Amorepacific Design CenterDesigners Park So Yeon, Lee Kyung Min, Yang Hye In
Sulwhasoo’s Spring 2020 collection was created in collaboration with the French art studio Antoinette Poisson to develop bright and elegant product packaging. The Sulwhasoo TF team was formed to create a collection that not only highlights Sulwhasoo’s luxurious identity but also reinterprets traditional Korean beauty in a modern way. We spoke with the team’s leader, Park So Yeon, and designers Yang Hye In and Lee Kyung Min about the process behind the collection.
Editor Urbanbooks Lee Bom
Photographer Amorepacific Shin Sang Woo
Please introduce yourself briefly
Park So YeonI’m Park So Yeon, a product designer for the Sulwhasoo brand. I’m currently in charge of the Sulwhasoo B.I. renewal, the development of the Jinseol line and Perfecting Cushion, and various global projects. As the leader of the TF team formed for the 2020 Chinese New Year Collection and the spring collection “Spring Into Happiness,” I oversaw the entire process—from design strategy planning to the mass production of final products.
Lee Kyung MinI’m Lee Kyung Min, a VM designer at Sulwhasoo. For this project, I worked on motif development, packaging material development for in-store promotional displays and gift services, and the production of promotional visuals and advertising videos. While visuals and video production are typically managed by other departments, the frequent communication with artists in this project made it more efficient for the design team to handle these tasks directly.
Yang Hye InI’m Yang Hye In, a product designer on Sulwhasoo’s Luxury Brand Design 1 Team. I was responsible for product design in this project.
Please provide an overview of the 2020 Sulwhasoo Spring Collection
Park So YeonThe 2020 Spring Collection, designed under the concept “Spring Into Happiness,” was developed with the hope that Sulwhasoo, as a harbinger of spring, would bring customers a season full of happiness. Inspired by traditional Korean folding screens, the main motifs were drawn from Joseon-era flower-and-bird screens, featuring flowers and butterflies that symbolize joy and hope. To elegantly express traditional Korean patterns with auspicious meanings such as love, happiness, prosperity, and glory, the brand collaborated with the French art studio Antoinette Poisson. Together, we restored and reinterpreted the studio’s signature domino wallpaper—an 18th-century French decorative art form—into modern artwork, which was translated into 2D graphics and commercialized.
Inspired by traditional Korean folding screens, the Sulwhasoo Spring Collection “Spring Into Happiness” reflects the bright and luxurious essence of spring in its product design.
What was the design direction you took when planning this collection?Park So YeonRather than simply replicating traditional motifs, we aimed to convey Sulwhasoo’s long-standing philosophy and appreciation for traditional culture through the designs in this collection. We considered how best to incorporate our wishes for customers’ good fortune and happiness into the products, and decided to draw inspiration from the embroidery culture that women in the past used to express beauty. In our search for a fabric that evoked the feeling of traditional folding screens, we selected a beige linen tweed with a subtle feminine touch, woven with gold and silver threads. The delicate texture of the fabric, combined with embroidered butterflies and plum blossoms, allowed us to express the vibrant yet elegant spirit of Sulwhasoo’s spring. To carry the refined atmosphere of the embroidered nameplate into the product packaging, we applied various finishing techniques such as embossing, gold foil, and silver foil on a fabric-toned surface matching the nameplate. For a more vibrant mood, we used a vivid tone-on-tone pink as the accent color. The overall design process was captured through behind-the-scenes storytelling and produced as a promotional video.
What is the most important part of seasonal package renewal work such as the Sulwhasoo Spring Collection?Park So YeonOur company develops, manufactures, and sells products, and we firmly believe that design is the first point of contact with customers—it must effectively resonate with them. A fresh and beautiful design that motivates customers to purchase not just for use but also for collection is, without a doubt, the most essential quality that seasonal limited-edition products should have.
Lee Kyung MinIn VMD, we strive to faithfully reflect the theme established during product development, serving as a visual backdrop. We aim for diverse expressions that remain within the boundaries of our field while maintaining a strong sense of balance and avoiding repetition.
