KOREA FOUNDATION

With a personal manifesto of recasting traditional heritage in modern aesthetics, internationally renowned designer Teo Yang takes a keen interest in local crafts. Here he speaks about the contemporary craft scene in Korea and why crafts are so important in our daily lives.

Section Two of the 2022 Craft Trend Fair highlighted works that embodied individual effort, which is valued more than ever in the digital age.
Courtesy of Teo Yang Studio

“Craft of Cure and Comfort,” held in the traditional village of Bukchon, Seoul, in September 2022, marked the 20th anniversary of YÉOL Korean Heritage Preservation Society. Designer Teo Yang was the exhibition’s chief planner and director.
Courtesy of YÉOL

As in Western society, crafts in Korea have moved under the umbrella of modern art. Centuries-old handmade items such as bojagi (cloth used to wrap, transport, and store things) are now viewed as art objects and appreciated for their design, texture, and color as much as their practical function.

Section One of the 2022 Craft Trend Fair featured the works of artists committed to developing traditional aesthetics and techniques.
Courtesy of Teo Yang Studio

Likewise, craftspeople are now perceived as artists rather than artisans. However, craft differs from fine art and design in that its essence stems from artisans’ ability to handle materials and give them the desired form. Crafts today have become much more diversified in expression, as artists experiment with aesthetics and form. They also mix multiple materials and move freely between genres to create pieces representing artistic fusion and convergence.

One of Korea’s most important craft-related events is the annual Craft Trend Fair. Established in 2006 by the Korea Craft & Design Foundation, the fair promotes the artistic and industrial value of crafts. The theme of the 2022 edition was “Today’s Questions, Craft Answers.” Teo Yang, artistic director of the event, sought to create a forum for artists to explore solutions to social problems such as the standardization of human lifestyle, the loss of humanity through digitalization, and the destruction of nature and the environment. Young adults who are especially attuned to these issues are increasingly involved in craft making and flocked to last year’s fair as both participants and visitors.

Yang is known for high-profile projects such as the interior of the Gyeongju National Museum’s Silla History Gallery, the National Hangeul Museum’s Permanent Exhibition Hall, and the remodeling of Kukje Gallery. In 2020, he became the first Korean named in Architectural Digest’s AD100, a list of leading figures in design, interior decoration, and architecture. He believes that crafts can address contemporary social issues, such as sustainability and diversity, and that crafts of the past inform the future.

What is the current trend in the craft scene?

Teo Yang, CEO of Teo Yang Studio, poses in the showroom of the furniture brand Eastern Edition in Cheongdam-dong, Seoul, which he launched in 2021. To create timeless design, he reinterprets Korean aesthetics to fit contemporary lifestyles.
Courtesy of Teo Yang Studio

I think it is difficult to define. I personally believe that crafts shouldn’t have trends. When you don’t follow a trend, people tend to think you’re not part of the mainstream culture and that you’re lagging behind. Crafts, on the other hand, are completely free from that. Crafts embrace people who are tired of chasing after the latest trends and create a community of people who question what is authentic. Crafts are for people who want to draw a line between the competition in society and are searching for what they really want.

What is the social role of crafts?
First, people are not fully aware of how the products they use in their everyday lives are made — what they are made of, who made them, how they came to use them. They simply throw away the product after using it, not knowing how it gets recycled or disposed. But crafts open up the whole cycle and encourage people to think about sustainability.

How can crafts solve social issues?
Crafts cannot solve all problems but the fact that they create social discourse is extremely important. I define design as something that perceives society in a critical light, and I ceaselessly try to provide reasonable and artistic answers. I always think of societal problems and question if the world really is sustainable.

I recently went on vacation to Kyoto and realized how dangerous it is to ignore the historical narrative and only focus on the future. Kyoto is a city that connects its history to the present. So, when something new is created, the timeline is well correlated; it has reasonable logic. Design should be viewed from a historic point of view.

That’s the thing about crafts — they pass the baton on to the next generation. So, can crafts solve problems? Yes, they can, but it depends on whether the genera l public really chooses to use them.

What is the importance of “Korean beauty”?
When I talk about Korean beauty, I mean our tradition. There are things that society has forgotten about or has been unable to keep up with. I want to bring them back, even if it means going slowly. There is a certain beauty to them that brings good influences. Studying our history and making sure we preserve traditional aspects in our lives also inspires us to create a better future.

Where are Korean crafts headed?
The future is very bright. Our ancestors have handed down so many outstanding techniques when it comes to crafts, and a lot of younger craftspeople have been passing them on so well. One thing that I’ve noticed while working with craftspeople is their pride in what they do. If society accepts crafts with an open mind and heart, they will be very well used in our daily lives.

How can people embrace crafts?
People may find crafts difficult for many reasons, and one of them is the price. Actually, many craftworks are not so expensive; their prices are even similar to those of regular manufactured products. People don’t realize that because they are afraid to ask. But try asking how much they cost and compare them to industrial goods. You will be surprised to see that craftworks are much better value for money because the longer you use them, the more beautiful they become.

Please explain the craft fair theme.
They say that history repeats itself. I focused on the necessity of crafts in the fair because when our crafts win awards, like the Loewe Foundation Craft Prize, they should never end up as a passing fad. Before people realize that our crafts are gaining global recognition, they need to understand that crafts are required in our daily lives. If that does not happen, then the awards will quickly become a thing of the past.

Who were standouts at the fair?

“Collect,” the works of ceramic artists Kim Deok-ho and Lee In-hwa, in the exhibition “The Mind Pond,” held June to July 2022 at the LKATE Gallery in Seongbukdong, Seoul. Teo Yang lauds how the duo draws inspiration from traditional elements.
© Kim Deok-ho, Lee In-hwa

So many people took part in past editions of the fair, so I had to go over the selection process again. That was very challenging. Some people might think, “This person, again?” But there should be stars in the craft world as well, and we need to promote them as much as we can. That way, people will become interested and learn more about crafts. Kim Ok, Lyu Nam-gwon, Kim Deok-ho, and Lee In-hwa are just a few of those who should be more widely known. Their works are beyond excellent. Even the works of other craftspeople I have not mentioned are equally precious.

Please name a memorable project.
I worked with Kim Deok-ho and Lee In-hwa on the latest craft fair, and I also recently finished designing Blue Bottle’s Myeong-dong store with them. They designed the doorplate and logo using ceramics. I plan to continue collaborating with craftspeople, and we have merchandise that is going to drop. As a designer, I really think it is important that I introduce more of these other craftspeople and help widen their horizons by collaborating with them.