How Lee Min-seo turned drum leather into award-winning jewelry
Lee Min-seo, a graduate student at Hongik University in Seoul, was named the first university category winner of the Kering Generation Award X Jewelry, a global competition that champions sustainability and innovation in design.
The award, presented by French luxury group Kering — owner of brands such as Gucci, Saint Laurent and Boucheron— was announced during the JCK Las Vegas Show on June 7. Lee's winning jewelry collection, titled 'Rhythm Reborn,' reimagines discarded leather from the traditional Korean drum, janggu, into intricate and wearable pieces of art.
'Over 10 universities from around the world competed in the event,' Lee told The Korea Herald. 'Hongik University was the only one from Korea, and five students were selected to represent our department. I feel incredibly honored and grateful that my work was chosen.'
Lee's collection explores the cultural and emotional resonance of the janggu, with a strong emphasis on rhythm and repetition.
'I used to play janggu in elementary school as part of a samulnori club, which is how I first learned that the drum's leather can wear out and tear,' she said. 'When I saw that the competition focused on sustainability and waste, I immediately thought about how meaningful it would be to give those discarded materials a second life.'
Her design process was technically challenging, as animal hides like cow or sheep leather — commonly used in making janggu — are highly sensitive to moisture and temperature.
'I had to clean the leather thoroughly, which meant using water. Then I sliced it thinly, inserted it into metal frames, soaked it and bent it while wet. Once I applied heat, the shape would set. It was a way of using the material's vulnerability as a strength,' Lee said.
The Kering Generation Award X Jewelry was launched this year in collaboration with the World Jewellery Confederation and Politecnico di Milano. It was designed to discover and support new talent in sustainable luxury design. The 2025 theme, 'Second Chance, First Choice,' encouraged participants to view discarded materials as valuable resources.
'I interpreted the theme as giving discarded materials a second life, then presenting them in a way that would make them worthy of being someone's first choice again,' Lee said. 'That's what I aimed to do with 'Rhythm Reborn'.'
For Lee, tradition and sustainability are deeply connected — both conceptually and emotionally.
'Tradition is often seen as something from the past, but I believe it's something we can adapt and reinterpret,' she said. 'Design should not only be about making something beautiful — it should also carry meaning, responsibility and a story.'
This philosophy extends to her broader approach to art jewelry, which she views as both wearable and collectible.
'One of my collectors told me they planned to display my piece on the wall like an artwork,' she said. 'That's what art jewelry is — it exists somewhere between fashion, memory and fine art.'
Lee is currently a graduate student at Hongik University's Department of Metal Arts and Design. She credits her education for helping shape her artistic identity and visual language.
'My MFA thesis exhibition was a turning point,' she said. 'I created pieces using repeating comma-shaped units. It was exhausting but helped solidify who I am as an artist.'
She recently curated an upcycling-themed exhibition in Seoul and is planning more solo exhibitions in the future. As for future collaborations, discussions are underway with several brands, though no details have been finalized.
'There are opportunities for mentoring and possibly working with a luxury jewelry brand, but nothing has been confirmed yet,' she said. 'Still, I'd love to explore that world. I usually work with larger metal pieces, so seeing how luxury brands approach things like fine jewelry would be a valuable experience.'
Lee cites Boucheron and Japanese-born artist Junko Mori as ongoing inspirations.
'Junko Mori's dense, organic forms really resonate with me. I love repetition and detail, and her work reminds me of that,' she said.
Ultimately, Lee hopes to be remembered as a designer with a clear voice.
'I like clarity,' she said. 'I want my work to be instantly recognizable — something that stays in people's hearts. Sustainability isn't just about protecting the environment. It's also about preserving memory.'