This collection was created in collaboration with French art studio Antoinette Poisson. How did the collaboration with Antoinette Poisson come about, and what was the process like?Park So YeonAntoinette Poisson is a group of experts specializing in the restoration and reinterpretation of domino wallpaper—an iconic legacy of 18th-century French decorative arts—as well as a design studio that creates patterns for fabrics and wallpaper. We felt a strong sense of kinship with their commitment to preserving traditional culture and passing it on to future generations, which aligns with Sulwhasoo’s core values. We were also impressed by their deep understanding and appreciation of Eastern art. In particular, their modern reinterpretation of Korean folk art motifs and ability to elevate them to a new level resonated strongly with the direction of our collection. Coincidentally, our TF team member Yang Hye-in was scheduled to visit the Maison & Objet exhibition in France, which gave us the opportunity to meet both at the exhibition and at their studio, where we shared our planning intentions and goals for the collection. Looking back, meeting the artists in person and exchanging ideas from the early planning stage was a brilliant decision—we were very fortunate.
A video capturing the philosophy and vision of French design studio Antoinette Poisson, which collaborated on this collection.
Are there any memorable episodes from the collaboration process?Park So YeonLast May, despite several conference calls, we couldn’t reconcile our differences in design. In the end, I boarded a flight to Paris to meet in person and bridge our conflicting perspectives. However, Antoinette Poisson Studio was participating in a fair in Milan at the time, and even after arriving in France, we couldn’t get in touch with them until the day of the meeting. We spent several days in uncertainty, wondering whether the requested design direction was being revised properly and, most importantly, if the meeting would even take place as scheduled. After a series of twists and turns, we finally met them — and I was amazed by the stunningly beautiful work that exceeded all my expectations. It reaffirmed my belief that true professionals speak through their results.
Lee Kyung MinAfter the motif development was completed, we visited the Antoinette Poisson studio in Paris again about three to four months later to shoot the advertising video. Although the production company was based in Hong Kong, its team members came from all over the world, creating a very global atmosphere. Even though the illustrations had already been developed, we were able to create a behind-the-scenes-style advertising video. I’m truly grateful to the two artists who redrew the illustrations for us. We also spent half a day recording the artists’ voices in a private room for the video. Unfortunately, only a small portion of the recordings was used, which I found a bit disappointing — especially for Vincent, whose voice was only featured in the greeting part.
Yang Hye InMy business trip to the Maison & Objet exhibition in France happened to coincide with the start of this project. I remember proposing the collaboration with Antoinette Poisson Studio during a meeting there. The process of proposing the partnership, visiting the artists’ workspace, and having face-to-face conversations to better understand their personalities and values was a particularly memorable experience.
Since it was a studio based in France, there must have been both advantages and disadvantages.Park So YeonIn today’s globalized world, I don’t think nationality is much of a barrier to collaboration. Of course, working across time zones—like with Europe—requires a more flexible schedule than typical in-house design work. But that’s not unique to French artists or artists from other countries. What stood out to me was the more laid-back nature of the designers at Antoinette Poisson. They didn’t check emails frequently, so it often took two or three times the effort to maintain close communication. From my perspective—having to manage schedules while keeping real-world production timelines in mind—it was occasionally frustrating when emails or calls didn’t get responses in time. Still, I think the real challenge lay in bridging the natural gap between Antoinette Poisson’s classical style, which relies heavily on traditional methods and handcraftsmanship, and the fast-paced, highly organized production processes of modern Korean manufacturing. Finding a sophisticated way to bridge that gap was, I believe, the essence of making this collaboration a success.
This collection was inspired by Eastern motifs but uses Western expression methods. I’m curious about the reason behind this.Park So YeonUnfortunately, many young people still associate “tradition” with something old-fashioned and boring. In reality, Sulwhasoo is also often perceived as a brand primarily used by middle-aged women. We wanted to break these stereotypes. Tradition can be beautifully reinterpreted from a modern perspective, and through this collection, we aimed to showcase a new realm of beauty created by the harmonious blend of Eastern and Western aesthetics. Above all, we believe that Sulwhasoo, as a brand rooted in Asian beauty and traditional Korean aesthetics, is best positioned to lead such diverse explorations.
