tokyo, inspired by international campaigns.
Arriving on a student visa, Fuko initially pursued advertising, only to realize how little she understood about the U.S market and she pivoted—to music.
A key supporter at the time was Nobuyuki Idei, the late chairman of Sony, who introduced her to then–Sony Music president Tommy Mottola.
A turning point came through a small, almost accidental act.
FUKO: When I first joined Sony, I wasn’t good at self-promotion. I behaved very “Japanese”—quiet, reading the room, not asserting myself.
One day, someone came to my desk and asked, “I found this design in the copy room—was it yours?” I said, “Oh, I forgot to pick it up.” And they said, “Wow, this is actually really good.”
That’s when I realized—this could work.
So, I came up with what I call the “copy room strategy.” I started intentionally leaving my designs there.
Creative directors would see them and say, “Who did this? Oh—it says Fuko.”
That was my first way of creating visibility.
Then one day, the art director working on Beyoncé suddenly left, and they needed someone quickly and I got the opportunity.
Beyoncé ”B'Day”（2006) Visual direction by Fuko Chubachi.
I pulled all-nighters to create the designs, but acted calm during the presentation. It was approved—and from there, more work followed.
Looking back, I wasn’t great at self-promotion compared to Americans.
But at the same time, I’ve realized that being Japanese also helped me get where I am.
There was already strong admiration for Japanese brands—Sony, Toyota—when I arrived in New York 20 years ago.
And I believe my background gave my work a distinct quality.
Having a different perspective can be a real strength.
Failure Is an Asset
IROHA: What advice would you give to young people who want to follow in your footsteps?
FUKO: Find what you love—because without that, you won’t endure.
Then refine it into something only you can offer. If you replicate what already exists, you disappear. And fail—often.
However, failure — especially when you’re young — is an asset. It builds range.
The most important thing in work is building trust—and never breaking it.
And one more thing: Don’t Give Up!
Like with my copy room story, there were times when I wasn’t recognized. But by continuing, opportunities eventually came.
Even if the results don’t come immediately, believe in yourself and keep going.
C by C New York Chocolate bar, designed by Hachikin Creative
Why Passion Projects Matter
FUKO: Another thing I value is having a passion project outside of work.
This is something my former boss once told me. When I was at Sony, I asked if I could start a side project—the digital magazine Heaps.
He said, “Of course. Creators shouldn’t only work.”
That stayed with me.
Heaps Magazine Cover
Having a passion project exposes you to different stimuli, which feeds back into your work and helps you grow as a person.
My boss himself created a fashion magazine as a hobby.
So, I strongly encourage young creatives to pursue something outside their main work.
IROHA: What is your current passion project now?
FUKO: Right now, it’s country living—building an outdoor bath and working on a small farm.
Fuko with her two sons at their Catskills home
Our second home in the Catskills is about two hours away. We wanted a place where our kids could run freely, so we go back and forth between there and the city.
It’s a small farm, but harvesting potatoes and tomatoes—even with some failures—is incredibly rewarding.
And I’m obsessed with the outdoor bath. In winter, it takes about four hours to heat.
I wake up around 7 a.m., add firewood several times—it’s a lot of work, but it becomes a form of meditation.
Listening to the fire crackle, smelling the burning wood, and then jumping into the hot bath together—that feeling is pure happiness you can’t replicate.
Slow days, fresh air—farming life in the Catskills.
PROFILE
Born in Kochi, Japan, Fuko Chubachi began her career as a graphic designer in Tokyo before relocating to New York.
At Sony Music, she led visual direction across artist campaigns, shaping imagery for global figures including Beyoncé, Mariah Carey, Michael Jackson, Miles Davis, and Bruce Springsteen. Her work on Beyoncé’s *B’Day* and *I Am… Sasha Fierce* remains among her most recognized.
In 2013, she launched the digital magazine *HEAPS* as editor-in-chief, earning international recognition at the Digital Magazine Awards in London.
She founded Hachikin Creative in 2017, where she continues to develop brand identities and visual strategies across industries.
She lives between New York City and the Catskills with her husband and their two children.
