Interview with Kyeong Hee Jeong

My journey into the world of design began with a simple fascination—the sophisticated image of the profession and the pure sensory joy of creating something 'beautiful' with my own hands.
However, after over a decade of navigating both high-level professional projects and educational fields, my perspective has evolved profoundly. I realized that the essence of design is not merely visual decoration. It is about identifying the genuine needs of the world, solving practical problems, and presenting a vision for a better future through strategic 'solutions.' Today, my strongest motivation comes from the conviction that I can provide answers to complex real-world challenges by applying both rigorous logic and refined intuition.
My creative identity is a unique blend of these two worlds. For projects like my award-winning scarf series, I lean into deep artistic contemplation and aesthetic expression. My work is philosophically influenced by Hermann Hesse’s 'Demian,' exploring the depths of the human psyche, while also drawing inspiration from the surreal and eerie concepts of Junji Ito. Visually, I pursue the elegant, decorative beauty seen in the works of Gustav Klimt and Alphonse Mucha, while maintaining the contemplative and surreal atmosphere of René Magritte.
In contrast, when a project demands a strategic and analytical approach, I set aside pure artistry to focus on structural logic and functional efficiency. I take pride in my ability to switch between these two modes—the 'Artist' who explores the subconscious and the 'Planner' who solves complex problems. This duality allows me to create artwork that is not only visually captivating but also philosophically deep and logically sound.

When starting a new project, my primary focus is on clear architectural planning. By constantly oscillating between defining the project's purpose and exploring relevant references, I solidify the project’s structure. To me, the drafting phase is not just about creating a visual proposal; it is a strategic maneuver to design the overall framework and establish a strong logical consensus with the client.
So, my design process is anchored by three pivotal stages: Definition of Intent, Clarification of Concept, and Digital Refinement. I believe design is not merely about creating forms but about architecting a fundamental purpose and validating it through visual logic.
The central theme of all my projects is the synergistic interaction between intent and reference. I do not view 'Defining Intent' (Phase 1) and 'Reference Research' (Phase 2) as a linear sequence. Instead, they form an iterative, collaborative relationship where each informs the other. This process crystallizes ambiguous ideas into clear, actionable concepts, serving both as a blueprint for high-quality execution and as a strategic foundation to logically persuade clients.
I am a digital-native designer who fully leverages modern technology and digital tools throughout the entire workflow. I rarely rely on hand sketches; instead, I initiate projects directly in a digital environment. A distinctive feature of my methodology is that even the initial drafts presented to clients are developed to a near-final level of fidelity. This high-fidelity approach at the early stages enhances decision-making efficiency, allowing me to focus the final phase entirely on pushing the boundaries of detail and perfection.

For me, design is best defined as the dopamine rush that follows intense agony. While the initial spark of an idea is incredibly thrilling and evocative, the actual process of designing is an arduous journey of mental labor. I possess an obsessive persistence that refuses to move forward until I have found the perfect reference and established a rock-solid logic and definition for the work. This stage of intellectual struggle is undoubtedly the most painful part of the process.
However, once that logical framework is set, the execution becomes a source of pure joy. Especially when creating digital artworks, I reach a state of flow so deep that the digital interface begins to feel like the tactile texture of analog tools. This immersion brings a meditative peace, a feeling of being connected to a universal plane of philosophy and spirituality.
When this period of endurance and meditation culminates in a high-fidelity masterpiece, I feel a sense of profound awe toward the final result, even though it is my own creation. I am deeply drawn to captivating beauty, and being able to manifest such aesthetic value through my own hands brings me an indescribable sense of pride and happiness. Ultimately, design is the most enchanting pleasure I derive from the depths of painful inquiry.

The essence of design does not reside solely within visual stimuli. While direct inspiration is vital, I find the seeds of creation in books, music, and even the mundane act of washing dishes. These non-design experiences and the perspectives they foster have become the bedrock that makes me a more resilient and adaptable designer.
Life is a long journey, and it is a profound honor to master a single path by delving deep into it. However, my journey has not been a straight highway; rather, it has been a trek through muddy paths, labyrinthine alleys, and even along the edges of cliffs. Though wandering through such terrain is exhausting and slow, the process of losing my way and finding it again has fundamentally reshaped my worldview and philosophy. Encountering these unexpected landscapes has gifted me with a breadth of vision and a flexibility of perspective that a straight path could never provide.
I may sometimes find that I can no longer recreate the creative styles of my past, but it is precisely because of those detours that I have been able to forge an entirely new methodology. My design journey is not a race toward a fixed destination; it is a process of gathering the fragments of life encountered on a winding road and distilling them into the vessel of design. This trajectory of life has become my greatest asset, allowing me to solve complex problems with empathy and architect beauty that possesses multiple layers of depth.

My growth has been a journey of bridging the gap between a reserved child who shied away from the spotlight and a passionate creator who yearns to leave a lasting mark on the world. I still aspire to be recognized and successful. I want to etch my name into the history of art and design and achieve financial success—not for vanity, but to gain the resources to support my creative visions without compromise.
However, I am fully aware that life does not always follow one’s intended path. If great fame or wealth does not come to fruition, I accept that as it is. Even if my life doesn't turn out exactly as planned, I want to live with every ounce of my being, doing my absolute best within my reach until the moment I fade away. While there is a vast difference between becoming a wealthy master and remaining an anonymous designer, from the perspective of "continuing to create," that difference is as thin as a sheet of paper.
The core philosophy that permeates my entire body of work is captured in my artwork titled "Zero." To me, Zero is 0 and a single tiny point, yet at the same time, it is the most radiantly shining star. It is like a black hole that collapses into extinction with a magnificent explosion at its most brilliant moment. My ultimate dream and plan are to complete this philosophy of "Zero" through my design and my life. Regardless of the circumstances, I want to be remembered as a designer who never ceased the act of creation, connecting the radiant extinction and rebirth of existence.

From the perspective of pure art and design, I must candidly confess that marriage and parenthood were significant obstacles for me. Many great artists reached their zeniths while single, precisely because creation demands an uninterrupted flow of deep immersion and the painful refinement of technical skill. While modern productivity books advise carving your day into minute-by-minute increments, the language of design and art cannot follow such a script. One must allow thoughts to drift freely and simply follow the current—a process that often feels at odds with the rules of the world, leaving me with a sense of dissonance.
In a hyper-competitive society like Korea, maintaining an artistic identity while providing for a family and ensuring financial stability often feels like an immense burden. Even now, I am constantly tightrope walking between the responsibilities that surround me and my own creative desires. I have sacrificed much along the way and have even stepped away to pursue entirely different lines of work. However, looking back over the long term, I have never truly stopped being a designer and an artist.
To the young designers just starting their journey, I want to say this: Life is a continuous series of problems, and the way you navigate them may not always look like the idealized version of yourself you had in mind. But if you wish to live with the identity of a designer until the day you die, do not abandon your essence. As long as you hold onto that core, you will eventually return to it, even if the storms of life force you to pause.

