Chí-An Benjamin De Leo
Born to an Italian father and a French-Vietnamese mother, Chi-An Benjamin De Leo grew up with a multicultural heritage that fostered his global perspective and knack for cross-cultural connection. His fluency in four languages and residence in five countries further strengthen this global mindset. A graduate of the University of Plymouth, Chi-An launched his advertising career at MullenLowe Global in Vietnam, where he was instrumental in establishing the branding division. Driven by a passion for impactful brand experiences, he founded Rice in 2011. His work has garnered numerous international accolades, including D&AD, Red Dot, TDC, Pentawards and Dieline Awards. Chi-An frequently participates in international design juries and holds membership in the Alliance Graphique Internationale (AGI). He is currently spearheading ambitious initiatives for Rice, encompassing meaningful product development, expansion into education and conference hosting.
Red Dot in an interview with Chí-An Benjamin De Leo
This was your first time on the Red Dot Award: Product Design jury. How would you rate the overall quality of the entries?
The quality was genuinely impressive, and what particularly struck me was the variety of approaches and cultural perspectives represented. Coming from a multicultural background myself, I’ve always believed that great design is the outcome of different perspectives coming together. I found it particularly encouraging to see how many designers are moving beyond pure functionality to create products that tell stories and build emotional connections.
Did you see any obvious trends across all categories?
One prominent trend I observed was the integration of sustainability from the very outset of the design process, not as an afterthought.
You’ve won numerous design awards. Do they give the design studio a boost?
Awards are a wonderful validation, but I’ve learned that they’re most valuable when they align with your core purpose. And yes, they do open doors. However, the real boost comes not from the award itself, but from the discipline to create work that deserves recognition.
Your studio puts you at the interface between communication and product design. Where do you feel more at home?
The interconnection feels quite natural to me, perhaps because I’ve learned to navigate between different contexts. Communication and product design are ultimately just different forms of expression. The challenge is the same in both genres: how can we create meaningful connections?
What are the biggest future challenges for industrial design?
The biggest challenge will be balancing the fast pace of technological advancement with genuine human needs. We need to design products that people will want to keep, repair and cherish for decades instead of replacing them every few years. Cultural sensitivity is also becoming increasingly important as markets become more global. And, lastly, the democratisation of design tools keeps raising the bar when it comes to professional design quality. We need to focus on what human designers contribute that AI cannot: cultural understanding, emotional intelligence and the ability to see the connections between seemingly unrelated domains.
To what extent do you think the requirements of product design have changed? Do people today expect much more than just functionality?
People expect products to be functional, beautiful, sustainable, culturally sensitive and meaningful at the same time. They want to understand the story behind the products – who made them, how they were made and what values they represent. Consumers don’t just want objects. They want products that reflect values and enrich their lives in a meaningful way. This really ups the stakes because every design decision becomes a statement about values and social responsibility.
In which sectors are the most profound changes in design taking place?
I’d say mobility and transportation – but not just because of electric vehicles. The entire concept of human locomotion is currently being reimagined.
Is there any object you’d love to design?
I’m actually working on something very close to my heart right now: reviving and reinterpreting my father’s furniture designs.
Which design era do you think deserves a renaissance?
The 1960s and 1970s, but for the mindset, not the aesthetic. Back then, the understanding of design was so wonderfully idealistic. It wasn’t just about creating beautiful objects. It was about creating a better world and asking fundamental questions about the social responsibility of design.
Is there something you would never want to be without because of its design?
My vinyl collection. Not out of nostalgia, but because of the intentionality that this format demands. Vinyl forces you to act consciously – you choose an album and listen to the whole experience. Record design encourages a completely different relationship with music than streaming: it’s slower, more mindful, more connected. That’s what good design is all about. It should slow us down, make us more intentional and forge deeper connections with the things that matter.