And that, in itself, will be by design. “Through the Korea Institute of Design Promotion, the government has been nurturing design talent for decades, focusing on supporting students and designers who are combining design and technology,” Bae says.

“As a result, Korean designers have mastered a unique combination of technology, use of new materials with craftsmanship, and digital know-how – that’s a very refreshing look that resonates with many different cultures,” she adds. “It also feels warm and human-centred, which I think is something we all crave.”

“When I looked at the rising global influence of K-culture, I realised people consume it as a mere image, and there was very little to explain why and how it had happened,” she says.

“I also noticed many people were asking if this was a fad. By the time I finished [writing] the book, I’d become much more confident that it will last.”

The book does a deep dive into Korean music and fashion. But, having worked alongside Korean designers, architects and artists in her role running her international communications company, Bae wanted to tell their story, too.

‘We design in the East, for the East’: architect’s celebration of Asian style

“The Western world has long been interested in Japanese and Chinese interior design and I see our contribution to design as the next phase of K-style,” she explains.

“For example, interior designer Teo Yang has introduced a distinctive style that originated from traditional Korean aesthetics but is quite different from Japanese or Chinese influences.”

In the book, Yang – who was named one of the 100 best and most creative global interior designers in the 2021 book By Design, published by Phaidon – shares his journey to professional self-discovery. His portfolio includes hand-painted wallpapers, among them “The Art of Learning”, for British company de Gournay.

On returning to Korea after studying abroad, he started out designing “pretty spaces that pleased clients”. However, on moving to a traditional house, a hanok, in the oldest neighbourhood in Korea, Yang was struck by its “wisdom and aesthetics” – noting with sadness that such buildings were being lost to redevelopment.

“This pushed me to steep local value and heritage in modernity through new interpretations,” Yang says. “I let go of projects looking for pretty features and built up a portfolio infusing Korean traditions and aesthetics with contemporary design.”

Similarly, Kwangho Lee, an artist and designer also featured in the book, has taken Korean furniture design onto the world stage with a contemporary take on a traditional skill.

Channelling the ancient chilbo firing technique used in jewellery making, Lee cut his teeth as a designer hand-crafting fine cherry wood furniture inlaid with jewel-coloured enamelled copper panels.

He’s also made lamps from tangled electrical cables, stools from woven garden hosepipes, and a sofa carved from a block of white styrofoam.

In a new collaboration with Swedish furniture brand Hem, Seoul-based Lee has created The Hunk lounge chair and Glyph side table made entirely from natural materials – wood, latex foam, cocomat (coconut fibre) and wool.

“I like simplicity within complexity,” Lee tells Bae. “While it doesn’t stand out from far away, the authenticity and the power of the material are felt when you come close.”

Korean architecture is gaining international recognition as well, Bae notes. “In addition, there is an array of young architects who are designing bold and outstanding buildings across Seoul.”

Among the 21 creators and 18 “trailblazers” interviewed in the book, many are well-known names. However, Bae says it is filled with insights they’ve never revealed before.

Bae will discuss Make, Break, Remix: The Rise of K-Style, published by Thames & Hudson, at Marc & Chantal Studio in Central, Hong Kong, on Wednesday, November 23. To register, email [email protected]