My advice to fellow professionals is clear: Construct your own grammar and worldview.
We often become consumed by flawlessly manifesting a client's demands. However, you can never establish your own unique rules and design language if you are only buried in commissioned projects. When a void in client work arrives, do not merely use that time to travel, read, or zone out. That gap is your golden hour—the time to create work that is purely imbued with your own philosophy.
When pursuing personal work, do not settle for lighthearted play or simple pleasure. You must relentlessly interrogate your work with your own philosophical reasoning. By asking fierce questions like "Why did I include this element?" and "Why am I doing this work?" and finding your own answers, you give birth to your unique architectural grammar.
A worldview constructed this way becomes your distinct color. That vivid identity then serves as a conduit, attracting clients who resonate with your specific philosophy. Do not settle for being a brilliant representative who merely visualizes a client’s thoughts. Instead, aspire to be a designer who invites the client into the robust worldview you have built. This is the only path to sustainable success as a true expert.

My day truly begins in the stillness of the early morning, only after I have put my child to sleep. I sit before my computer to continue previous works or simply lose myself in thought; it is during these quiet hours that the most vivid inspirations and profound aphorisms surface. At times, the rush of inspiration is so overwhelming that I struggle to capture it all before it fades from memory.
When I am in the midst of creation, I surround myself with music that resonates with the texture of the project. There are sublime moments when the lyrics or the melody perfectly align with the answers I am seeking in my work—this personal epiphany brings me immense happiness.
For more administrative or technical tasks, I listen to spiritual teachings or insightful channels from influential leaders as a form of "working music." This practice prevents me from being overly consumed by emotion and provides a strategic compass to solve the practical problems before me. Navigating between this meditative sensitivity and rational leadership in the predawn silence is the ritual that sustains my creative life.

I do not follow design trends. Trends are cyclical and fleeting; to chase them is to ensure that one's work remains anchored only to a specific moment in time. While there is a common tendency to view older designs as "outdated," I refuse to let my work be consumed and discarded in such a manner.
Instead of relying on trends, I focus on creating outcomes that strictly align with the fundamental objectives of the project. The references I seek for this purpose are not limited by era; I draw from both the past and the present without distinction. My goal is clear: I want my creations to be masterpieces that do not lose their luster over time, remaining relevant and sophisticated regardless of the passing years. Rather than being swept away by the waves of fashion, I strive to establish a unique aesthetic that pierces through the timeline.

A good design must perfectly align with its intended objectives, and it reaches completion only when its aesthetic value achieves universality.
While the definition of beauty can be subjective, there exists a fundamental baseline by which anyone can intuitively judge whether something is beautiful, unsightly, or carelessly made. This baseline is what I call 'universality.' Therefore, throughout the design process, I maintain a conscious distance to evaluate whether my direction is leaning too heavily toward personal preference or if it possesses an aesthetic language that is socially resonant.
I believe the most critical indicator distinguishing design from pure art—and the primary criterion for excellence—is this ability to balance one's personal taste with a broader social consensus. A design becomes a masterpiece when it transcends the individual and connects with the collective intuition of the public.

My concept of 'completion' was first forged during my days preparing for the fine arts college entrance examination. My instructor always emphasized the paramount importance of the 'finishing touches,' and I was rigorously trained in how to execute them flawlessly. The obsessive attention to detail that characterizes my current workflow was entirely shaped during that formative period.
Today, my criterion for determining when a design is finished is based on a strategic judgment: I ask whether further intervention will actually detract from the overall work, or if it is merely a meaningless action that has no bearing on the grand scheme of the project. When I determine that further refinement breaks the established balance or yields diminishing returns, I stop and declare it complete.
If, despite everything, the final outcome remains unsatisfying, it is not a matter of the design being incomplete, but rather that the project itself was fundamentally mismatched with my disposition. If a result feels so inadequate that I wish to reject it entirely, it means the issue lies far beyond what can be salvaged through minor adjustments. It indicates that the initial architectural planning and definition of the project were flawed from the very beginning. In such cases, the solution is not to iterate, but to scrap the work and restart entirely. For me, the success of completion depends on knowing when to cease modification and trusting the rigor of the initial blueprint.

The project I am most proud of is the "Dancheong Silk Scarf," which recently won a Bronze award at the A' Design Award. This project holds the greatest and most profound meaning for me because it was not merely about creating a single fashion item; rather, it was a comprehensive business branding project where I architected everything from scratch, enabling a brand to establish its identity and scale.
This work began as a project to transform a single craftsperson under the name "Cattleya" into a structured, commercial fashion brand. Initially, the creator lacked a clear brand identity. I persuaded them of the vital importance of branding and guided them to approach their growth strategy like an agile fashion startup to compete effectively in the market.
At the time, the biggest challenge was the lack of capital. To overcome this hurdle, I introduced them to government funding opportunities and actively participated in the presentation for a branding commercialization support program as their partner designer. Securing this grant allowed me to design the entire branding framework for Cattleya. Following this success, we utilized a subsequent fashion commercialization support program to finally develop the textile pattern for the award-winning scarf.
The defining element of this design—the pattern—is not a literal copy of traditional Korean Dancheong motifs. Instead, it is a contemporary reinterpretation, deeply embedded within Cattleya’s newly established branding system, melting the brand's unique identity directly into the traditional geometry.
Today, this Dancheong pattern has transcended the silk scarf; it is being produced across various fabric lines. Furthermore, the leftover scraps from this fabric production are combined with traditional Korean knots to create various handmade upcycled goods. These eco-friendly pieces are currently being exhibited at the Upcycle Art Center where my studio is located, putting sustainable design principles into practice.
For me, this is my most significant and outstanding achievement. It allowed me to fully demonstrate my capabilities both as a strategic PM and a high-fidelity designer—covering everything from conceptualization and fund procurement to identity architecture, aesthetic completion, and sustainable circular expansion.

