BINNIE'S BLOG

Traditional Korean craft practices were historically closely connected to the environment. They relied on locally sourced materials, manual skills, and knowledge passed down through generations. Techniques such as natural dyeing, traditional weaving, and slow production processes reflect an eco friendly approach rooted in respect for nature and material integrity. These methods required time, dedication, and craftsmanship, positioning the artisan at the centre of production.

Today, however, the design industry is largely shaped by fast production, global supply chains, and cost efficiency. As labour costs increase and production speeds accelerate, many traditional craft methods have been repositioned as luxury or high end products. This shift makes them less accessible and weakens cultural identity, while environmentally harmful systems continue to dominate mainstream production.

As a Korean designer educated in both Korea and the UK, I aim to begin this project by focusing specifically on Korean traditional craft and artisan practices, highlighting their environmental logic and cultural value. The first stage of the project will involve research, documentation, and small scale discussions that introduce Korean eco friendly textile techniques and the philosophy behind them.

If supported through SIP funding, the project will expand into a broader participatory platform. Structured workshops and gatherings will invite design students, emerging designers, and individuals interested in cultural heritage and sustainability to engage in dialogue and material experimentation. Participants will be encouraged to share traditional practices connected to their own cultural backgrounds, creating a space for cross cultural exchange and collective reinterpretation.

Through this phased development, the project will move from a focused exploration of Korean traditional craft toward a wider collaborative investigation of global artisan knowledge. The outcomes, including textile samples and shared reflections, will be compiled into a publication or resource for broader dissemination.

By beginning with a concentrated study of Korean tradition and gradually expanding into a collective platform, the project aims to foreground artisan knowledge as a viable framework for contemporary sustainable design and to challenge dominant fast production systems.

Listening to the discussion on Decolonising Academic Writing made me reflect on how much academic language and structures are shaped by dominant cultural norms. It highlighted the importance of questioning whose voices and knowledge are valued and how writing conventions can unintentionally marginalise diverse perspectives. The session encouraged me to think more critically about my own writing choices and to be more intentional about including and respecting different ways of knowing and expressing ideas.

How can you make a difference in your placement or in the wider world?
I aim to bring a perspective rooted in Korean traditional aesthetics into contemporary textile practice, combining heritage with sustainability. By integrating circular design principles and responsible material choices, I want to challenge fast consumption culture and encourage more thoughtful production. Within a placement, I would contribute research driven concepts and culturally informed narratives that add depth and meaning to textile outcomes.

What problem does your project address, Past, Present, Future?
In the past, many traditional Korean craft techniques were sustainable by nature, using natural dyes and locally sourced materials. In the present, these practices are often overlooked in favour of mass production and synthetic processes. In the future, there is a risk that both cultural heritage and environmental responsibility will continue to decline. My project addresses the loss of traditional identity and the urgent need for sustainable systems by reconnecting craft heritage with contemporary textile innovation.

How will it work? Who will be involved? Who benefits?
The project would research traditional Korean patterns, dye methods, and philosophies, then reinterpret them for modern textile applications. It would involve collaboration with artisans, sustainable material suppliers, and industry mentors. Consumers benefit through access to meaningful and responsibly made products. Artisans benefit through renewed visibility and collaboration. The wider design industry benefits from alternative models that combine culture and sustainability.

Why are you the right person to do this project?
As someone educated within both Korean cultural context and UK design education, I can bridge two perspectives. My academic background in textile design, combined with my strength in research and concept development, allows me to approach this idea critically and creatively. I am also strongly motivated to explore sustainability in a way that feels authentic rather than superficial.

How could your idea be monetized?
The idea could develop into a textile brand focused on limited collections, collaborative capsule lines, or consultancy services for brands seeking culturally informed sustainable design. Revenue could come from product sales, design licensing, workshops, and partnerships with galleries or retailers.

How would your project develop if it had funding?
With funding, I would invest in material research, natural dye sampling, collaboration with skilled artisans, and professional prototyping. I would also develop branding, digital presence, and exhibition opportunities to test market response. In the long term, funding would support building a small scale production network that prioritises ethical sourcing and regenerative practices.

As I look ahead to my DPS year, I see it as more than just gaining experience. It is about building agency and taking real responsibility for my own direction. I want to make informed decisions, manage risks with confidence, and form meaningful professional relationships. At the same time, I hope to act with integrity, challenge unethical practices when necessary, and value my own work properly. DPS is not only about preparing to make a living, but also about contributing to a more regenerative future and using my skills to educate and influence others in a positive way.

As a commitment to my ecological self, I will stay mindful of the materials I use, choosing those that cause the least harm to the earth. I will approach design as a dialogue with nature, not a way to control it. I will slow down when possible, remembering that meaningful creation takes time and that sustainability begins with care.

As a commitment to my ancestors, I will honour the spirit of craftsmanship and storytelling that they passed down through generations. I will carry forward their respect for beauty, balance, and community by creating work that connects people rather than isolates them. I will aim to live with integrity and purpose, leaving behind traces of kindness and awareness in the things I make.