KYEONG HEE JEONG

LEGENDARY INTERVIEW

Design Legends ("DL") had the distinct honour to interview legendary designer KYEONG HEE JEONG ("KHJ") for their original perspective and innovative approach to design as well as their creative lifestyle, we are very pleased to share our interview with our distinguished readers.

DL: Could you please tell us a bit about your design background and education?

KHJ : My artistic journey began with Korea’s exceptionally rigorous art school entrance system—a process as intense as an elite athlete’s training. This discipline led me to the School of Design and Arts at Hongik University, where I majored in Film and Video. Instead of traditional design, I focused on narrative and mise-en-scène, culminating in a short film for my graduation. After graduation, I worked in the highly specialized field of video production, handling editing, motion graphics, and design. As I pivoted toward independent creation to balance work with childcare, I built a career as a digital painter and media artist. My ability to structure content naturally led me into the platform business and product branding. Crucially, for over ten years, I have consistently translated every stage of my professional evolution into institutional lectures. Whether it was video, digital art, or branding, I shared my real-time insights to help ordinary citizens access their inherent artistic potential. I believe that everyone possesses the spirit of an artist, and my career has been dedicated to proving that through both practice and education.

DL: What motivates you to design in general, why did you become a designer?

KHJ : 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.

DL: Did you choose to become a designer, or you were forced to become one?

KHJ : 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.

DL: What do you design, what type of designs do you wish to design more of?

KHJ : 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."

DL: What should young designers do to become a design legend like you?

KHJ : 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.

DL: What distinguishes between a good designer and a great designer?

KHJ : "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.

DL: What makes a good design a really good design, how do you evaluate good design?

KHJ : 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.

DL: What is the value of good design? Why should everyone invest in good design?

KHJ : 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.

DL: What would you design and who would you design for if you had the time?

KHJ : 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."

DL: What is the dream project you haven’t yet had time to realize?

KHJ : 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.

DL: What is your secret recipe of success in design, what is your secret ingredient?

KHJ : 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.

DL: Who are some other design masters and legends you get inspired from?

KHJ : 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.

DL: How could people improve themselves to be better designers, what did you do?

KHJ : 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.

DL: If you hadn’t become a designer, what would you have done?

KHJ : 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.

DL: How do you define design, what is design for you?

KHJ : 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.

DL: Who helped you to reach these heights, who was your biggest supporter?

KHJ : 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.

DL: What helped you to become a great designer?

KHJ : 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

DL: What were the obstacles you faced before becoming a design master?

KHJ : 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.

DL: How do you think designers should present their work?

KHJ : 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.

DL: What’s your ultimate goal as a designer?

KHJ : 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.

DL: How does design help create a better society?

KHJ : 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.

DL: What are you currently working on that you are especially excited about?

KHJ : 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.

DL: Which design projects gave you the most satisfaction, why?

KHJ : 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.

DL: What would you like to see changed in design industry in the coming years?

KHJ : 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.

DL: Where do you think the design field is headed next?

KHJ : 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.

DL: How long does it take you to finalize a design project?

KHJ : 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.

DL: When you have a new design project, where do you start?

KHJ : 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.

DL: What is your life motto as a designer?

KHJ : 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.

DL: Do you think design sets the trends or trends set the designs?

KHJ : 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.

DL: What is the role of technology when you design?

KHJ : 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.

DL: What kind of design software and equipment do you use in your work?

KHJ : 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.

DL: What is the role of the color, materials and ambient in design?

KHJ : 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.

DL: What do you wish people to ask about your design?

KHJ : 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.

DL: When you see a new great design or product what comes into your mind?

KHJ : 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.

DL: Who is your ideal design partner? Do you believe in co-design?

KHJ : 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.

DL: Which books you read had the most effect on your design?

KHJ : 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.

DL: How did you develop your skills as a master designer?

KHJ : 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.

DL: Irrelative of time and space, who you would want to meet, talk and discuss with?

KHJ : 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.

DL: How do you feel about all the awards and recognition you had, is it hard to be famous?

KHJ : 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.