I was born in Seoul and currently reside in the adjacent city of Gwangmyeong. Gwangmyeong is presently undergoing massive redevelopment, dynamically transforming from an old urban center into a modern, high-tech city. As reflected in this environment, Korea is a society characterized by an incredibly rapid pace of change. It is a digital powerhouse that simultaneously preserves deep historical roots; it is a trendsetting nation with a cultural DNA rooted in convergent thinking—much like our representative dish, Bibimbap, which harmonizes disparate ingredients into a cohesive whole.
In a hyper-stimulating environment where everything is consumed and replaced so quickly, striving to always be at the absolute forefront of the latest trend can feel like chasing a mirage. Amidst the exhaustion of this fast-paced lifestyle, my strategic survival mechanism has been to return to the core essence. Focusing on the foundational essence may appear stationary at first glance, but it ensures one never falls behind; rather, it provides the internal stability required to accept new technologies and shift perspectives without friction.
This philosophy inherently shapes my daily observations. When walking through newly constructed residential complexes in my city, I naturally evaluate the formal aesthetics of the structures, how beautifully the pathways are landscaped, what materials were utilized, and how meticulously the design enhances human comfort and flow.
No matter how eras change, the underlying purpose of design remains constant. Therefore, I believe that good design is fundamentally about being faithful to the basics. A design that is rigorously grounded in the fundamentals elevates the public's aesthetic discernment, maximizes functional convenience, and ultimately improves the overall quality of human life.

As a designer and educator, I wish for my professional expertise to contribute meaningfully to society and serve as a tool for regional economic circulation.
Driven by my interest in human rights, I volunteered to create a few illustrations for the People’s Solidarity for Participatory Democracy (PSPD), a civic organization, to help convey their messages on human rights awareness. It was a fulfilling experience where I could use my skills to present a heavy topic in a more visually accessible way.
Furthermore, to share my knowledge with the community, I have spent over a decade conducting lectures on digital cultural arts through local government institutions. It is incredibly rewarding to watch everyday citizens discover and practice their own unique creativity through these classes.
Currently, leveraging my past experience in the IT platform business, I provide practical business education for career-interrupted women. Through this, I demonstrate how sharing one's personal talents can become a viable business, putting into practice a sustainable model that ultimately fosters economic circulation within the local community.

For a long time, I had little interest in awards or competitions. In fact, I harbored a strong aversion to the structure where one had to pay fees to receive an award or recognition. However, my perspective shifted completely after a rigorous period of running a corporate business and subsequently closing it down.
At the time, to grow my business, I constantly studied branding, explored how to visually communicate and scale that brand, and researched how to drive consumer behavior throughout that journey. I invested heavily in the process, but the business ultimately closed, leaving behind substantial debt. From that bitter failure, I realized two clear truths: showcasing a company requires significant financial investment, and that invested capital and corporate history vanish entirely with the company upon liquidation. However, an 'individual's track record and career' remain as an permanent asset as long as they live. This experience taught me to actively invest in actions that elevate my personal brand.
From this standpoint, while international design awards like the A' Design Award demand a substantial financial commitment, they possess immense value in boosting a designer's pride and serving as a powerful marketing conduit. To secure better projects, a designer must relentlessly refine themselves and never be stingy about self-investment. I see three primary advantages to participating in such awards:
First, awards serve as a vital mechanism of "carrots and sticks" that compels a creator to sustain their practice, whether in fine art or strategic design.
Second, it stands as a primary, officially sanctioned instrument to promote the designer, validating personal brand equity with global credibility.
Third, the very act of entering the competition and articulating the logic behind one's project forces a higher level of execution and finality, which inherently raises the caliber of the next project.

Initially, I was drawn to the profession simply because it looked sophisticated, and I felt a visceral charm in creating beautiful things with my own hands. However, through over a decade of real-world practice and teaching, my perspective has evolved profoundly.
I realized that design is not merely about aesthetic 'prettiness.' It is about identifying the needs of the world, solving uncomfortable problems, and presenting a vision for a better future. The powerful motivation that drives me today is the ability to provide logical solutions and meaningful narratives to the challenges we face in our daily lives.

I chose to become a designer by my own will. To me, design is not just a job I happened to have, but a conscious path I took to express my perspective and logic. I embraced the rigorous training of classical art school and transitioned through various media—from film to digital art—because I wanted to lead a life where I could define and solve problems through visual language. Every step of my 10-year career has been a series of proactive choices to refine my craft and share it with others.

I am a multi-disciplinary designer navigating various domains, including film and motion graphics, illustration, branding, and UX/UI design. My work is characterized by a flexible approach that crosses these boundaries, applying the narrative logic of film to visual identity and product design.
In the future, I intend to focus more on high-concept product design that incorporates pattern-based artworks, bridging the gap between artistic value and commercial utility. Additionally, I aim to expand into media art, leveraging my background in Video and Film to create immersive experiences. My goal is to develop unique 'Dancheong-inspired' patterns and narratives that can be applied to diverse physical and digital media."

To leave your mark in the design world, you must maintain an open attitude, constantly exploring and challenging yourself. However, that passion must be coupled with strategic efficiency. Build your own unique narrative. A legend is not someone who follows trends, but someone with a solid logic—like how my background in Video and Film became the logic for my branding—that can solve complex problems. Finally, focus on the essence of the problem. Never forget that design is not just about making things look pretty; it is about presenting a better vision for the world through constant inquiry and action.

"I believe the distinction lies in the depth of philosophy and the ability to realize value. A great designer is someone who overlays their own philosophical ideas onto the essence of a problem and poses meaningful questions back to the world. On the other hand, an excellent designer is someone who can communicate those values in a way people can understand and, ultimately, translate that value into economic success. True mastery in design is found at the intersection where profound inquiry meets market viability.

To me, a truly good design is defined by four essential pillars. First is Utility: Is it genuinely useful to people? Second is Aesthetics: Is it visually exceptional? Third is Sustainability: Does it minimize the creation of 'beautiful junk' that burdens our world? Finally, there is the Intent and Resonance: Does the designer's original intention shine through enough to evoke deep empathy from the audience? I evaluate design by measuring how harmoniously these factors—function, beauty, ethics, and narrative—interact with one another.

The value of good design lies in its ability to present a vision for a better world by identifying the needs of society and solving uncomfortable problems. It is not merely about aesthetic appeal; it is a strategic tool that provides logical solutions to the challenges we face in our daily lives.

Everyone should invest in good design because it transforms 'beautiful junk' into meaningful utility, ensuring that resources are used effectively to enhance human life rather than burdening the world. Furthermore, good design is an investment in empathy and communication. When a designer's intent resonates with people, it creates value that can be translated into economic success and a higher quality of life. Investing in design means investing in a clearer, more efficient, and more beautiful future.

