Gotae

A lifestyle brand that translates forms discovered in Korean aesthetics and lifestyle culture into contemporary household goods. It was launched in 2025 by directors Jung Chan-hee and Jeon Min-sung. Beginning with the first 'Gat' collection, which transferred the silhouette and structure of the traditional gat into tableware, the brand views forms and materials found in traditional crafts, nature, and daily life through the lens of antiquity. Examining both sculptural beauty and practical utility, products are perfected through multiple rounds of sampling and production. Starting with tableware, the brand plans to expand its scope to include household objects, spaces, and living experiences.

Good local brands clearly establish their foundations, while

I think it should not be consumed solely as a story of that region.

Q. Gotae was launched in December 2025 by two directors, Chan-hee Jung and Min-sung Jeon. What inspired you to create a brand that interprets traditional Korean aesthetics into contemporary household goods?

If I were to create a brand for the first time, I wanted to interpret Korean heritage through our own unique perspective. I pondered the concept of "Koreanness" for a long time, and in the process, I arrived at the name "Gotae."

Although interest in Korean aesthetics, including antique furniture, has been rising recently, I believe it remains challenging to approach them through a contemporary lens. Even a single slight deviation in detail can make an image appear familiar or outdated. Based on my accumulated experience and discernment, I wanted to showcase a Korean aesthetic that people can relate to and actually want to use.

Q. What kind of work have the two directors each done? I am also curious how their different experiences have led to the creation of Gotae.

We are partners who have long dealt with brands and aesthetics in our respective fields. I started my career in art planning and brand marketing based on art and music, and have since planned and created brands across various industries, including architecture, beauty, fashion, F&B, and consumer goods. My work has focused on defining brand concepts and contemplating how people will experience them. Director Jeon Min-seong majored in art and subsequently launched and managed brands in diverse sectors such as F&B, consumer goods, and art. Currently, he is engaged in creative work with global companies and brands in the fields of beauty, fashion, lifestyle, F&B, and architecture. Although we have come from different backgrounds, we found much in common regarding our standards for brands and our tastes. Based on our accumulated experience, we are shaping Korean aesthetics into the language of Gotae.

Q. The first 'God' collection garnered a quick response immediately after its launch and became a hot topic as BTS's V was known to own one. Is there anything new that Gotae discovered through the reactions of actual users?

We often hear from our customers that, “Instead of using Gotae products carelessly, we find ourselves strangely treating them with more care.” Some have mentioned plating food with a little more thought than usual, while others have expressed a desire to take them out for special occasions to share a meal with loved ones. Receiving such feedback has shown us that our products are becoming more deeply integrated into users’ daily lives than we initially anticipated. In particular, the ‘Gat’ collection captures traditional forms, and since it is designed for actual dining, it seems to encourage a deeper appreciation for familiar moments during meals. The idea that the attitude of using fine objects can make daily life a little more ‘Gotae-esque’—this discovery made through user feedback—will likely serve as an important criterion for Gotae as we continue to create products in the future.

Q. Gotae finds design inspiration not only in the gat but also in various elements of traditional culture, such as bojagi, origami, and the spreading of ink. How do you find and select the materials to develop into Gotae's products?

Rather than actively seeking out specific traditional elements, I discover design clues in what I have actually experienced or observed for a long time. I travel, visit exhibitions, and personally visit pop-ups and spaces of brands I am interested in. I also consider it important to personally use and consume good designs or products, as consumption is itself an experience and a form of research. These accumulated experiences eventually connect to form ideas. I seek to discover a visual language—such as form and structure, proportion and negative space, and materials and function—from Korean forms, structures, material textures, and traditional production methods. The 'gat' also began with the question of how its distinctive silhouette and structure could be translated into contemporary household items.

Q. The 'Gat' collection completes the shape of a hat when the plates and cups are stacked. What is the most challenging aspect of transforming forms found in tradition into products with actual functionality?

It is about finding a balance between sculptural beauty and actual usability. We must preserve the beauty and meaning inherent in the original form while finding a purpose suited to today's lifestyle. For the 'gat,' rather than simply transferring the form directly onto the product, we contemplated how to connect its unique silhouette and structure into a single user experience. We examine not only form and proportion but also grip, weight, capacity, and stability. We adjust proportions through multiple rounds of sampling and verify them by holding the product in our hands. Sometimes, we even strip away forms we considered beautiful for the sake of usability. I want to create products where the beauty found in tradition functions naturally in today's daily life.

Q. Since the first collection, you have expanded the size and functionality, drawing inspiration from various forms of traditional Korean hats. How is feedback from actual users incorporated into product development?

