Two distinguished Korean artisans are bringing traditional craftsmanship into the contemporary spotlight through the fourth annual Chanel X Yeol Project, which celebrates the theme "Nature, As It Is." Master jiho artisan Park Gap-soon, named artisan of the year, and metal craft artist Lee Yoon-jeong, recognized as young craftsperson of the year, represent the latest honorees in this ongoing collaboration between the Yeol Foundation and Chanel.
The annual exhibition, curated by internationally acclaimed designer Teo Yang, opened Thursday at Yeol Bukchonga in Seoul and will run through October 11. The showcase emphasizes the seamless harmony and flow between traditional Korean craftsmanship and contemporary design, demonstrating how ancient techniques can find new relevance in modern contexts.
Park Gap-soon, a designated intangible cultural heritage artisan, specializes in jiho, a traditional Korean papier-mache technique that transforms recycled hanji paper mixed with glue into functional objects. Her latest collection draws inspiration from minhwa, or Korean folk painting, prominently featuring tigers and magpies as symbols of protection and good fortune. "My favorite piece is a tiger that emits smoke when blown into, reminiscent of the saying, 'Back when tigers smoked tobacco,'" Park explained. "It connects the past and the present, especially as these animals are trending again thanks to 'K-Pop Demon Hunters.'"
The collaboration with curator Teo Yang proved transformative for Park's artistic perspective. "I used to think of minhwa purely as traditional art," she said. "But Yang saw how it could be interpreted for modern use. That insight helped me bridge my craft with today's lifestyle." This fresh approach allowed her to reimagine traditional motifs for contemporary audiences while maintaining their cultural significance.
Lee Yoon-jeong took on an ambitious technical challenge by constructing her own casting system to create tin furniture, an uncommon achievement for individual artists in the metalworking field. "Casting is usually done in factories, and it's difficult to access those systems as an independent artist," Lee explained. "This time, I wanted to take full control. That process of trial, error and persistence left a strong impression on me." Her work focuses on transforming mundane and often overlooked objects through metal craftsmanship.
Sustainability serves as a cornerstone of both artists' practices. Park emphasizes the eco-friendly nature of her traditional materials, using seaweed glue and perilla oil for finishes. "Jiho is inherently eco-friendly," she noted. "If something is used for a long time, that's already helping the environment." Lee shares this philosophy, stating, "Anything well-made will last. Even if I'm not explicitly upcycling, I try to make work that won't be discarded."
As a cultural heritage title holder, Park faces the challenge of preserving traditional knowledge for future generations. "Most of my students are older, and I worry about generational transmission," she said. "We need more young people interested in tradition." She particularly advocates for greater appreciation of hanji, which Korea is currently seeking to register as UNESCO cultural heritage. "Without hanji, crafts like jiho and paper weaving can't survive," Park emphasized. "I hope more people come to appreciate it."
For Lee, metalcraft represents a form of dialogue with everyday life. "I like working with things people often take for granted – like nails – and turning them into something beautiful," she explained. "It's a way to reconnect with the everyday." Despite facing various challenges in her field, Lee maintains optimism about Korean craftsmanship's global recognition. "The world is only now discovering what we've always done well," she concluded. "We don't need to change – we just need to keep going."