If I were given the luxury of time, I would design a living space dedicated to the comfort and well-being of myself and my family. It would be a space that harmoniously blends my background in visual storytelling with practical utility, serving as a foundation for our future happiness."

My dream project is to produce a Sci-Fi (Science Fiction) film. Having studied Video and Film at the College of Fine Arts, Hongik University, storytelling through moving images has always been my creative root. Beyond being a designer, I aspire to build a cinematic world that purely embodies my own philosophical worldview. I want to create a film where I can explore deep, existential questions and present a unique vision of the future through a meticulously crafted mise-en-scène.

My secret ingredient is 'the power of curation'—the ability to capture subtle nuances that others overlook and synthesize them into a cohesive narrative. Drawing from my background in film directing and my experience as an IT Product Manager, I don't just create visuals; I edit diverse elements into a unified logical structure. Success in design comes from the ability to 're-contextualize' fragmented information and present it as a compelling vision that solves real-world problems.

To be honest, I identify more as an Artist than a conventional designer. I draw my deepest inspiration from masters of fine art rather than the design industry. Beyond Damien Hirst, who poses existential questions through works like For the Love of God, I am profoundly influenced by M.C. Escher.
I am inspired by Escher's ability to construct impossible worlds through meticulous mathematical logic and a unique sense of 'editing' reality. Like these masters, I believe the role of a creator is to overlay a deep philosophical worldview onto the essence of a problem. Their influence drives me to create works that are not just visually aesthetic, but also cast meaningful and transformative questions back at the world.

To become a better designer, one must find answers to their own questions and, above all, be able to convince themselves. My process has always been about relentlessly delving into and contemplating the question 'Why?' to find the essence of a problem.
Whenever I encountered something I didn't know, I didn't stop until I understood it completely. My creations and designs are the tangible results of those found answers. A designer's role is not just making things look pretty; it is about overlaying one's philosophical ideas onto the problem's essence to cast meaningful questions back at the world. Therefore, you must constantly inquire, understand, and move forward only when you are fully convinced by your own logic.

Korea is a society with very rigid standards for a 'conventionally successful life.' In such an environment, roles that involve constant challenge and creation—such as being an entrepreneur, inventor, or artist—are rarely welcomed until they achieve dazzling success. This is because they do not follow a set route with predictable processes and answers, much like the national preference for standardized apartment designs.
Given this cultural context, it would not have been easy to choose a path outside of design. If my dream of becoming a creator had been thwarted from the beginning, I likely would have followed that 'ordinary route' and lived a typical, stable life as defined by society. However, my inherent drive to define my own narrative ultimately led me to choose the path of a creator over a pre-determined one.

To me, design is the process of identifying the essential needs and problems of the world and presenting a vision for a better future through logical solutions. It is not merely about creating something 'pretty'; it is a medium for overlaying one's own philosophical thoughts onto the essence of a problem to cast meaningful questions back at the world.
Ultimately, design is an act of 'narrative construction'. Whether it is film, branding, or product design, I define design as the art of capturing subtle nuances that others overlook and editing them into a cohesive, persuasive story that resonates with people.

The pillars of my success are my family and my unwavering belief in myself. Throughout my decade-long journey of navigating diverse design domains and balancing professional growth with household responsibilities, my family has been my strongest emotional anchor. Their presence allowed me to focus on my creative narrative without losing sight of what truly matters. Ultimately, however, it was the 'belief in myself'—the conviction to constantly ask 'Why?' and find my own answers—that enabled me to overcome challenges and achieve this global recognition.

What helped me become a great designer is the observation of natural phenomena and the inherent beauty within them. I find the most fundamental design logic in the organic order of the world. Furthermore, I have been profoundly inspired by innovative artists who challenge conventional boundaries. These elements combined have taught me to capture subtle nuances that others overlook and edit them into a meaningful vision, allowing me to grow into a creator who defines his own narrative

In the early stages, I struggled with how to effectively communicate my work to the world, which often hindered my creative output. This led to inevitable financial difficulties. Furthermore, the period of childbirth and childcare felt like being pushed into a long, dark tunnel. While children bring immense joy, balancing a career with parenting in Korea is exceptionally difficult, as it often leads to career gaps for women. Navigating the intersection of professional growth and family responsibilities was a profound challenge that required immense resilience to overcome.

I believe designers must proactively present their vision through artistic exhibitions that fully embody their own philosophy. Business-oriented design, created to meet the demands of others, often struggles to become a truly complete creative work of the designer. Therefore, to avoid losing one's identity as a creator, a designer should never hesitate to attempt exhibitions that showcase their pure narrative and vision. It is through these artistic endeavors that a designer's authentic identity is preserved and their true value is communicated to the world.

My ultimate goal is to fully ignite my creative talent and leave behind a meticulously recorded trail of my journey. I aspire to be a creator who pours everything into the process, ensuring that my existence is documented through the narratives I build. At the same time, I wish to leave no waste behind in this world—to disappear purely and gracefully once my purpose is fulfilled. My aim is to balance the profound weight of my artistic legacy with a commitment to leaving the world as clean and unburdened as possible.

Design is something that transforms a person’s life subtly, like a gentle drizzle soaking into one's clothes. It is the result of enjoying an answer to someone's profound question. The comforts we enjoy today are, in fact, the luxuries provided by the answers others have found before us.
Rather than a grand, sweeping vision of changing the world all at once, I believe that creating small, meaningful changes in myself and my surroundings is what ultimately builds a better society. When these individual 'answers' accumulate and naturally permeate our daily lives, they create a collective positive impact that enhances the quality of our shared existence.

I have always believed that ordinary people possess brilliant, uncut gemstones within themselves; they simply lack the tools to discover and polish them into jewels. I am no exception, having faced numerous failures myself. However, I have never lost sight of what I believe is my calling: to support others in finding and realizing the potential of their inner gemstones.
I have consistently pursued this through education and consulting, and I am now prioritizing this as a key project within my creative studio, 'Sayu Gonggan' (Space of Contemplation). The core of this project is not to force a ten-step leap forward, but to help people take just one step further than before and ignite their own motivation. My goal is to provide hope and a sense of purpose to those who feel lost or to women whose careers have been interrupted, helping them rediscover their dreams.

