Folks recently launched its third collection at Grafunkt, following a “minimalist aesthetic with an Asian modernist twist”. Also in the pipeline is a show collection for the American Hardwood Export Council (AHEC), which will feature an extension of the Vapour collection Yong did with Royal Selangor in 2013; the new items include shavers, containers and clocks. Incidentally, Folks sources its wood from AHEC-approved wood suppliers.

The holder of a Master’s Degree in design from the University of New South Wales describes himself as a “level-headed individual”, which dictates how he works his magic with readily available materials such as wood and steel. However, as a testament to Yong’s constant thirst for knowledge, he also revels in exploring new production methods.

“I recently discovered MM Galleri, an Indonesian company that invented a technique for bending onyx and marble, which intrigues me as it creates a new typology of curvy forms for stone which was unachievable in the past,” Yong says.

He developed a limited collection based on this technique for Singapore-based design and manufacturing firm Industry+, to launch later this year. The offerings at Grafunkt have also been expanded to include Arflex Japan and Danish brand Norr11; the latter fuses Scandinavian design with Asian elements. 

“Grafunkt is known for sourcing good design from every corner of the world,” he says. “We have attracted many developers and architects interested in our collections over the years, and we see the potential for business growth.” To date, Grafunkt has furnished interiors for GuocoLand’s Midtown Modern and Wallich Residence, as well as Ascott Group’s Lyf hotels.

The pandemic has not put a dent in Yong’s business plans. “Many international clients are slowing down new developments so there is limited work, but I’ve always kept my studio small and only work with select clients,” he says. “The pandemic has pushed us to work on our online services, which have seen an increase in sales through our digital personal shopper service. The work-from-home arrangements and savings from no holidays make one want to change their furniture!”

Looking to the next generation, Yong hopes more young designers will “test ideas regardless of monetary rewards or fear of failure”. And this needs to start from a young age. “We live in a country where we are constantly watched by our parents from a young age and obeying the school rules,” he says. “But I wish everyone would let a child play and make mistakes to develop their sense of exploration, ambition and competitiveness.”