2026 Hot New Things: Yana Kulishenko, Toi Rauwhārangi Massey University
Design Assembly profiles a selection of the top graduates from the best Art and Design Schools in Aotearoa New Zealand. We welcome these talented emerging professionals to our industry, learn about their passions, final projects, developing creative confidence and ambitions for the future.
Today we speak with Yana Kulishenko who recently graduated from the Visual Communication Design at Toi Rauwhārangi Massey University. Find out more about tertiary study options across Aotearoa New Zealand on our Design Schools page.
Tell us a bit about yourself
I’m Yana, a recent visual communication design graduate from Massey University. I grew up in Kharkiv, Ukraine, before immigrating to Aotearoa in 2015. I adore all forms of visual communication and find immense joy in using different modes to share ideas in accessible ways. I’m drawn to projects with cultural depth that require thorough research and focused, thoughtful engagement. I believe good things take time, both to create and to experience. During my time at university, I discovered a passion for editorial design and cultural storytelling and my honours project incorporates both. I’ve recently moved to Tāmaki Makaurau and plan to work on another self-led project rooted in Ukrainian culture.
What was the focus of your graduating project?
Нитка, що єднає/Through Our Thread is a multi-touchpoint cultural experience exploring Ukrainian embroidery as a vehicle for cultural dissemination. Years of colonial dominance and russo-centric history have contributed to global unawareness of Ukrainian culture—something I encountered firsthand. Since the full-scale invasion, mainstream media has focused on destruction rather than identity, offering a limited view of Ukraine.
My research asked: How might design leverage the symbolism of traditional embroidery to raise awareness of Ukrainian culture and shift local audiences from passive sympathy to active curiosity? I wanted to encourage non-Ukrainians in Aotearoa to engage with Ukrainian culture beyond news headlines, while decolonising my design approach by critically examining whose perspectives I centred.
I developed a framework based on the Tree of Life symbol, structured around three questions: Where does embroidery come from? How is it significant now? Where can it take us? My final design includes an immersive Te Papa installation, take-home book and DIY embroidery tiles, moving audiences from passive consumption to active engagement.
Connecting with Ukrainian women who shared vulnerable personal stories deepened my understanding of what it means to design with, not for, a community. This work feels like a starting point. Decolonising my design practice is an ongoing commitment I intend to carry forward.
What did you choose to study Visual Communication Design at Toi Rauwhārangi Massey University?
I found out about Massey University and its design programme through the careers advisor at my high school. I was set on enrolling at another university, but after having a conversation with me, she strongly recommended I check out Toi Rauwharāngi. I am very glad I listened.
What did you enjoy most about the programme?
The structure of the course has recently changed, so I don’t know how helpful my feedback will be, but my experience couldn’t have been more positive. The first three years taught me the fundamentals, but my final year was by far the most fulfilling. It was exciting working on a self-led honours project while having the opportunity to receive feedback from so many experienced designers. I already miss their guidance. Shout out to the technicians too!
I also took a few electives outside of my major, in photography and fashion, and the skills I learned transferred easily to my other courses.
What was your biggest challenge while studying?
Like many other designers, I’m definitely a perfectionist. I also tend to be very ambitious with every project I undertake and don’t like to take shortcuts. If I want something done a certain way, I will do it no matter how much time or effort it takes. Unfortunately, this led to many long nights at university, which at times took a toll on both my physical and mental health. That said, I think my efforts have always paid off.
Who (or what) inspired you to pick design as a career path?
I’ve always known I wanted to be able to ‘make stuff’, but growing up in a household with two physicists, I was taught that a creative pursuit wasn’t an honourable one. As soon as I mustered the courage to stand up for what I believed in—I think around age 16—I picked up as many school subjects as possible that gave me the opportunity to ‘make stuff’. I think it was the contagious passion of my teachers, Lisa Murphy, who taught me art history and design, and Michele Martin, who was my photography teacher, that made me feel confident enough in myself and my practice to apply to study visual communication design at a tertiary level.
Who is your favourite designer?
It’s so tough to pinpoint just one person—the vast majority of the projects I admire were developed by teams rather than individuals. I’d say at the moment, a designer I find most inspirational is Sheahan Huri. I’m constantly in awe of his use of experimental typography—there’s so much control. I recently picked up the 9th issue of The National Grid and the cover designed by Huri is perhaps one of my favourite works I’ve seen by him.
What is next for you?
I hope to find a role as a part of a team that shares my passion for creating projects that require slow, sustained engagement and where I can learn from people with diverse skills and perspectives. I plan to keep studying Ukrainian culture and indigenous knowledge to better inform my future projects. I would also like to design another book this year.
Where can we see more of your work?
Portfolio Website – https://yanakulishenko.com/
LinkedIn – https://www.linkedin.com/in/yana-kulishenko-289b34208/
Email – yana.kulishenko.work@gmail.com
Instagram – https://www.instagram.com/yanaisanxious/
Phone – 02041330223
Yana Kulishenko