The project that recently gave me the most satisfaction is 'Dancheong of Cattleya.' Cattleya is the first incubated startup fashion brand under my creative studio, 'Sayu Gonggan' (Space of Contemplation). I was deeply involved from the initial business strategy to the design direction, building the entire brand narrative and core design assets through extensive interviews with the CEO.
Based on this foundation, I designed a unique pattern for scarves that captured the four seasons of Gyeongbokgung Palace through the lens of 'Dancheong,' embodying the brand’s identity. This project was particularly meaningful because it culminated in winning the Bronze Award at the A' Design Award, proving that a meticulously built narrative can achieve global recognition.

I hope for a future where the design industry values the 'uniqueness of the creator's narrative' above all else. As AI-driven mass production makes generic design more common and lowers its market value, the industry must shift its focus toward the philosophical depth and original definitions that only human creators can provide. I wish to see an environment where design is respected not just as a commercial tool for mass consumption, but as a high-value field that proves an artist's vision and delivers meaningful answers to the world.

The future of design will be defined by deep collaboration with AI. As AI makes it possible to generate results instantly through simple prompts, design services produced in this 'factory-like' mass-production manner will become ubiquitous, likely driving down the overall market price.
However, this will lead to an even greater polarization in the design market. While generic design becomes a commodity, the value of 'high-end' or 'premium' design—which embodies a creator's unique philosophy and artisanal touch—will skyrocket. In an era where anyone can produce visuals, the ultimate competitive edge will lie in the power of 'narrative' and the 'new definitions' that AI cannot replicate. The future belongs to designers who can transcend simple production and offer irreplaceable, high-value visions.

The timeline for finalizing a project varies significantly depending on its scale and complexity. For comprehensive branding or incubation projects—like 'Cattleya,' where I must build everything from the brand narrative to core design assets—it can take several months of intensive interviews and research. On the other hand, more focused design tasks can be finalized within a few days. Ultimately, the duration is determined by the time required to reach a well-reasoned answer that aligns with the project's essence.

Inspiration is always around us, so a project can begin at any moment. However, for me, the substantial starting point is always 'defining the question.' Throughout the process of seeking a design, I move forward by constantly checking whether the work aligns with the question, 'Why?' Design and logic breathe together in a symbiotic process. I finalize a design only when this iterative cycle of contemplation and visualization leads to a logic that I am personally convinced of.

Design is not merely about creating beautiful forms, but a process of seeking the most logical answer to the question 'Why?' My motto is to live a life where the narratives I build permeate someone's life like a gentle drizzle, creating positive change, and where the records of my fully ignited talents become an inspiration to others. Ultimately, my goal is to be a pure and refined creator who disappears without leaving any unnecessary traces, remaining completely harmless to the world.

I believe it is the era that determines both. The era selects designs that define a trend, and consequently, the majority of designs follow that movement. Rather than one dominating the other, design acts as a mirror reflecting the needs and values of the times. When the zeitgeist calls for a specific change, it manifests as a trend, and design evolves within that flow to provide the most appropriate answers for that period.

Technology plays the essential role of materializing design. A design truly reaches completion only when it is supported by technology that makes its realization possible. No matter how profound the narrative or philosophy behind a project, it is technology that bridges the gap between abstract concepts and tangible reality. For me, technology acts as a crucial lever that ensures the quality and perfection of the final output, allowing the intended vision to be fully and accurately manifested in the physical or digital world.

I primarily use the Adobe Creative Cloud suite to bring my design visions to life. actively I explore and integrate Adobe's AI features into my workflow to enhance creative efficiency. In terms of hardware, I utilize high-performance equipment capable of handling complex design tasks smoothly, ensuring that every project reaches the high level of completion I strive for.

Color is a core element that has a profound impact on a design’s primary identity and the immediate image it projects. Material is the final choice that completes the practical use and result of a design. For instance, even with the same pattern, the 'sensitivity' felt by the consumer varies depending on whether it is printed on paper, realized in fabric, or applied to furniture. To elevate this sensitivity, I meticulously select even the finest printing styles. Finally, the surrounding environment completes the message of the design. The same piece can evoke deep emotion when displayed in a certain atmosphere, yet appear as a mere commonplace object in a different setting. The environment is what ultimately defines how the design's value is perceived.

I hope people ask, 'What exactly have you created here, and what is the meaning behind it?' Rather than focusing on superficial aesthetics, I want them to be curious about the 'Why' behind the work. My designs are not just visual outputs; they are carefully edited narratives and logical answers to fundamental questions. When someone asks about the underlying meaning, it acknowledges the process of my talent being fully ignited and the 'invisible narrative' I have meticulously built into the project.

I feel a sense of awe, thinking, 'Why didn't I think of this?' alongside a touch of healthy jealousy. Sometimes, when I encounter something similar to an idea I once had, I reflect on why I hesitated to bring it to life. Thus, while I offer a round of applause for the brilliance of others, I simultaneously use it as a mirror for self-reflection. These moments remind me that the essence of design lies not just in the idea itself, but in the courage and technical foundation required to manifest it into reality.

My ideal partner is someone with whom I can share thoughts and gather ideas to create synergy. While I value collaboration, I prefer to handle the initial visualization of an idea alone to ensure the core narrative remains intact.
I support collaborative design in the sense of partnering with experts who can technically perfect my ideas or strategically promote them—areas that are difficult for me to manage single-handedly. For me, ideal collaboration means each specialist respecting the initial vision while contributing their expertise to elevate the final output's quality and reach.

The book that has influenced me the most is 'Demian' by Hermann Hesse. Hesse is the great writer and thinker I admire most, and the foundation of my thought process originated from his influence.
Just as the protagonist in 'Demian' struggles to break through the shell of his world to find his true self, my design process is a continuous journey of seeking the essence through constant questioning. Hesse’s philosophy of 'individual introspection' and 'manifesting the inner world' provides the fundamental logic for the narratives I build today. His insights are the invisible roots that allow my creative visions to grow and flourish.

My life as a creator was not always smooth. While I constantly yearned to immerse myself entirely in creation, life often intervened. There were many moments when I felt stagnant or interrupted while others seemed to be moving forward at the speed of light. Furthermore, because I pursue extreme detail, my work naturally takes longer than others'.
To push forward without losing my focus amidst these long hours and constant interruptions, I incessantly asked myself, 'Why am I doing this?'. This rigorous process became the strength that allowed me to organize my thoughts into words and discover the core ideological language of my work. This very power is what has kept me on this path for 20 years without giving up, ultimately shaping my expertise as a master.

