Exploration Unfinished: Gio Prado on Evolving UNFSD to Exploratory Projects

“I was only 19 when we launched our first shirt for UNFSD,” recalls product designer Gio Prado on starting a lifestyle brand for creatives with his brother Geoffrey in 2017. Their family business, Primex Printers, served as their crash course on machinery and production. Prado often explored their workshop, experimenting with material scraps to spark ideas or inventions. “I was studying advertising and realized it wasn’t just about selling anymore. I became more drawn to the process behind a product’s creation, and I wanted to express that through something I could call my own.”

UNFSD evolved from shirts to everyday essentials during the pandemic in 2020, starting with the Work-from-Home stool. This later inspired their current flagship product, the Welcome Stool. “We’ve met remarkable people and learned tough lessons along the way,” Prado shared. Over the years, the brand has collaborated with design collective Craftsmith Guild, artist Dan Matutina, and coffee chain Yardstick. “Throughout, my core design principles remained. But new ones came as UNFSD evolved.”

After a seven-year journey, Prado and his team felt it was time for change. “We hesitated because of our attachment to UNFSD, but we also shared a vision to show how much we have grown and that we want to keep growing,” he explained. This led to UNFSD’s transition into Exploratory Projects, which was initially a division under the brand. “We needed a name that would provide the clarity our audience needed,” he said. “We found a fit in Exploratory Projects as it encapsulates what our brand and products stand for, and it signals that we’re ready to take the exploration further.”

Exploratory Projects invited Kanto to an exclusive sit-down at their new space within craft and furniture retail brand Design Story, where we got a close look at products like the Welcome Stool, KAY Chair, and Modular Shelving System. Prado reflected on the pleasures and pains of rebranding while fondly reminiscing his early days at UNFSD and his internship at Keiji Ashizawa Design (K.A.D) in Tokyo.

Nice to see you again, Gio! Let’s start by discussing Exploratory Projects, which started as a special projects division within UNFSD. How did you know it was time for this exploration arm to evolve into an entire brand?

Hi Kanto! Thank you for this. We were setting up our third company under Primex Printers early this year where we performed an in-depth study of our existing brands, including UNFSD and Millie Monday. Here, we identified micro details that needed to change or evolve as we move forward.

Among the major ones was the relevance of UNFSD as a name and its current product offering. Over the years, some people have asked us about the pronunciation of the brand name or why it’s called that way, which led me to doubt whether our position as a brand was not as solid. At the same time, we’ve also established a clientele—people who understand that what makes UNFSD its own brand is the constant search for growth, just as how I would get into the workshop and experiment and refine our products.

Exploratory Projects (E.P.) was a perfect fit in all aspects. We saw the potential it had and the runway it could provide for the direction where we were headed. As a division, it showcased our best products and represented our values as a brand. The launch we had for it was among the milestones in our journey, where we met more like-minded people and realized that this is something we want to keep doing in the long run. I also feel like the name has better recall. At least people won’t have to ask me about pronunciation now!

You started your brand by literally exploring your family business’ workshop and working with scrap materials and excess objects, bringing them new life and refining them to introduce something new. I believe that is a showcase of exploration in itself, which makes Exploratory Projects a fitting name.

Thank you for saying that! One of the brand and identity exercises we had to do for Exploratory Projects was identifying its brand archetype. E.P. falls under “Creator,” which is defined as “innovative, creative, and having deep visions.”

We believe that our product, Welcome Stool, best exemplifies this. It not only presents a new silhouette for a stool; it is also an evolution of the way a chair is assembled and packaged. At Exploratory Projects, our goal is to show that day-to-day objects can be developed into something new while remaining honest in their final form. We can alter their shapes, configurations, and even the way we present them, but at the end of the day, they remain functional and serve their purpose.      

I read somewhere that the creator archetype’s motto is “If it can be imagined, it can be created.” What is your take on this, especially as a brand that self-manufactures its products? How do you strike a balance between imaginative concepts and easy-to-build designs? 

I learned design differently and one of my struggles has always been this tendency to be stuck within the capacity of what we are able to manufacture. Keeping an open mind to other manufacturing methods is essential to the growth of a designer. There has to be a conscious effort to push the boundaries to create new and fresh ideas, all while being mindful of how each component is made.

It really is about finding the balance between these factors. It’s one thing to come up with a concept and sketch it; it’s another to get your hands dirty and execute the idea. I believe that as designers, we must be open to learning about the boring and technical aspects. I find that being able to do so allows you to remain faithful to your idea, as compared to when you leave it to the hands of someone else.