We also made various attempts to carry the same feeling into the product packaging and social media.
You used traditional Korean embroidery techniques. It must have been challenging to create the patterns, embroidery forms, and fabric textures. What was the actual production process like?Park So YeonNow that I think about it, I almost regret choosing embroidery as the main design direction. (Laughs) It was that difficult, and there were many moments when I wanted to give up. However, after about six months of sampling, the moment we finally began producing work of satisfactory quality was indescribably joyful. For someone completely unfamiliar with embroidery, it felt like entering a completely unknown world. I think I visited nearly every embroidery shop along Cheonggyecheon Street. As I gradually gained a basic understanding of embroidery, I started searching for suitable fabrics. I also went to Dongdaemun Market, browsing stalls at random to collect fabric swatches that matched the concept of the collection. I made countless attempts to reinterpret the traditional folding screen motifs that had been reimagined in Antoinette Poisson’s hand-painted style, converting them into 2D graphics and finally expressing them through embroidery. I experimented with thread direction and changed thread colors dozens of times to achieve the best gradient using a limited color palette. As the design deadline approached, every time a sample arrived without the requested revisions, my heart sank. Since all the factories we were working with were in China and Vietnam, it wasn’t possible to go on-site to resolve the issues. Then, miraculously, we found a factory in Seoul that fit our budget. When we received the first sample after switching suppliers, I felt a renewed sense of hope and confidence that we could complete the collection successfully.
Works that underwent repeated revisions and refinements to reinterpret traditional folding screen motifs in Antoinette Poisson’s hand-painted style, ultimately expressed as embroidery through 2D graphics.
This campaign took about a year to produce. What were the most challenging aspects of the project?Park So YeonThe most challenging part was keeping everyone focused and motivated throughout such a long-term project. I felt that if I could maintain my determination, the rest of the team would be able to see it through to the end. Collection development involves managing the entire process—from planning to production meetings to final mass production—under the marketing department. We serve as the control tower to ensure effective collaboration across various departments. Traditionally, the design department was only responsible for design-related tasks, but for the 2020 Chinese New Year Collection and Spring Collection, the design team took the lead. This was a new initiative to produce various outputs within a single project under one unified voice. Since it was a large-scale project, we had to make many decisions at different stages, and revisions were frequent. With so many changes, the year actually felt short. To launch the products as envisioned, we engaged in countless internal and external discussions—and at times, we had to persuade and even plead. Given that this was new territory for me and that I was in a leadership role, the pressure and stress were far greater than I had expected. Personally, it was the most difficult year in my over ten-year career—but also the most rewarding.
Lee Kyung MinBecause the schedule and plans kept changing, I had to constantly coordinate with artists and video production studios. Personally, the advertising production work—which was a new experience for me—was particularly challenging. Of all the tasks, reviewing the data meticulously was the most difficult part.
Since the schedule and plans changed frequently, I had to constantly coordinate with artists and video studios. Personally, I found the advertising production work, which was new to me, challenging. Among all the tasks, meticulously reviewing the data was the most difficult part.Park So YeonThe biggest achievement was challenging myself in a new area beyond my usual scope of work. By planning and leading the entire project, I gained valuable experience in seeing the big picture from a broader perspective. Unlike the traditional setup in the product design department, where each designer focuses independently on a specific product line, this project involved close collaboration with a variety of colleagues, which provided a great deal of positive stimulation for everyone. Lastly, after exchanging countless emails and participating in numerous conference calls with companies in France and Hong Kong over nearly a year, I honestly feel that my English improved more than it did during my time studying abroad. (Laughs)
Lee Kyung MinI think expanding my work scope is my biggest personal achievement. Visual and video development were not part of my previous responsibilities, so I had to train myself to think from a completely new perspective. Designing backgrounds to highlight products is similar to creating store fixtures or packaging, but in this case, the challenge was how to best showcase the product in a 2D format rather than a 3D one. Through this learning process, I developed new ways of thinking that I believe will also benefit my original areas of work. In addition, working on visual and video production with Antoinette Poisson Studio and a Hong Kong-based production team significantly improved my ability to manage collaborative projects.
