Loan: “We initially connected online, and I asked Dae whether he wanted to collaborate on something, and it resulted in our Drft project. Dae, what things do our work have in common?’

Dae: “I would say: the body, our interest in our own culture and… extravaganza! I’m really inspired by how strong the storytelling in Loan’s work is. It’s what I want to do: tell a story through objects and images.”

Loan: “The atmosphere of Dae’s work, it’s so dark, that’s why I like it. It touched me because my work deals with the body and its possible modification and I recognized that in his work.” 

Dae: “I believe a lot of issues in society happen because we want to categorise everything, and then nature breaks those categories. So, I actually really like it when people say my work is vague. Like, is it a flower or what? I want to make something that blurs boundaries, to show that man is still mutating.”

Loan: “Mutant imagery is a way of highlighting the idea that nature is not set. When describing culture, I often use a plant as a metaphor. If you water it, it will grow but also change; you don’t know what it will become.”

Loan: “My work is informed by my New Caledonian heritage. I’m trying to convey the core values and essence of my people, to tell stories of the Kanak tribes through the medium of jewelry. Where do you belong, what do you believe in and what do you identify with?”

Dae: “My projects also deal with my childhood and the memories I have of growing up in South Korea, which is very conservative. There, I couldn’t express who or what I was. I wasn’t allowed to play with Barbie dolls or have long hair, I would play with the Norigae (knotted tassels) at my grandparents’ house instead. The Nori project is inspired by these traditional Korean accessories, and I use hair to give life to the objects.”

Dae: “Recently I had my first solo exhibit in Korea. It was the first time my parents saw my work in real life. I was nervous because it deals with sexuality, and my queer identity. My mother had already guessed, and we decided not to tell my dad. At the show they talked about how I made the pieces, they did not say anything else and I was afraid to ask. It’s easier for me to speak through my work, I think that is its role. In general Korea is changing when it comes to LGBTQ issues. I think they like my pieces and actually want to see more.” 

Loan: “My family back home finds my work quite weird. They can appreciate the execution, but the sensitivity is less accessible to them. I do a lot of videos that make it easier to understand, but sometimes the images can be shocking. It raises questions about colonialism and indigenous culture. Hopefully my work can open doors to acceptance and help redefine what a country’s identity can become. Being in the Netherlands has really informed my thinking. To me the great thing about Dutch design is its ability to change. It’s all about trying new things and daring to question oneself.”

Loan: “I just wrapped up my exhibit at the Design Museum Den Bosch and straight away someone asked: “What’s next?” The expectations have been quite high, but I think it takes time for the art to come to you.”

Dae: “Lately I have felt a bit lost. Even though I’m following my working flow —and when an opportunity comes, I take it— I don’t have a clear goal. But maybe I shouldn’t think about it too much. It would be nice to just keep working and assess my development at the end of the year. The goal is then simply: to grow.”

Evelien Reich has been the chair of the Young Designer jury of Dutch Design Awards for the past three years. This year, she interviews the Young Designers DDA has selected from the archives and the talents those designers choose to spotlight. All twenty Young Designers from the past and the present will be showcasing their work in the 2024 DDA exhibition during Dutch Design Week in Eindhoven (19–27 October).