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The first collection has now come togeter one year after the first launch with the sequential release of the Cross, Clock and Calendar. Through the theme of 'TIME', what kind of messages did you hope to share?

Sungho Park: Along the path from the very first mosery cross to what has become today's mosery, there were many miraculous moments. This journey reminded me that God's timing is not the same as ours, yet His providence is always at work. This realization led me to center this collection around the theme of 'Time', with the hope that it might serve as a bridge connecting people to God's love throughout their lives.

In particular, this collection carries the message found in the bible: a time of joy will surely come after every season of hardship. Through this collection, we hope to offer a quiet comfort and hope—reassuring people that brighter times will come.

We heard that Mosery began its journey as a spin-off brand from the design studio BOUD.

That’s right. Mosery was incubated as an independent spin-off from BOUD, a design studio working across brand, product, and spatial design. The brand officially launched in November 2023. Drawing on her experience in brand planning and design for a wide range of dynamic brands—both locally and internationally, Jiyeon Ma now leads mosery as its creative director.

Mosery is a brand that began with the Cross. The story is deeply rooted in my personal moments in life such as times of difficulty, confusion, or loss, where I experienced Jesus in profound ways. These moments are embedded into the visual language of mosery cross.

Designers from BOUD's industrial design team joined this project during the ideation and planning phase. Also, Seongyong Lee, who I’m pleased to be sitting with today for this interview, helped refine the product's details.

The first collection has now come togeter one year after the first launch with the sequential release of the cross, clock and calendar. Through the theme of 'TIME', what kind of messages did you hope to share?

Sungho Park: Along the path from the very first mosery cross to what has become today's mosery, there were many miraculous moments. This journey reminded me that God's timing is not the same as ours, yet His providence is always at work. This realization led me to center this collection around the theme of 'Time', with the hope that it might serve as a bridge connecting people to God's love throughout their lives.

In particular, this collection carries the message found in the bible: a time of joy will surely come after every season of hardship. Through this collection, we hope to offer a quiet comfort and hope—reassuring people that brighter times will come.

We heard that mosery began its journey as a spin-off brand from the design studio BOUD.

That’s right. Mosery was incubated as an independent spin-off from BOUD, a design studio working across brand, product, and spatial design. The brand officially launched in November 2023. Drawing on her experience in brand planning and design for a wide range of dynamic brands—both locally and internationally, Jiyeon Ma now leads mosery as its creative director.

Mosery is a brand that began with the Cross. The story is deeply rooted in my personal moments in life such as times of difficulty, confusion, or loss, where I experienced Jesus in profound ways. These moments are embedded into the visual language of mosery cross. Designers from BOUD's industrial design team joined this project during the ideation and planning phase. Also, Seongyong Lee, who I’m pleased to be sitting with today for this interview, helped refine the product's details.

Is that your first product, the mosery cross, in your hand?

Yes, it is! Back then, orange was the only resin color available for 3D printer. The shape is quite unique, isn't it? I designed it to harmonise naturally with the corner of a room. At a glance, it seems like a simple object—but once mounted, it takes on a surprisingly dimensional presence. The outstretched arms of the cross feel as if they're gently embracing the entire space. What I especially love is the way it interacts with light. When sunlight passes through, it blends beautifully into the space and brings a quiet sense of unity.

Is that your first product, the mosery cross, in your hand?

Yes, it is! Back then, orange was the only resin color available for 3D printer. The shape is quite unique, isn't it? I designed it to harmonize naturally with the corner of a room. At a glance, it seems like a simple object—but once mounted, it takes on a surprisingly dimensional presence. The outstretched arms of the cross feel as if they're gently embracing the entire space. What I especially love is the way it interacts with light. When sunlight passes through, it blends beautifully into the space and brings a quiet sense of unity.

The Mosery Cross rapidly gained popularity and has become a beloved product. Did you anticipate this kind of reception?

Sungho Park: The mosery cross resonated with so many people not only because its original form and a user experience that hadn't seen before, but also because of something deeper. I believe the most important reason it has received so much love is that God is truly working through this product.

One of the most touching comments I have read in customer reviews is that many people who received the cross as a gift came back to purchase another one to pass the experience on to someone dear to them. This tells me the mosery cross is not just a product. It’s becoming a medium for sharing hearts. I'm deeply grateful for that, and at the same time, it gives me a renewed sense of responsibility as a designer.

Also, being able to design and oversee every detail of this item—and our other product—was only possible through the passion and commitment of the entire mosery team. It’s truly an honor to contribute to such a meaningful first project.

The mosery cross rapidly gained popularity and has become a beloved product. Did you anticipate this kind of reception?

Sungho Park: The mosery cross resonated with so many people not only because its original form and a user experience that hadn't seen before, but also because of something deeper. I believe the most important reason it has received so much love is that God is truly working through this product.

One of the most touching comments I have read in customer reviews is that many people who received the cross as a gift came back to purchase abitger ibe to pass the experience on to someone dear to them. This tells me the mosery cross is not just a product. It’s becoming a medium for sharing hearts. I'm deeply grateful for that, and at the same time, it gives me a renewed sense of responsibility as a designer.