One of the best compliments I’ve ever received was from Keiji Ashizawa, who said that what he loves about my work is that the sketches are “almost identical” to their prototypes. I’d like to believe that is possible because of how I involve myself in the manufacturing and production process. And I also feel like learning from K.A.D. was influential to that commitment!  

Wow, that’s a huge compliment from Ashizawa himself! Any secrets you can share regarding your sketch-to-prototype process?

Involve yourself from start to finish. Know how things are made. I don’t have a secret formula or genius technique, that’s all it is! Understanding how products and different executions are made helps you develop a sense of structural integrity. This will allow you to choose what materials to use, identify the dimensions your product needs to hold its form, and even give you the privilege of experiencing everything that makes your product unique.

You mentioned that learning from K.A.D. was influential to your commitment to the production process. To what extent did that training affect the way you design? How do you translate the lessons from that experience into your work at Exploratory Projects?

My training in Japan felt like a pilgrimage into their culture of commitment and excellence. Whatever they chose to work on, they chose to execute excellently. I thought to myself that a huge part of Japan’s success as a country is because of that commitment.

I had to let go of the things I had grown accustomed to and make room for what their practices taught me. They would dissect each part of the process one millimeter at a time. People often use “attention to detail” to describe how they work, but their process is on a different level. Every detail of a product or structure they made was fit to the intention of the designer or architect.

They spent a lot of their weekends engaging in activities that would help them develop new ideas for projects they were currently working on. They would visit libraries, different architectural structures, museums, or factories. They lived and breathed their craft and inserted life in between.

I do my best to share these values with everyone at the office. You have to respect your work and devote as much focus as you can to the task at hand. You can’t cheat your way to producing something. You have to devote your full intent and focus. Quality and workmanship always show. The end product always speaks volumes of how much time and effort was given to create something.

Beyond having products of the same quality and workmanship, what other well-loved aspects of UNFSD can clients find in Exploratory Projects? What new qualities can old and new customers expect from the brand?

It’s all about getting better from here on. We want to show that the quality of our products can get better because we choose to get better. It’s a constant goal for everyone on our team to develop our skills and talents. More than the quality of the actual product, refining our skills also means providing better product and brand experiences for our clients. ‘

We find that we can do so by improving on aspects that some may often overlook or place at the bottom of their priority lists. We continuously work on everything—better marketing, improved product interactions, well-thought-out packaging, and diverse collaborations.

We’ve already introduced our product line, which carries some of our flagship projects such as the Welcome Stool and includes collaborations with other designers such as the Modular Shelving System with one/zero and Book End by Selena Placino.

Can you share a memorable project or partnership you’ve done recently? How does this showcase Exploratory Projects’ ability to adapt to client requests while staying true to its own identity?  

Answering this question has always been challenging because each collaborative project brings its unique achievements and insights. “Yardstick’s Turns 10,” “UNFSD Space” with Dan Matutina, and our recent collaboration with renowned Japanese designer Masaru Kiyota stand out.

The Yardstick project was particularly meaningful, as it ticked all the boxes of what we believe makes for a great collaboration. It allowed us to revisit an element within Yardstick’s roots and craft an authentic narrative. As it was their 10th anniversary, we captured ten stories from ten individuals who have significantly contributed to how the Yardstick brand was brewed into what it is today.

On the other hand, “UNFSD Space” with Dan marked our first-ever sold-out release, an unprecedented milestone for us. We produced 25 unique Welcome Stools, each hand-assembled with embedded scrap pieces. Within hours, every piece sold out on our site.

Working on the KAY Chair with Kiyota, whom I consider a dear friend and design mentor, is my favorite collaboration of 2024. We like to call the KAY Chair “the big brother” of the Welcome Stool, as it embodies the same thoughtful design and assembly principles while having its own character. It amazes us that we were able to complete this project despite being from different parts of the world, proving that there is power in teamwork and innovation and that design knows no boundaries.

Collaborations like this form part of our introduction and presentations to clients, showing how we developed our products to provide what the project calls for. While we are open to exploring ideas and adjusting our products, we have to work within our expertise to ensure that the project will be a success. We only say yes if we are sure that we know how to make it work.

What about pricing? Did you attempt to change or explore other options to minimize costs? Was there a specific strategy or data you used to ensure that your current price point aligns with local and even international spending habits?

Most of the products we have now are improvements to the ones we’ve already introduced through UNFSD. What mainly govern the price of our products are the craftsmanship and the materials we choose, from the product itself to its packaging. We understand that our products are more expensive compared to our competitors, but we’ve also noticed that a portion of the market now understands why certain products come at a premium. This is why it’s important for us to stay committed because we want to ensure that people get what they pay for. Beyond the product, we want them to feel that they’ve invested in an experience.

