Reflection – DPS

Looking back on my Diploma in Professional Studies year, I realised that the most valuable outcome was not only gaining work experience but developing a clearer understanding of myself as a designer. Through placements across print textile, couture fashion, and interior textile rug design, I experienced industries directly rather than relying on assumptions. Each environment challenged me in different ways and helped shape my understanding of what kind of practice I want to pursue.

At Bay and Brown, I strengthened my drawing flexibility and became more aware of how archives, visual research, and commercial considerations influence textile design. This experience helped me understand how creativity can exist within industry constraints while remaining visually expressive. My experience at Miss Sohee introduced a very different working environment. Observing couture processes gave me deeper insight into luxury craftsmanship, conceptual development, and the level of labour and attention required to produce highly refined work. It also encouraged me to reflect more critically on questions around sustainability, pace, and the realities of fashion production. At Jaipur Rugs, many of these previous experiences came together. Working within interior textile and rug design expanded my understanding of materiality, spatial relationships, client communication, and ethical approaches to making. I became increasingly interested in how textile design can exist within lived environments and how craftsmanship, cultural narratives, and functionality can be integrated.

Reflecting across all three placements helped me identify interior textiles, particularly rug design, as the direction that aligns most closely with my creative interests and future goals. Through DPS, I also developed stronger professional communication and a more industry focused portfolio that presents process, adaptability, and final outcomes more clearly. Experiencing different working environments strengthened my confidence and critical reflection, allowing me to make career decisions based on experience rather than assumptions. DPS also changed how I understand design and professional success, showing me the importance of balancing creativity with ethics, sustainability, and long term development. As I move into my final year at UAL, I hope to combine lessons from each placement while continuing to explore Korean traditional craft within contemporary interior textile practice. Overall, DPS gave me greater clarity, confidence, and a stronger sense of direction as a designer.

Reflection – Tutorials

Throughout this year, tutorials became an important space for reflecting on both my creative process and my personal development as a designer. Rather than focusing only on outcomes, the tutorials encouraged me to think more critically about decision making, material choices and the intentions behind my work. One of the most valuable points raised during tutorials was the importance of slowing down and allowing the process to remain visible. At the beginning of the year, I often focused too quickly on creating final outcomes and overlooked experimentation and documentation. Through conversations with tutors, I started to understand that uncertainty and trial are also meaningful parts of the design process. Another recurring discussion was around communication. I learned that documenting ideas through sketches, mind maps, photographs and reflective writing helped me understand my own process more clearly and communicate it more effectively to others. Overall, tutorials supported me in becoming more reflective, open and intentional in my practice. They helped me shift from thinking only about producing outcomes towards understanding design as an evolving process shaped by research, experimentation and critical reflection.

Report Draft

Introduction – The reasons why I decided to take DPS

VisaCareer journey
– It’s hard to gain intern experience with student visa
– Gain experience before graduate so I can use my graduate visa (18 months) useful
– Fashion (Central Saint Martins)
– Interior (Fashion Institute of Technology)

First Internship – Bay & Brown (Print Textile)

AppealingUnappealing
– Organizing Archive (Learning color palette, seasons, and styles)
– Drawing (Drawing different type of styles)
– Small company (Can’t provide me visa, unstable)
– Only drawing (No further steps beyond drawing, wanted hands-on craftsmanship, felt pointless after handing over my drawings to colleagues)

Second Internship – Miss Sohee (Fashion Embroidery)

AppealingUnappealing
– Different task everyday (Different garment, client, collection, and task, entertaining and not to get boring)
– Fashion show experience (Understanding industry process)
– Korean Designer (Inspired how to develop traditional inspiration)
– Small company (Can’t provide me visa, unstable)
– Toxic (Toxic people and environment, felt like replaceable)
– Terrible work life balance (Overworking & weekend working during fashion show season, no personal life during weekday)

Third Internship – Jaipur Rugs (Interior Textile – Rug)

AppealingUnappealing
– Big company (Can provide me visa, stable, welfare, great work life balance, connections at Chelsea Harbour Design Centre)
– New client/task everyday (Entertaining and not to get boring)
– Process (More than just drawing/design (Communicate with clients, choosing texture and
techniques, mathematics for installation, collaboration, etc, love texture)
– Couldn’t find yet

My improvement (Differences that I got from the beginning of the DPS year)

1) Lots of connection
2) Industrial friendly portfolio (Not student portfolio)
3) Realized what I like (Idea development process, make it makes sense, more than just drawing, interior textile!!!!, beauty of tradition and hand craftsmanship)

My final year (Graduate collection)

1) Korean traditional focused project, drawing techniques from Bay & Brown
2) Idea development process from Miss Sohee
3) Craftsmanship and techniques from Jaipur Rugs

Creative Attributes Framework

Resilient – Strengthened adaptability and professional maturity through continuous transitions and demanding industry experiences

Communication – Strengthened professional communication through portfolio tailoring, interviews, networking, client engagement, and cross cultural workplace collaboration

Critical – Evaluated professional environments through ethics, sustainability, and structural realities rather than prestige alone

SIP – Booklet Presentation

By placing this project at the Jaipur Rugs showroom in Chelsea Harbour Design Centre, a globally recognized handmade heritage rug brand, the work strategically enters an audience including retail clients, interior designers, textile designers, curators, and sales professionals who are already invested in craftsmanship, authenticity, and cultural design, creating a bridge between Korean textile heritage and international artisanal markets.

SIP Nesta: Theory of Change

Measurable Effect of the Work

  • Increased awareness of Korean traditional textile heritage among wider audiences
  • Enhanced educational value for fashion and textile students
  • Creation of culturally distinctive design references for modern creative industries
  • Greater appreciation for sustainable traditional craft practices

Wider Benefits

  • Promotes Korean cultural identity on a global platform
  • Encourages preservation of endangered traditional crafts
  • Supports sustainable design by highlighting historical reuse practices such as Bojagi
  • Bridges heritage and innovation within textile and fashion sectors

Assumptions

  • Audiences are seeking culturally rich and meaningful design inspiration
  • Sustainable cultural practices will become increasingly valuable in future design industries.

Jaipur Rugs

OverviewKey LearningReflection
– Interior textile and bespoke rug industry
– Showroom and client consultation
– Large scale global company
– Textile design as multidisciplinary system (Client communication, Spatial design, Materiality, Strategy)
– Ethical craftsmanship
– Handmade artisan communities
– Sustainable business structures
– Interior textiles combine (Creativity, Stability, Ethics)
– Commercial viability
Strongest alignment with (Creative goals, Professional realities, Long term career sustainability)

Miss Sohee

OverviewKey LearningReflection
– Luxury couture embroidery
– Haute Couture S/S 26 preparation
– High pressure atelier environment
– Luxury craftsmanship
Speed and resilience
– High level production systems
– Korean heritage in global design
– Prestige vs wellbeing
– Labour intensity
– Replaceability within fashion systems

Bay & Brown

OverviewKey LearningReflection
– Small print textile studio
– Archive organisation
– Seasonal palette analysis
– Hand drawing
– Textile design as commercial system
– Strengthened technical versatility
– Developed commercial awareness
– Limited role in full design cycle
– Disconnection from final outcomes
– Small studio instability