Rather than a formal debate, there is a designer I feel a deep yearning to meet and connect with: Vera Wang. Although she was already a fashion professional, she founded her iconic wedding dress brand after the age of 40 and achieved monumental success. Even now, in her 70s, she remains incredibly beautiful and continues to offer bold, challenging inspiration that defies her age. While our backgrounds differ, I view her as my role model. I want to emulate her spirit of fearless challenge to reshape my current reality and continue my journey as a creator who never stops evolving.

Since the age of 20, I have dreamed of building a successful brand of my own and becoming a 'one-person conglomerate.' While that dream remains unchanged, I must admit that my subconscious was often filled with doubt, questioning if I could truly achieve it. Despite my desire for recognition, I was sometimes hesitant to invest in the path to get there.
Because of this, the 25-26 A' Design Award was the very first professional competition I challenged in my life, and I am deeply honored to have received an award on my very first attempt. This recognition has become a powerful stepping stone that cleared my inner doubts. Moving forward, I plan to invest unreservedly in my creative journey to ensure that the rest of my life shines even brighter.

My creative identity is rooted in the cycle of 'creation and destruction,' a theme I explore as an illustration artist under the pen name 'Atum.' This philosophy first took shape through my film production, 'Sand Dune, Tree Shade.' The 'Sand Dune' represents a cycle where sand scatters only to form new hills, while the 'Tree Shade' serves as a sanctuary where creation is conceived—a motif echoing the resilient journey of a dandelion seed.
These diverse experiences, including my work with the small-brand platform 'Tellus Lab,' are not fragmented memories. Instead, they are deconstructed and rediscovered within my new studio, 'Sayu-Gonggan.' I believe the conclusion of one project is the seed for the next. As a multidisciplinary designer, I weave these disparate threads of art, business, and philosophy into a singular, evolving narrative.

For me, design is a 'process of cyclical connection' that weaves scattered thoughts and symbolic motifs into a tangible narrative. It is like the movement of sand forming a dune or a dandelion seed finding new soil; design takes the remnants of 'destruction'—the deconstructed pieces of past experiences—and breathes new life into them through 'creation.'
Ultimately, design is the medium through which I manifest my philosophical contemplations into a physical space. It is not a fixed destination, but a 'living seed' that bridges the past's narrative with the future's possibilities, creating a sanctuary where art, business, and human emotion coexist.

I am most drawn to design that constructs a 'sensory narrative,' much like the spatial branding of Gentle Monster. I enjoy creating works where a brand’s identity is not just seen, but experienced through a powerful mise-en-scène that blurs the line between reality and imagination.
My preference lies in designing 'experiential platforms' that breathe life into symbolic motifs and philosophical stories. I love the process of deconstructing a brand’s core essence and rebuilding it into a multidimensional experience—where space, product, and storytelling circulate as one, like a dandelion seed taking root in a new, unexpected world.

My most favorite design is my recent work, which integrates the branding of 'Cattleya' with the traditional motifs of Gyeongbokgung’s Dancheong. This project is particularly meaningful because it isn't just about preserving tradition, but about the 're-birth of identity.' Through the brand 'Cattleya,' I have reinterpreted the intense visual language of Dancheong as a modern, sophisticated narrative of strength and elegance. It embodies my core philosophy: the process of deconstructing existing symbols to seed a new creative life. This design is my favorite because it successfully bridges the historical weight of the palace with the contemporary, high-end identity of Cattleya, proving that even the most established patterns can evolve into a fresh, personal story.

The first professional work I designed was a concert intro sequence that illustrated the core message of an artist's music through a narrative-driven visual story. I handled the entire creative process—from the initial illustrations to the final video editing and sound design.
This project was a pivotal experience that gave me the confidence to traverse different artistic boundaries. It taught me not to be confined to a single medium, but to fearlessly mix genres and embrace new creative challenges. This multidisciplinary approach has since become the driving force behind my work, allowing me to integrate diverse artistic elements into a cohesive whole.

My favorite platform is the digital environment, as it offers the ultimate freedom to visualize and deconstruct my contemplations without limits. However, I always strive to infuse this digital precision with analog sensibilities and the essence of physical textures.
I enjoy the process of capturing the warmth of nature or the depth of a traditional motif within a digital space. For me, technology is not just a functional tool, but a 'philosophical bridge' that allows me to manifest abstract narratives into sophisticated visual forms. My goal is to create digital designs that possess the weight and presence of a physical object.

I feel most creative during the early hours of dawn, as it is the only time when I can be entirely alone with my thoughts. Unlike the day, where various demands can fragment my attention, the silence of dawn offers a sanctuary free from distractions.
This period of undisturbed stillness allows me to dive deep into my contemplations and focus purely on the essence of my work. In that vacuum of silence, the boundaries between my inner narrative and the visual language of my design blur, enabling me to build a more profound and cohesive creative identity.

During the design process, I focus most on 'extracting the core narrative through deep client engagement.' I believe that the most vital clues for a design are hidden within the client's thoughts and goals. Therefore, I invest the most energy into active listening and interviews to discover the underlying motives they wish to achieve.
My role is to connect those discovered clues with symbolic motifs and weave them into a singular, cohesive context. Ultimately, I strive to ensure that the design isn't just a visual output, but a strategic solution that aligns perfectly with the client’s vision and long-term objectives.

When I design, I experience a profound sense of 'intellectual pleasure and emotional resonance.' The most exhilarating moment is when the scattered thoughts of a client are suddenly woven into a singular, clear motif—a peak of creative pleasure where chaos transforms into order.
I also feel deeply moved during the process of manifesting invisible narratives into a tangible visual language. This 'thrill of discovery'—finding the perfect symbolic link that resonates with the client's goals—is what drives my passion. For me, design is not a labor, but a rewarding journey of finding beauty in logic and feeling the heartbeat of a new story being born.

When my designs are realized, I feel an overwhelming sense of catharsis and awe. There is a unique thrill in seeing a 'silent thought'—once confined to a client's mind and my own contemplations—manifest into a tangible reality that breathes and interacts with the world.
The most moving part is witnessing the moment of 'resonance'; when the client sees the final result and finds their invisible goals perfectly translated into a visual language. Seeing my work depart from my hands to take on a life of its own, creating its own impact and space, gives me a profound sense of fulfillment and the energy to begin the next cycle of creation.

A successful design is one that achieves a complete 'contextual unity,' where the client's unspoken, intrinsic goals are manifest through a precise visual motif. For me, success is found not in textbooks, but in the field—through a proactive process of uncovering a client's core vision through deep interviews.
I've learned that when a design is built on a shared understanding of these hidden goals, it possesses an undeniable persuasive power that resonates with both the client and the audience. Ultimately, a design succeeds when it functions as a definitive solution that aligns the client's vision with an evocative narrative, ensuring the project concludes with mutual resonance and profound impact.