yoohong@heraldcorp.com
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
20 hours ago
- Korea Herald
Six artists explore personal narratives beyond politics at Atelier Hermes in Seoul
The exhibition 'The Second Life' runs through Oct. 5 In the group exhibition, 'The Second Life,' Atelier Hermes in Seoul has gathered six artists who explore how individual lives are shaped beyond social and political discourse, drawing on personal stories. Curator Ahn So-yeon said Thursday that the participating artists — Bek Hyun-jin, Lee Yona, Han & Mona, Kim Bo-kyung and Park Min-ha — each took a "slice of life" approach to create new work for the exhibition. 'These days, an overwhelming number of exhibitions are being produced around socio-political issues such as the environment and climate crisis," Ahn said. "Rather than focusing on socially or politically 'correct' themes or collective ideas, the exhibition aims to explore how deeply personal issues can expand and evolve within those contexts." Han & Mona, a duo based in Seoul and Edinburgh, presents "Listen, I Know," inspired during the COVID-19 pandemic. The digital installation flashes of Morse code to express the situations of conflict and negotiation they encounter in cross-cultural engagement. 'During the pandemic, I was stuck indoors and when I looked outside there was a light blinking as though it was crying out to me,' the duo's Yoo Mona said of her inspiration for the piece. 'You might feel the blinking of Morse code is a bit slow, which was intentional as we wanted to reflect elements from our own way of communication in the work like the tone and glances when we talk,' Yoo said. "As we have different cultural backgrounds and grew up speaking different languages, small cracks or misunderstanding emerge time to time. That is, however, how our communication expands." Her partner Ma Hanqing is from the Hui community, composed of Chinese-speaking adherents of Islam. Most of them reside in northern China, while some of them live in metropolitan cities such as Beijing and Shanghai, Ma said. Kim, a Berlin based artist who uses knitting, paper weaving and drawing, confessed she almost abandoned her career as an artist, but was able to continue when she came up with her acanthus leaf motif, drawing inspiration from the plant's tenacious hold on life. Park shows the media installation 'Ghost Anatomy,' where she incorporates a virtual character, Noa, created with AI, into her daily life. The piece looks at the way the character explores its own subconscious. Bek, who is a singer, composer, actor and director as well as an artist, presents 21 drawings and five paintings on "hanji," Korean traditional mulberry paper, that depict moments of his current life, now marked by shoulder pain — becoming middle-aged, according to the artist — and a changed rhythm as a result. The artist said his new paintings were changed in style after he was fascinated by the ink painting "Sehando (Winter Scene)" by Kim Jeong-hui (1786-1856), a Korean calligrapher and scholar from the late Joseon Dynasty, for how it depicts the snow-covered landscape with seemingly unfinished lines. Lee, who left Busan to live in New Zealand at age 11, translates the tension that she feels between traveling and rootedness with a stainless-steel installation.
Korea Herald
a day ago
- Korea Herald
Lee Jung says dance is her 'source of life'
Star dancer and choreographer reflects on Bumsup's defeat on 'World of Street Woman Fighter' K-pop continues to dominate the global stage — not just through its chart-topping idol groups, but also thanks to the choreographers and creative minds behind the scenes who are now gaining long-overdue recognition. Among them is one of the hottest names in the game: Lee Jung, the 26-year-old star choreographer who recently appeared in Mnet's dance survival competition "World of Street Woman Fighter," the third installment of the hit competition franchise "Street Woman Fighter" (2023). The series aired its finale Tuesday, concluding with a showdown between dance crews representing countries around the world. Japan's Osaka Ojo Gang ultimately took the crown, beating out five other teams: South Korea's Bumsup, the United States' Motiv, Japan's RHTokyo, New Zealand's Royal Family and Australia's AG Squad. Though the nine-episode series pulled in modest TV ratings — averaging around 1 percent viewership — it became a sensation online. Across platforms such as YouTube and social media, the show dominated digital conversation, topping the non-drama rankings from Good Data Corporation's Fundex for the first three weeks of June. The rankings are based on an analysis of program-related information and netizen responses generated from sources including news articles and social media. The homeground team, Bumsup, was made up of some memorable dancers from the show's breakout first season, including Lee Jung, Aiki, No:ze and Honey J. On July 15, fans were stunned when it failed to make it past the semifinals and missed out on the finals. It was an emotional moment for Lee, who rose to stardom following her breakout appearance on 'Street Woman Fighter' two years ago and has choreographed some of K-pop's most iconic routines, including Twice's 'Fancy' and 'Feel Special,' as well as Blackpink's 'Pink Venom' and 'Shut Down.' After Bumsup's elimination, Lee sobbed on camera, a moment of sincerity that resonated with fans. Speaking at an interview in Yongsan-gu, Seoul, on Thursday, she reflected on the defeat. 'Since there are so few chances to perform live on stage, I thought this would be a rare opportunity to express my gratitude for all the support I've received, but I was really upset because I felt like I missed that chance,' she said. Lee, who began dancing professionally in 2014, credited "Street Woman Fighter" for helping bring dance into the cultural mainstream. 'In the past, dance was something shared and loved only by those who pursued it professionally. But now, even people who don't do it as a job genuinely love dance. That's what has really changed. These days, people are curious about who choreographed a routine, and they're interested in what someone like me, Lee Jung, will do next. That shift is incredible.' Lee's path to the stage began humbly: What started as a talent show gig for school eventually became her life's calling. For Lee, over time, dance evolved into something far more personal. 'Dance makes me incredibly happy. And what meaning is there in a life without happiness?' she asked. '(Dance) is not just an art form, genre or profession — it's a source of life itself and a form of salvation.' With "World of Street Woman Fighter" now wrapped, Lee is turning her attention to larger-scale, more varied creative ventures. One standout project was her role in choreographing the Netflix animated global hit "KPop Demon Hunters," marking another major step in her international career. Reflecting on the film, which had been in development for three years before its release in June, Lee shared her excitement about how the medium of animation shattered traditional limitations for dancers. "I was so excited when they told me, from a technical standpoint, 'Huntrix has no physical limitations.' They said, 'Lee, you can do everything you want.' ... That's why I was able to enjoy it even more." She also recounted a memorable moment from working on the track "How It's Done." "While working on the song 'How It's Done,' I heard that Huntrix members would be dropping from a plane and landing in the dome. I got super excited, because I'm also someone who thinks the way a performance begins — the entrance — is incredibly important. So hearing that kind of entrance idea even before we shared our visions made me think, 'This is going to be so much fun.'' Looking ahead, Lee said she's eager to explore choreography across a wider spectrum, embracing new formats and global platforms. 'I want to dance in a much broader realm. I want to go wherever dance is needed. Whether it's collaborating with a singer and making headlines, performing in commercials through dance or running a YouTube channel as a dancer, I believe there are things only I can do. I want to turn those rare, less-traveled paths into my own unique space. I want to dance on a bigger stage while staying true to the 'real me' — the version of myself in that underground practice room,' she said.