During our soft opening in December 2025, we received feedback stating, “The product is beautiful, but the capacity of the cup is a bit lacking.” Observing how the product was used, we also discovered the potential to develop it into various uses and sizes rather than remaining confined to a single form. Subsequently, we drew inspiration from various forms of lampshades and expanded the shape, size, and capacity of the cups. We ensured that while sharing the same sculptural language of the 'lamp,' the cups could take on different forms and uses depending on the beverage contained within. We believe that customer feedback serves not as a definitive answer determining the product's direction, but rather as a clue revealing possibilities we had not previously discovered.

Q. What do you think is the most strongly reflected regional characteristic in the brand?

I believe that Gotae’s most profound regional character ultimately lies in Korea’s aesthetic sensibility and lifestyle culture. We view the beauty accumulated within Korean daily life and culture—such as the structure and negative space of Hanok, the forms of traditional crafts, and the colors and shapes found in nature—through our own unique perspective. However, rather than reproducing them exactly as they are, Gotae’s approach to regionalism is to reinterpret them into forms that can be naturally utilized in today’s life.

Q. What kind of brand does Gotae consider a 'good local brand'?

I believe it is a brand that clearly knows where it originated but is not consumed solely by the stories of that region. It must be based on the unique culture and identity of the region, yet be able to evoke empathy and appeal in a wider audience through the competitiveness of the products and the brand itself.

Q. What motivated you to participate in this <Edit Debt: Neo Local>?

I felt that Gotae aligns with the direction of <Neo Local> in that it interprets Korean aesthetics into a contemporary lifestyle. I also resonated with the intention of viewing the unique values of a region through a new lens and connecting them to a wider market. This September, we are launching our first <Global City Tour> campaign, touring Tokyo, Paris, and Seoul. As this marks the beginning of our full-scale overseas expansion by meeting international customers and buyers, I consider this pop-up in Seoul, where we will showcase our new collection and offline presence, to be particularly meaningful.

Q. At this pop-up, you are unveiling Gotae's second collection, 'Gaehwa,' for the first time in Korea. In what ways does it connect to and differ from the first collection, 'Gat'?

In this collection We sought to capture the movement of peonies blooming and reaching full bloom through the textures and changes in light created by crystalline glazes. Although the two collections differ in materials and forms, they share the same direction in that they view the beauty of Korea through the language of antiquity and create objects for use in today's daily life. 'Gaehwa' will be introduced overseas through the <Global City Tour>, which begins in Tokyo and Paris in September, and will then be presented to domestic customers at this pop-up.

Q. Starting from traditional Korean aesthetics, Gotae plans to expand into a global brand. What do you consider important when introducing a region's unique culture to other regions and overseas?

While Korean elements serve as an important starting point for Gotae, I believe the brand should not be defined solely by them. The product's design, craftsmanship, functionality, and the brand's attitude itself must be what earn the consumer's choice. The recent surge in interest in Korean culture and aesthetics, driven by the influence of K-culture, presents a significant opportunity. We place greater importance on how to transform this current interest into enduring brand value. We aim to create a brand that is chosen for its inherent beauty and quality over time, building a new heritage unique to Gotae in the process. Our goal is to maintain our distinct Korean roots while continuously building upon them Gotae's own design, philosophy, and product standards.

What we mean by 'living a static life' is

From a single item used every day to the way we eat,

From the space that welcomes people to the time spent briefly staying

It is about looking at your daily life a little more closely.

Q. Gotae has announced plans to expand its scope from the living sector to the concept of 'home.' What kind of products and experiences can we expect to find in the 'home' that Gotae is envisioning?

I believe the home is a space where one experiences the beauty and sense of antiquity of Korea in everyday life. I want to discover traditional Korean materials, forms, and craft elements, and create products with shapes and functions suited to modern lifestyles. Moving forward, I plan to expand my scope from tableware to products and experiences that define the various spaces within the home, while considering everything from what people see, use, eat, and spend time in. What we mean by "living with antiquity" is observing one's daily life with greater sensitivity, from the everyday objects used to the way one eats, the spaces where one welcomes guests, and the brief moments spent there. I hope that as products lead to spaces and experiences, people can discover the "way of living with antiquity" within their own lives.

Maker's Pick

God Collection - Chorip

This is Gotae’s first collection and signature product, translating the silhouette and structure found in the traditional Korean hat, the Gat, into tableware. The plates and cups can be used separately, but stacking them completes the shape of a single Gat. While they possess the sculptural form of an art object when viewed, they function as actual dishes and cups on the dining table. It most intuitively demonstrates Gotae’s design approach, which connects sculptural characteristics with contemporary utility rather than simply replicating traditional forms.

COMING SOON!

In the upcoming September, Gotae Meet them in person at!

September 17 - 30, 2026, The Hyundai Seoul POP-UP ICONIC B1

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𝗜𝗻𝘁𝗲𝗿𝘃𝗶𝗲𝘄𝗲𝗲 GOTAE

Seeum Kim

Edeit Seulgi Lee