Also, being able to design and oversee every detail of this item—and our other product—was only possible through the passion and commitment of the entire mosery team. It’s truly an honor to contribute to such a meaningful first project.

There had never been a brand solely focused on objects for corners before mosery. Many international distributors we met at Maison & Objet found this concept genuinely interesting. But without any existing references, you must have faced quite a few design challenges.

Seongyong Lee: To utilize this overlooked space, we needed to invent an entirely new type of mounting tool. Instead of damaging walls with nails or screws, we developed our own cradle that allows the object to be installed using only 3M tape. (We are currently in the process of filing a patent.)

In case of the mosery clock, the product contains its internal structure and it had to be secured with the cradle stably. This required extremely precise engineering, as even the smallest tolerances had to be considered and controlled.

We have produced countless prototypes and encountered so many failures along the journey. The process was challenging, but at the same time it was the most enjoyable and rewarding part of the project.

There are often different perspectives between a designer and a brand owner. Was there ever a moment when those differences led to a new direction or idea?

Sungho Park: Often, it happens. The initial concept for the corner Clock was to emphasize its solid, minimal look by matching the body and hand colors. But right before the launch, the brand director of mosery called me and said, "Something's missing." She suggested adding a more interactive, customizable element to the design. In hindsight, it was a brilliant decision. This feature became one of the mosery clock’s most recognizable strengths. It allows users to shift the mood of their space by choosing different color hands.

The seven curated colors from our palette pair beautifully with all four body colors—no matter how you mix them.

What is the most meaningful and memorable products to you from the first collection?

Seongyong Lee: I would say the mosery calendar. Its form, which tapers to match the angle of the corner, is a user experience that I haven't seen anywhere in the world. Because of that, manufactures were unwilling to produce it. The production process was extremely difficult and faced many failures during sampling. I almost gave up, thinking it might simply not be feasible to make. But somehow, our brand director did her best to find a manufacturer, and eventually met a manufacture who was up for the challenge.

We were also able to collaborate with graphic design studio mohs, who helped us to elevate the final outcome far beyond what we initially planned. Because it was a such challenge both structurally and in terms of its production, the mosery calendar holds a very special place in my heart.

There had never been a brand solely focused on objects for corners before mosery. Many international distributors we met at Maison & Objet found this concept genuinely interesting. But without any existing references, you must have faced quite a few design challenges.

Seongyong Lee: To utilize this overlooked space, we needed to invent an entirely new type of mounting tool. Instead of damaging walls with nails or screws, we developed our own cradle that allows the object to be installed using only 3M adhesive tape. (We are currently in the process of filing a patent.)

In case of the mosery clock, the product contains its internal structure and it had to be secured with the cradle stably. This required extremely precise engineering, as even the smallest tolerances had to be considered and controlled.

We have produced countless prototypes and encountered so many failures along the journey. The process was challenging, but at the same time it was the most enjoyable and rewarding part of the project.

There are often different perspectives between a designer and a brand owner. Was there ever a moment when those differences led to a new direction or idea?

Sungho Park: Often, it happens. The initial concept for the mosery clock was to emphasize its solid, minimal look by matching the body and hand colors. But right before the launch, the brand director of mosery called me and said, "Something's missing." She suggested adding a more interactive, customizable element to the design. In hindsight, it was a brilliant decision. This feature became one of the mosery clock’s most recognizable strengths. It allows users to subtly the mood of their space by choosing different color hands.

The seven curated colors from the our palette pair beautifully with all four body colors—no matter how you mix them.

What is the most meaningful and memorable products to you from the first collection?

Seongyong Lee: I would say the mosery calendar. Its form, which tapers to match the angle of the corner, is a user experience that I haven't seen anywhere in the world. Because of that, manufactures were unwilling to produce it. The production process was extremely difficult and faced many failures during sampling. I almost gave up, thinking it might simply not be feasible to make. But somehow, our brand director did her best to find a manufacturer, and eventually met a manufacture who was up for the challenge. We were also able to collaborate with graphic design studio mohs, who helped us to elevate the final outcome far beyond what we initially planned. Because it was a such challenge both structurally and in terms of its production, the mosery calendar holds a very special place in my heart.

Lastly, what kind of future do you envision for mosery as a brand?

Seongyong Lee: As both a designer and a consumer, I feel deeply attached to this brand. I truly hope it can become a global lifestyle brand, one that shows the world what is possible from South Korea.

Sungho Park: Mosery is a brand that brings fresh tension and warmth to a space that no one had paid attention to—the corner. I believe mosery is paving the way for a new category in home accessories with its unique identity. I believe that it holds the potential to resonate with people across borders and cultures. I look forward to seeing it grow into a warm and distinctive brand, one that builds a strong and loyal followings.

Lastly, what kind of future do you envision for mosery as a brand?

Seongyong Lee: As both a designer and a consumer, I feel deeply attached to this brand. I truly hope it can become a global lifestyle brand, one that shows the world what is possible from South Korea.

Sungho Park: Mosery is a brand that brings fresh tension and warmth to a space that no one had paid attention to—the corner. I believe mosery is paving the way for a new category in home accessories with its unique identity. I believe that it holds the potential to resonate with people across borders and cultures. I look forward to seeing it grow into a warm and distinctive brand, one that builds a strong and loyal followings.