Korea Herald
2 days ago
- Korea Herald
K-pop meets local lore: Hidden gems in 'KPop Demon Hunters'
Behind the animation's K-pop flair, the film is a rich blend of Korean culture and traditions woven into the story and characters "Listen 'cause I'm preachin' to the choir. Can I get the mic a little higher? Gimme your desire, I can be the star you can rely on." Yes, what is easier than stealing the souls of K-pop fans already under a spell? Many of you might have fallen head over heels for the Saja Boys — the Korean grim reapers who also top charts — like Abby, whose muscles pop shirt buttons, and Jinu with his charming smile. The group is a five-member fictional boy group created for the Netflix animated film "KPop Demon Hunters," and they're not just taking the fictional world by storm — they're stealing the hearts of real-life K-pop fans, too. But behind the animation's glittering visuals and K-pop flair, the film packs something even more powerful: a rich blend of Korean culture, age-old traditions and shamanistic elements woven into the story and characters. It is not just eye candy; it's a cultural deep dive wrapped in pop perfection. The term "Saja" translates to "lion," so people might assume the boy band chose the name to symbolize strength and power, like the lion itself. But there's a twist: The boys aren't just charming idols. "Jeoseung-saja" also refers to a grim reaper-like mythical figure who guides souls to the afterlife. In this case, the boys are demons sent to the human world to steal their fans' souls. The blending of spiritual tradition with pop spectacle is also reflected in the trio girl group Huntrix, comprising Rumi, Mira and Zoey, who are demon hunters sworn to protect their fans from supernatural threats. Huntrix's performances help to seal the "Honmoon," a mystical gate or barrier that separates the human world from the demon realm. The word is a combination of "hon," meaning soul, and "moon," meaning door, which is a traditional Korean shamanic "gut" ritual reinterpreted in a flashy way. In real life, such Korean rituals are performed by shamans, or "mudang," to drive away evil spirits, bring good fortune, resolve misfortune and foster harmony between the human and spirit worlds. The rituals combine music, dance, costume and spoken incantations. So when Huntrix begins using its music to seal off the demon realm, its ruler Gwi-ma strikes back by sending the Saja Boys to weaken the Honmoon by dominating music charts. Although produced overseas, these hidden cultural elements reflect director Maggie Kang's desire for the film to be "as Korean as possible," as she said in a Q&A video released to the press on June 26 — a vision that comes to life in every frame. Also, each Huntrix member carries a weapon with deep cultural roots, as each blade is inspired by traditional Korean weaponry and shamanic instruments. Rumi's sword, known as the "Quadruple Tiger's Evil Slayer," or the Four Tiger Sword, is a ritual blade dating back to the Joseon era (1392–1910). In Korean cosmology, each of the four cardinal directions is guarded by a mythical tiger, believed to protect the world from harm. Similarly, Rumi uses the sword to shield human souls from the demons, embodying the same protective spirit. Initially mistaken for a Chinese guandao — a type of Chinese pole arm — Mira's sword, known as "gokdo," is also inspired by the Cheolyeomchu, a curved pole arm from Goguryeo Kingdom (37 BC-668 AD), which gives the weapon a distinctly Korean identity. The spirit knife wielded by Zoey is the "shinkal," which is used during the gut ritual to fight evil spirits. Her blade is adorned with a "norigae," a traditional Korean pendant accessory worn by women, rich in both aesthetic beauty and emotional symbolism, reflecting the grace and spirit of women from the Joseon era. But the animation is not only about mythical themes and traditional Korean elements. The film also does an excellent job of portraying modern-day Korea. For example, in a scene where the members of Huntrix eat gukbap — a bowl of rice and boiling soup — tissues are placed under their spoons, reflecting Korea's dining etiquette. As the film and its spotlight on Korean culture continue to captivate audiences worldwide, pop culture critic Jung Duk-hyun noted that Korean culture is now seen as "hip" on the global stage, adding that it is one of the key reasons it resonates so strongly with international viewers. "The success of 'KPop Demon Hunters' serves as clear evidence that stories rooted in Korean traditions, music and lifestyle can capture global attention and serve as the core of a compelling film. It highlights the strong potential of Korean culture to inspire and shape not only movies but a wide range of creative content in the future," Jung told The Korea Herald on July 15. Yoo Seung-chul, a professor of media convergence at Ewha Womans University, echoed the sentiment, saying that the incorporation of Korean elements adds depth and richness to the film's details. "The film takes elements audiences already recognize from K-pop, along with familiar storytelling techniques, and creatively blends them," he explained.