Let’s dive into some rebranding journey questions now. Can you tell us about your most and least favorite part of it and why? How did these affect the entire process?

The uncertainty of how well the new identity will be received by both new and old audiences was a double-edged sword. I was worried and hopeful at the same time because my relationship with E.P. is also a personal one. It started as an exploration before my twenties and at that time I didn’t really think that it would grow into how it is now.

I’m grateful for the people who influenced the brand and the harsh truths we’ve come to accept over the years, but it was also hard to let go of what we’ve been used to. There weren’t extreme push-and-pulls but we had second thoughts on whether the brand needed a revamp. The previous set-up was working and there are enough people who love and support the brand, so do we really need to rebrand? If anything, the process showed me how emotionally attached I was to UNFSD. It was everything to me, and even some of my friends initially felt that the change wasn’t necessary. I recall gathering the team and some people we hold dear to present a deck on the new branding. At the end of the presentation, they all told us that it’s a lot better now and we’ve made the right choice. It’s about time.

We all realized that there’s nothing wrong with change and wanting more. What could go wrong if we are working towards something better?

How nice to hear about your team’s commitment to grow! The rebrand coincides with Exploratory Projects’ transfer to a new home, a shared space with Design Story. Can you share a bit more about your relationship with Design Story and what makes them an ideal partner? What does this collaboration say about Exploratory Projects’ new direction?

Our team-up with Design Story couldn’t be more timely! When we reached out to them, they were in the process of refreshing their identity and product offerings, making it easier for us to relate to each other. They emphasized to us that they don’t want to be a known as furniture store, they want to be a design space. Design Story is known to carefully choose brands all over the world to include in their space, and it was an honor for us that they saw that we were just as good or could potentially be better than some of the brands they carried.

It means everything to our team to be placed alongside some of the great brands of the world, which we aspire to become one day.

How has the move affected you so far? Has it sparked any ideas for the brand’s future or perhaps opened doors for potential collaborations?

Having a physical space where people can experience your products is game-changing. I can’t specify a project or collaboration, but the partnership has been a good avenue for us to reach direct customers and more space designers and curators.

It also allows people to understand our selection of materials, textures, and colors for each product. Because they get to interact with our creations, it’s easier for us to communicate our design decisions and explain the production process to them. The space allows us to freely showcase our originality and authenticity as a brand.

Speaking of originality, I want to ask you about the rise in “dupes” or replicas of premium products in online retail. What is your take on this as a product designer? If someone were to create an affordable alternative to your design, how would you feel? More importantly, how do you protect your brand’s identity from cases like this?

This has been quite a hot topic in recent years because more and more “dupes” have been getting sold. My honest take is that in today’s day and age, anyone can copy almost anything. That’s just the harsh truth of our industry. It will always exist.

I do believe that there is one thing that cannot be replicated: product experience. This is something that only you and your brand can provide, as it is built on a shared vision and an intent to provide the best.

This is why we make sure to attend to every detail as we can because it’s the intangible elements that will radiate through a good product. The process of creating is not the same for everyone, and we’ve made it a commitment to exhaust our efforts from the product itself to how it will be presented and packaged for everyone to see. If you put in the work for your product to make people feel something, that will somehow resonate. Once a product gets attached to a certain experience or memory, you cannot simply replicate it.

Beautiful! What else can we expect from Exploratory Projects moving forward? Is there anything in your brand bucket list that you’re eyeing to tick off soon, perhaps a dream or upcoming collaboration or project you’d like to share?

I believe the element of surprise plays an important role in providing great product experiences. For now, all we can say is that we’ve been busy and hard at work with multiple projects to make each one just as special. We can’t wait to unveil these projects and share the incredible journey with all of you!

Looking forward to it! To end this interview, can you share with us what the biggest lesson you’ve learned from the entire rebranding experience was? What advice would you give to young designers or creatives about this?

We tend to gate-keep ourselves from our aspirations. I used to think that product designers and brand owners had to meet certain standards or live up to industry stereotypes for them to be recognized.

But you become who you want to be by simply clocking in the hours and putting in the mileage. Just as how you form your creations to deliver a good product experience for your clients, it’s the experience of doing this that shapes you as a designer. It’s not a short journey because it’s not supposed to be. The journey has been nothing but a conscious and consistent growth, and I believe that I am still on it.

Trust your process. There is no limit to what you can explore. •

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