When judging a design, the first aspect I consider is 'Contextual Validity.' Before looking at aesthetic beauty, I evaluate whether the design accurately captures the client’s unspoken core objectives and translates them into a clear, visual reason for existence.
A 'good' design is one where every line and color serves a purpose in solving the client's problem and fulfilling their vision. If a design lacks a solid narrative or fails to align with the intended goal, no matter how visually striking it may be, it is merely decoration. For me, the ultimate standard of a good design is its persuasive power—the ability to make the viewer instinctively feel that this is the only definitive answer for this specific story.

I believe a designer's responsibility is to function as a 'Curator of Contemplation' for society. In a world of fast-paced consumption, a designer should not just encourage more buying, but provide a space for people to pause and reflect through visual narratives.
For the environment and society, our responsibility lies in 'Meaningful Connection and Continuity.' Rather than creating fleeting trends that soon become waste, we must deconstruct and reimagine enduring values—such as traditional motifs or natural cycles—into contemporary life. My goal is to design works that possess 'sustainable narratives'—objects that people cherish and keep close for a long time, thereby reducing the cycle of disposal and fostering a deeper respect for the essence of our surroundings.

I believe a designer's responsibility is to function as a 'Curator of Contemplation' for society. My studio, Sayu-Gonggan, is located within an Upcycle Art Center, which constantly inspires me to consider the 'afterlife' of design. In a world dominated by fast-paced consumption, a designer’s role is to practice 'Meaningful Continuity.' My goal is to design 'sustainable narratives' that people can cherish for a lifetime. By creating objects that demand long-term contemplation rather than instant disposal, I fulfill my responsibility to reduce environmental impact and restore the essential connection between humans and their surroundings.

My most recent exhibition was my third solo show, titled 'Namaskara: Worship the Permanence.' It was a project focused on exploring the essence of eternal cycles and the inherent sanctity of narratives that endure through time. As for my next exhibition, I do not wish to be confined to any specific theme or material. Instead, I am waiting for the moment when my experimental contemplations—deconstructing and reconstructing various phenomena and motifs—fully evolve into a mature, new discourse.

My inspiration stems from the cosmic principles of circulation—the endless cycle of birth and death, and deconstruction and union. I find my creative motifs in the profound wisdom of classics, natural phenomena, and even the microscopic world of cells, all of which embody these universal laws. For me, design is a process of capturing the sacred narratives found in the smallest units of matter and weaving them into a grander visual context.

My design style possesses a wide spectrum, seamlessly traversing the boundaries between refined minimalism and vibrant splendor. Regardless of the aesthetic direction, the core of my work lies in 'obsessive precision'—a dedication to the finest details that ensures even the most complex compositions remain harmonious and never cluttered.
I pursue a sophisticated balance where rich, vivid colors coexist with meticulous structural order. This approach allows my designs to be visually striking yet elegantly organized. For me, design is a process of crafting a 'sophisticated equilibrium'; whether the form is simple or ornate, I focus on achieving a high level of completeness through elaborate detail and disciplined color management.

I live in South Korea, a land with a 5,000-year history, where the most recent traditional dynasty alone spanned 500 years. This profound historical depth offers a vast treasury of oral narratives and rich cultural arts based on traditional motifs. This heritage serves as a powerful advantage, allowing me to broaden my creative worldview by infusing past legacies into modern contexts—much like how the 'K-Pop' phenomenon and historical themes inspire global audiences today.
However, living primarily in one's homeland also presents certain limitations. The disadvantage is that my exposure to the direct, lived experience of other cultures is restricted, which can limit the expansion of my creative inspirations. Additionally, working mostly within a domestic environment can naturally lead to a focus on preferences favored by a local audience, potentially narrowing the diversity of my perspective. I strive to overcome these boundaries by constantly seeking a balance between my deep cultural roots and a global visual language.

I work from my private studio to maximize time efficiency and creative immersion. I primarily utilize the silent hours of the dawn, a deliberate choice that allows me to balance parenting with 'pure immersion' without distraction. By eliminating commuting and physical noise, I channel all my energy into the precision and detail of my projects. I collaborate with companies as a high-efficiency partner who delivers definitive results through disciplined, focused energy.

To get the best results from a designer, I suggest that companies focus on 'Clear Objectives over Fixed Solutions.' A company should provide the designer with the unspoken core essence and goals of the project, rather than micro-managing visual details. Trusting the designer's ability to translate those goals into a visual context leads to more persuasive and definitive results.

My design process begins with thorough immersion. I request extensive materials and ask deep questions to uncover core clues, even from fragmented client narratives. Since each project often involves unfamiliar fields, I dedicate significant time to research and self-study until I find the right inspiration.
The most critical stage is constructing a logical architecture for that inspiration. I invest heavy energy into building this strategic framework because a solid logical foundation minimizes unnecessary explanations and functions as a powerful tool for persuasion. Once this structural 'blueprint' is set, the subsequent workflow becomes remarkably efficient, leading to a final outcome through precise feedback and refinement.

I am not attached to material possessions and rarely buy things. The only items I truly cherish are my own creations, such as a table I designed. To me, an object is only meaningful when it is a direct extension of my work and my creative process

My day is centered on the discipline of the early morning. I wake up before dawn to focus entirely on my creative work while the world is still silent. Once my child wakes up, I shift my focus to parenting and handle household tasks and administrative business during the day. After spending the evening with my child until bedtime, I rest early to restart my cycle in the deep silence of the next dawn. This rhythm allows me to protect my creative energy while fulfilling my responsibilities in daily life.

There are more days when things don't go as planned than when they do. During those stagnant periods when you question the meaning of your work or find no one seeking your expertise, I suggest exploring entirely different fields or learning something new.
Inspiration often arrives in the middle of mundane chores, like washing dishes, rather than through constant labor. You don't always improve by only doing 'design' work. Opportunities and ideas often emerge from unexpected places and unrelated tasks. Do not limit yourself to who you want to become; instead, embrace experiences that seem completely irrelevant to your career. It is through those unexpected detours that your creative world truly expands.

From my perspective, the greatest advantage of being a designer is the ability to perceive what others miss and translate those insights into a tangible reality. It is a unique profession that bridges the gap between commercial objectives and artistic creation, allowing one to expand their creative territory while fulfilling practical needs.
The disadvantage, however, stems from that very same nature. Unlike many professions with fixed routines and clear standards, design lacks an absolute yardstick for success. This requires designers to constantly establish their own internal guidelines, which often leads to inconsistent income and a challenging work-life balance. Because the work depends on inspiration and thought rather than a set schedule, production times are unpredictable, often resulting in irregular work hours and heavy workloads.