Yang Hye InIt was a valuable experience to communicate with artists who, like Sulwhasoo, value tradition and strive to pass it on to the current generation. Observing how overseas artists interpret and inherit their own traditions gave me many insights into how to present the beauty of tradition in a more relatable and clever way to the public.
Various drafts and samples that show the traces of a year-long project.
As a designer, what do you consider most important when working on a project?Park So YeonI would like to highlight three key points. First, visually clarifying the intent of the original plan. Second, avoiding designs that are confined to personal preferences. And finally, producing design outcomes that I can genuinely be proud of as a designer.
Lee Kyung MinIt’s important to ensure that the design aligns with the original intent and purpose of the plan, clearly communicates the intended message, and preserves the direction and expression as initially envisioned.
Yang Hye InI believe the harmony between the values pursued by the brand, the values embraced by customers, and the values aspired to by the designer is essential.
How were the reviews from internal and actual customers after the collection was released?Park So YeonSince starting my career as a product designer, I’ve always visited stores to check customer reactions when a product I worked on is released. This project was especially close to my heart, so I visited several department stores as soon as it launched. Hearing that both customers and brand ambassadors loved the design and purchased multiple items made all the hard work melt away like snow. One time, a BM colleague sent me an email titled “So-yeon,” with screenshots of customer comments about the collection. Among them was a message from a customer saying, “Thank you for releasing such a beautiful product.” Reading that email, which expressed sincere gratitude for creating a design that received such praise, brought me to tears. I cannot express how grateful I was for that message—it truly motivated me as I prepared for the next collection. I don’t know if they’ll see this interview, but I’d like to take this opportunity to once again express my sincere thanks.
Lee Kyung MinSulwhasoo has collaborated with many artists and studios over the years, but I think it’s rare to find such a strong match in terms of work style, medium, and artistic direction. Perhaps because of that, the most common feedback was that this collaboration felt distinctly different and refreshing compared to previous ones. The artist’s reputation was also very well received. It’s unfortunate that we couldn’t actively promote the collection due to the COVID-19 situation.
Finally, I am curious about the future strategy for the Sulwhasoo collection.Park So YeonWe plan to continue showcasing the evolving essence of Sulwhasoo through new designs. With pride in being Korea’s one and only cosmetic brand, we aim to present designs that honor Sulwhasoo’s legacy by connecting tradition, the present, and the future. Please continue to support us. Thank you.
Lee Kyung MinWe will strive to make Sulwhasoo feel more personal and authentic through diverse and bold experiments.
This is a representative Korean herbal cosmetics brand
that means “bringing beauty to women’s skin that has
become dry with age.” Based on the philosophy
of “harmony and balance,” it offers a variety of skincare
and makeup products made from carefully selected
ingredients and formulas, spreading the beauty of
Korea around the world.
2020 Sulwhasoo Spring Collection
The 2020 Sulwhasoo Spring Collection was redesigned under the concept of “Spring into Happiness,” with the hope that customers would welcome a spring filled with joy through Sulwhasoo’s seasonal offering. Inspired by traditional Korean folding screens, flowers and butterflies—symbols of spring, hope, and happiness—were selected as the main motifs.
Design Key Points
In collaboration with French art studio Antoinette Poisson, known for reinterpreting domino wallpaper—one of the most iconic French decorative arts of the 18th century—we present a spring collection that reimagines traditional Korean patterns. Inspired by the embroidery once practiced by Korean women, the collection features delicate linen tweed fabric adorned with plum blossoms and butterflies, creating an elegant and feminine design. To extend the intricacy of the embroidery to the packaging, various post-processing techniques such as embossing, gold foil, and silver foil were applied to a material in a similar hue, harmoniously paired with vibrant pink as the key accent color.
