Yu Zoe Cui

Step into Yu Zoe’s world and you’ll find a practice rooted in nuance and intention. Whether she’s designing exhibition campaigns for Southbank Centre or hosting zine-making workshops that explore Chinese wedding rituals, Zoe creates work that bridges tradition with the contemporary. Her approach isn’t just visual – it’s deeply relational, from the people she works with to the communities she designs for. Here, she shares how she built her creative career across borders – the power of showing up – and why design is never neutral.

What I do

How would you describe what you do?
I’m a designer at Southbank Centre, working in the in-house studio to bring all kinds of creative projects to life. I collaborate with different teams to design campaigns, visual identities and graphics for a huge variety of events – because there’s something happening at Southbank pretty much all year round.

Outside of work, I also run workshops and create self-initiated projects with and for ESEA (East and Southeast Asian) communities, often in the form of zines, printed matter and participatory experiences. One workshop I’ve been hosting focuses on Chinese marriage certificates, where participants explore themes around intimacy and create their own unique certificates through collaging and creative writing.

What are the main influences and inspirations behind your work?
I’m inspired by the small, everyday things that bring communities together – rituals, games, printed matter, shared meals. These might seem simple on the surface, but they carry complex layers of memory, identity and belonging.

I’ve always loved Pann Lim’s “Rubbish Famzine” – especially the one designed like a nostalgic ramen packet. It’s amazing how these objects can quietly hold social and political meaning. I’m drawn to the politics of design – the idea that it’s never neutral. I love using creativity to elevate these personal stories into something people can gather around and feel part of.

Would you say you need any specific training for what you do?
I did receive formal training in design for my BFA and MA, which gave me a solid foundation – but honestly, many of the most important skills came from hands-on experience. Being curious, proactive and adaptable matters just as much as knowing the tools.

I’ve learned a lot through self-initiated projects – like how to build trust in a community space or turn a scrappy idea into something people can connect with. Formal training helps, but it’s the hands-on doing that really teaches you.

What’s been your favourite project to work on from the past year, and why?
Leading the visual identity for ESEA Encounters at Southbank Centre has been a standout. It’s a summer programme celebrating artistry from East and Southeast Asia and the diaspora. The identity I created plays at the intersection of future and tradition – bold, playful and rooted in cultural memory. There was also an influence of City Pop – I was jamming to it when creating the colour palette!

Seeing the campaign roll out across billboards, flyers and screens has been surreal. There’s something incredibly validating about working on a project that reflects both your identity and your values – especially within a major cultural institution.

What does a normal day-to-day usually look like for you?
My day usually starts with writing down my dream from the night before – I have vivid, bizarre dreams and I’m really into dream interpretation. It’s like a soft landing before the workday begins.

In the studio, I collaborate with different departments on everything from flyers to long-term campaigns for the Hayward Gallery. Even after being here a while, I’m always meeting new people.

Outside of work, I carve out time for personal projects – making books, running workshops or taking part in exhibitions. It’s really a life of A-side and B-side, and having both helps keep the creative energy flowing.

How I got here

What was your journey like when you were first starting out?
I started as an international student – a “parachute kid” – sent abroad to study in the U.S. at a young age. Over a decade, I moved from high school to BFA to MA, eventually landing in the UK. Navigating competitive creative environments in a second language, while dealing with visa uncertainties, wasn’t easy.

But I approached things with intent – almost like reverse-engineering my path. During my BFA, I interned at Landor in Shanghai, where I built a genuine connection with a design director who later became a mentor. That led to freelance work at Design Bridge & Partners.

When I moved to London, I freelanced at Explorer’s Club Studio, working on projects with Atlantic Records, Dr. Martens and Barbican – which helped me land my current role.

How did you land your first jobs or commissions?
By showing up. A physical presence says more than any CV or email ever could.

While at RCA, I reached out to Explorer’s Club Studio about freelancing. The co-founder invited me to a game night – more casually than formally. After some silence, I just showed up to the event. No agenda, no portfolio, just real conversations. That’s what led to my first project with them, which was the identity for Open Dialogue at Barbican.

They later told me that showing up said more about who I was than any email could.

What has been your biggest challenge along the way?
Navigating professional spaces in a foreign culture. Working and studying in a second language, I put a lot of effort into presenting both myself and my work clearly.

Early on, I’d script and memorise every interview or presentation. And while design should speak for itself, articulating your value – especially in casual chats – is essential. That’s often where real opportunities start.

My advice

How important are social media and self-promotion to your work?
Social media plays a role, but I try not to let it dictate my creative process. There was a time when even holidays felt like content-making opportunities, and that started to feel inauthentic.

Now, I use it more intentionally – sharing work that genuinely reflects my values and interests. My advice: use social platforms as tools, not benchmarks. If they drain your energy or shift your focus from meaningful work, take a step back.

What are three things that have been useful to your work or career, and why?

What have you learned about making money and supporting yourself as a creative?
Money’s tricky – especially when figuring out your value. I once heard Elizabeth Goodspeed say to offer a “cool discount” for passion projects and charge extra for boring or urgent ones. It reminded me that pricing is personal – it should reflect your time and energy, not just market rates.

And don’t be afraid to invest in yourself. If something will nourish your practice long-term, it’s worth it.

What’s the best career-related advice you’ve ever received?
“Make something exist first – you can make it good later.” That mindset has helped me push past perfectionism and just get things started.

What advice would you give someone looking to get into a similar role?
Start by reflecting on what truly excites you. I’ve been asked in so many interviews what sectors I’m passionate about, and while versatility is great, organisations are often looking for people who know what they want. If you’re drawn to arts and culture, let that show in your work. Tailor your portfolio, do passion projects, or volunteer for creative events that align with those values.

It’s not just about having the right skills – it’s about showing that you care about the same things they do. That kind of alignment can really set you apart.