My 'Golden Rule' in design is 'Harmonious Logic.' A design reaches its perfect equilibrium—much like the golden ratio—only when vibrant aesthetics do not obscure the core message and exquisite details serve a singular, persuasive flow. My ultimate rule is to find a 'balanced translation' that fulfills the client's strategic objectives while satisfying my own aesthetic pursuits as an artist.

The most essential skill for a designer is not the mastery of digital tools, but the ability to set a clear objective and persistently visualize the path to reach it. In Korea, design education outside of universities often remains trapped in tool-centric training. However, throughout my years of teaching at various institutions, I have never prioritized the tools themselves.
I believe that if you continuously clarify the visual goal, the necessary technical skills will naturally follow. I personally acquired my skills through the process of creation rather than rote memorization. A designer’s true competence lies in the strength of their intent and the clarity of their visualization; tools are merely the instruments that support that vision.

Unlike many, I do not perform manual sketching. Instead of drawing lines on paper, I spend that time building a rigid logical structure within my mind.
Notion is my most essential tool. I tend to collect vast amounts of data, and I find Notion to be the ultimate collection tool for archiving and organizing these inspirations. Moreover, I use it as a 'digital notepad' to record my thoughts as they arise, a process that helps me refine my ideas into more logical and coherent narratives.

Design is a process of intense energy consumption, which makes strategic time management essential. To balance my work with parenting, I strictly minimize unnecessary social commitments and activities that drain my mental energy.

Instead of extending work hours, I focus on maximizing efficiency through the 'logical architecture' I build in my mind before starting any task. By establishing a clear objective and a definitive path during the silent hours of the dawn, I eliminate trial and error. This disciplined lifestyle allows me to protect the high-density energy required for creative precision while remaining fully present for my family.

The timeframe for completing a design varies significantly depending on the nature of the product. More importantly, it depends on my depth of understanding regarding the brand’s story. If I am fully immersed in the narrative from the beginning, the process can be remarkably swift; however, without that contextual foundation, it naturally requires much more time.
For instance, in the case of the 'Cattleya Dancheong Scarf,' the graphic design itself took only about a week because I had been deeply involved in Cattleya’s branding from the outset. Of course, subsequent stages—such as color implementation and the refinement of intricate patterns for the final fabric—required a much longer period of meticulous proofing and correction to reach the desired level of perfection

The question I receive most is, 'How long will it take?'
My answer is, 'It depends on the volume of work.' This includes both the physical amount of tasks and the depth of the story behind them. If the objective is clear and the narrative is already set in my head, even a large volume can be completed quickly. On the other hand, for tasks that don't require deep contemplation, I can simply focus on execution. Ultimately, the time is determined by how much work is needed to reach the target point.

My most significant professional experience was my first job at a post-production house. Although I was there for only three months, it was a period of intense 'observation.' Since my seniors were too busy to teach me directly, I had to learn by watching them work and searching for an infinite number of references for editing and post-processing.
This experience naturally internalized the process of reconstructing logic through editing, even when the initial planning was weak. If I had started my career focusing solely on drawing, I might not have developed the habit of questioning the 'Why' and the 'Objective' behind a design. My background in video allowed me to intuitively apply structural thinking to other design fields, ensuring that every visual element serves a clear, logical purpose.

Throughout my career, my clientele has evolved alongside my professional focus. When I focused primarily on video production, my main clients were major advertising agencies representing global corporations like Samsung and Hyundai.
As I expanded into the platform business, my focus shifted toward small brands and independent entrepreneurs across diverse sectors, including food, pet products, fashion, crafts, education, and publishing. During this transition, I have built deep, collaborative relationships with clients like Cattleya, participating in an 'incubating' capacity from the very early stages of their establishment. My role is to help these diverse brands find their unique visual identity and grow through structured, long-term cooperation.

The type of design I enjoy most is Pattern Design. Even in my personal artworks, patterns serve as the primary medium of expression.
For me, a pattern is the ultimate result of 'deconstruction and recombination.' I find immense fulfillment in taking a single motif, dismantling it, and reconstructing it into an infinite, sophisticated structure based on a rigid logical order. This passion is deeply rooted in my background in video post-production, where I learned to build new narratives through editing. Translating that dynamic 'reconstructive logic' into a static yet infinitely expanding pattern allows me to achieve the sophisticated equilibrium and microscopic precision that I pursue in every piece of my work.

My future plan is to focus on developing 'SAYU GONGGAN (Space of Contemplation)' into a platform that discovers and nurtures a diverse range of small brands. Leveraging my experience in both large-scale agency work and platform business, I intend to provide strategic partnerships that build visual narratives for independent entrepreneurs.
Simultaneously, I plan to hold my fourth solo exhibition, specifically centered on the theme of patterns. This exhibition will be a culmination of my artistic identity—translating the 'reconstructive logic' I've honed throughout my career into infinitely expanding visual structures.

I work entirely independently. While I have experience managing large projects and corporate entities, I now choose to develop every design directly from start to finish. This allows me to maintain a pure, uncompromised logical structure in every piece I create. By handling the entire process alone—from initial contemplation to the final visual output—I ensure that my core philosophy of 'sophisticated equilibrium' is consistently realized without any loss of intent.

I am currently leading projects that uncover hidden narratives of individuals and brands, transforming them into progressive stories. At SAYU GONGGAN, we prioritize discovering 'lost jewels' within past narratives over chasing fleeting trends.

One such project is with the Women's Vision Center, where I help women with career interruptions rediscover their latent talents and achieve independence. Simultaneously, I am working on establishing robust identities for corporate brands that lack a clear sense of self. My vision for the studio is to be a space that breathes new life into neglected histories and reintroduces them to the world with a renewed, sophisticated logic.

The most effective way to reach me is via email. For inquiries regarding brand incubating, design collaboration, or my upcoming pattern exhibition at SAYU GONGGAN, please contact me at:
Email: atumdesign@naver.com

I always look forward to collaborating with global corporations. While I have never been an employee of a large corporation, I have gained extensive experience navigating their rigorous standards and demanding requirements through numerous projects for major domestic brands. My goal is to apply the precise logic and sophisticated aesthetics I’ve refined through those high-stakes projects to a global stage. I am eager to prove that a deeply unique narrative, when reconstructed with clarity, can resonate powerfully with audiences worldwide.