Inside Kenji Chai’s Collaboration with Ploom for Milan Design Week
Street style
Known for transforming urban walls into vibrant canvases, Malaysian street artist Kenji Chai has long captured hearts with his unmistakable pop-meets-graffiti style and his beloved alter ego, Chaigo the stray dog. Now, Kenji brings his signature flair to Milan Design Week through an exclusive collaboration with Ploom, merging Malaysian storytelling with contemporary design sensibilities on an international stage.
In an exclusive conversation with BURO Malaysia, Kenji talks about the evolution of his art, the creative process behind his showcase for Milan, and what it means to share his culture and colours with the world.
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Your signature character, Chaigo the blue dog, serves as both muse and metaphor. What does he represent in your work?
Chaigo was born in 2013. I was working as a graphic designer and one day on my drive home I saw some stray dogs on the side of the road–a mother and three puppies. The next day on the same route there were only two puppies left because the mother and one of their siblings had been hit by a car. I grew up in a broken home, and it really resonated with me, that feeling of not knowing where home is. Chaigo the character was born as a symbol of hope, to spread colour and joy so that as people go about their daily routines. Maybe they’re on the way home, stuck in traffic, but hopefully a glimpse of Chaigo will make them just a little happier. And lastly, Chaigo stands for independence.
You talk about your introduction into graffiti as a form of rebellion, and street art often lives at the intersection of rebellion, storytelling and inspiration. What messages or emotions do you hope people take away from your work?
A significant turning point occurred in 2016 when I was invited to Mongolia. I had been feeling overwhelmed by the demands of drawing and the rapid pace of social media. But as I looked down from the airplane, the sight of the wavy, grass-covered mountains with the shadows of clouds flowing across them, brought me a sense of comfort and peace.
During our seven-day stay, the initial exploration of Mongolia deeply impressed me. I observed their profound respect for water, land, sky, and animals, rooted in the belief that we coexist with nature and must complement one another, and have respect for one another. Since then, I’ve developed a deeper appreciation for nature. I even created my first piece featuring an eagle formed from leaves. This experience shifted my artistic focus. When commissioned to paint in spaces like offices, I aim to bring a touch of nature or animals, offering a contrasting and calming feeling within potentially stressful environments, rather than simply reflecting the urban landscape.
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How do you balance personal expression with commercial collaborations, especially in a space as expressive as street art?
When I was just starting out I would accept any job and just do my best to meet all requirements. However, upon reaching a certain level, I noticed clients placed significant trust in my abilities. This became a turning point, like giving someone a taste of something special—a small percentage of my creative freedom.
I’d offer clients a glimpse – 10%, 30%, 50% – of my own vision. Once they experienced this, they became more receptive, allowing me greater creative input – 60%, 70%, 80%, even 90%. It’s crucial for me to communicate upfront: I want the freedom to do my own thing. My purpose is to elevate their brand, not to be dictated by fleeting trends. While others might constantly chase trends to please clients, I aim to become the trend.
When clients trust my vision, I have the autonomy to really stay true to myself and my creative values. Having been in this field for a long time, I need to stay engaged by pursuing what I find interesting. While money is a factor, it’s secondary to creating exceptional work.
Ultimately, the goal is for brands to have such confidence in my expertise that they grant me the creative space to produce work I am comfortable with and believe in. I often illustrate this with a simple analogy: if you have a general health concern, you might visit a clinic. But for a specific issue, like a brain problem, you would seek a brain specialist, not a general practitioner or a lung specialist.
I can draw a range of different things, but my focus is on being a true specialist in my distinct style. What is the unique point of view I offer, the one thing I do so well that clients specifically seek me out? When I quit my job to become a full-time artist, I told my former employer that if things didn’t work out I could return to become a corporate slave. That was ten years ago.
Can you tell us about your creative direction for the collaboration with Ploom at Milan Design Week? What story are you trying to tell through your collaboration?
My initial design proposal was accepted immediately, which was a relief as I had been hesitant due to the pressure of the project. I focused on building layers of narrative within the piece. From a distance, it presents one image, but as you get closer, smaller details emerge for discovery, offering more than just a flat colour, especially considering the large scale we often work with.This artwork is inspired by the concept of Yin and Yang, symbolizing the balance between technology and nature. It also represents Malaysia as a whole, where West Malaysia embodies rapid modernization and a fast-paced lifestyle, while East Malaysia reflects the country’s rich natural beauty and serene landscapes.
To capture this harmony, I have incorporated various elements into the piece, such as a half-butterfly, an orangutan, a Rafflesia, and a hornbill hidden among the leaves I designed. These details blend together to illustrate the coexistence of progress and nature.
To further emphasize the Yin-Yang balance, I used a mix of silver, black, and white tones alongside vibrant colors, visually contrasting the duality of these worlds. Near the bottom, I have also infused my alter ego, Chaigo, representing my journey of chasing my dreams. As someone from East Malaysia, Sandakan, Sabah, this piece reflects my roots and aspirations, bridging both worlds through art.
Ploom’s lifestyle revolves around intentionality and design—how does that align with your own creative values?
My purpose as an artist is to inspire, to bring positivity, and to make art accessible to everyone. Ploom’s vision aligns with this by championing creativity, individuality, and a refined approach to lifestyle. Both of us believe in breaking boundaries and redefining experiences, making this collaboration a natural fit.
Their intentions felt genuine, which earned my respect and provided us with significant creative freedom. While it’s easy to simply focus on sales figures, they prioritize storytelling and fostering a connection with the audience. They aim to use the artist’s narrative to deepen understanding of the product, rather than the other way around. Their belief lies in the power of stories, which is exactly what I try to do through my work.
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How do you see Malaysian art and street culture being perceived abroad? Do you feel like there’s growing interest in Southeast Asian voices?
I was really skeptical of Ernest Zacharevic, the Lithuanian artist who created the bicycle mural in Penang in 2013 and gained recognition in our local street art scene. It took a few years for our paths to cross and we eventually became friends. I visited him in Ipoh and five years later, we collaborated and our prints and artworks sold out on his platform.
This experience made me realize a crucial point about our local creative scene. While there’s a lot of activity, a limiting mindset prevails. We often fail to appreciate the beauty of our own culture and surroundings. Why does an outsider have to highlight Malaysia’s beauty? It’s because they see and value what we take for granted. Even something as simple as a mural on a wall—why wasn’t that initiated by a Malaysian?
It’s because we tend to be overly influenced by the Western world, constantly feeling that “the grass is greener” elsewhere. Over the years, I’ve witnessed many talented Malaysian artists give up on their passion. It’s a challenging, lifelong pursuit that requires unwavering belief.
You need a certain level of “craziness” to truly believe in your vision. Do you believe in the purpose of your life? Without that belief, it’s easy to fall back into a mundane reality of unfulfilling jobs and inadequate compensation—a perpetual loop. You need the audacity to declare that your chosen path is the only way.
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