gradus’s ‘3hrs’ line encourages modern individuals to discover what they truly love and channel that passion into creative, positive energy. We’ve spoken with artists, designers, and creators across various fields—culture, art, lifestyle—about how they incorporate 3hrs products into their daily lives.

We often assume that true creativity requires escaping the ordinary—that we need to travel, explore, and seek new inspiration to create something beautiful. But some people find endless novelty in the smallest details of everyday life: the ever-changing shape of leaves, the way shadows move throughout the day. For jewelry designer Seungyoon Lee, nature is the ultimate form of beauty.

In her sunlit, tranquil studio, she handcrafts jewelry that reflects the organic patterns of the natural world. When asked how she got started, she offers a simple response—but it’s clear her mind is overflowing with ideas and creative energy. Watching her live each day with such passion and purpose is inspiring in itself.

a.neujac Jewelry Designer Seungyoon Lee

Could you introduce yourself?

I’m Seungyoon Lee. I majored in metal craft at the University of Sydney in Australia. After graduating, I returned to Korea and tried out different things before realizing I needed to do what I truly wanted. That’s when I started a small studio, which eventually grew into my brand, a.neujac.

Has your time in Australia influenced your lifestyle?

I moved to Australia for school when I was in fifth or sixth grade and ended up staying through university. At first, I loved the lifestyle there—the slower pace let me work without pressure, and I could fully enjoy nature.

But after graduation, I started asking myself: How am I actually going to make a living doing this? Could I become a contemporary artist? Honestly, I didn’t think I had the skills to make that work. Then, due to visa issues, I had no choice but to return to Korea. Ironically, once I got back, I realized that Korea’s fast-paced energy was exactly what I needed. In Australia, I had become a little too relaxed—to the point of feeling unmotivated. Seeing how hard everyone worked in Korea pushed me to keep up. I knew I had to adjust my pace, and surprisingly, I adapted quickly. Maybe it’s because I naturally have an impatient personality.

How did you start a.neujac?

After returning to Korea, I was exploring different opportunities when I came across a job posting from Tanel Veenre, a well-known jewelry artist in Estonia. He was looking for a workshop assistant to work in Estonia, so I applied on a whim—and to my surprise, I got the job. Since I was the first Korean applicant, I think he found it interesting.

I’ve never heard of Estonia before! Did you go there alone?

Yes, I went by myself. Estonia is in Northern Europe, and it was my first time there—I was in my mid-20s at the time. I had originally planned to stay for just a month, but I ended up extending my stay by another two or three months because I was enjoying the experience so much.

I got to do a lot while I was there. I helped prepare for fashion shows, learned about photography, and got an inside look at how my mentor balanced both art and business. During my time in Estonia, I also traveled solo to Helsinki—it’s only an hour away by ferry. Flights were cheap, so I took the opportunity to visit Berlin and explore a few other places as well.

After returning from Estonia, I set up a studio in Seongsu-dong, then moved to Haebangchon, Hannam-dong, and eventually to where I am now.

What does a typical day look like for you?

I always start my morning with a hand-drip coffee. I can’t function without a good, strong coffee.

Once I get to the studio, I’m completely focused. When I start working, I get so immersed that two or three hours fly by in an instant. Eventually, I hit a point where I feel totally drained, so I’ll take a short break—either zoning out on the couch or flipping through books to research new techniques. Then I get back to work.

I’ve been married for about three years now. I usually leave work around 5 PM, and and once I’m home, I go into full homemaker mode. There’s always something to do—laundry, workouts, dinner prep. I do home workouts around five times a week, as long as I’m not too exhausted. In the evenings, I love unwinding with movies—especially action thrillers like The Bourne Identity and 13 Hours.

You seem to have a very active lifestyle. Do you also enjoy going on walks? It looks like you take a lot of photos of outdoor scenery.

I used to go on walks a lot, but these days, I honestly just enjoy staying at home. (Laughs)

One day, I stumbled upon my mom’s old digital camera—it even had my graduation photos on it! It felt like uncovering a hidden treasure. Surprisingly, it still worked well and captured these really atmospheric, nostalgic shots. So now, I carry it with me and snap photos of things that catch my eye. I think I’ve always been naturally curious. Even something as simple as leaves fascinates me—the way every single one is shaped differently, how each texture varies. And nothing in nature is ever still. The way everything shifts with the wind never gets old to me. Even in my studio, I love watching how the light changes throughout the day, stretching and fading in different ways.

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Do those observations influence your designs?

Definitely. Inspiration hits me at the most random moments. When I walk down the street and see a traffic cone standing at an odd angle, a lone chair, or a deep puddle, I snap a photo. Later, I revisit those images and think about how I can translate those elements into my work.

One of my most memorable experiences in school was a class where we were asked to collect anything from the campus park, take it home, and imagine how we could repurpose it. Some students picked up stones, others grabbed leaves or discarded plastic. I found a branch and started experimenting—burning it together with silver to see what would happen. That experience really shaped the way I see objects. Even now, when I travel, I instinctively collect bits of broken plastic, seashells, or uniquely shaped stones. I don’t always know if I’ll use them, but I like having them around, just in case.

You release a collection once a year, and this year’s theme was artifacts. How did that concept come about?

I’ve always been fascinated by ancient artifacts. I love visiting the National Museum of Korea to see them up close—it amazes me how people crafted such intricate objects centuries ago. One day, I was looking through photos I had taken at the museum and thought, What if I reinterpreted these artifacts in my own way? Ancient relics are often unearthed from the ground, and their surfaces bear the marks of time. Since I’ve always incorporated natural textures into my work, it felt like an idea worth exploring.

For this collection, I worked with both metal and wax, using stones I had collected in the past as inspiration. I noticed one with a deep indentation and used that as a reference for my design. I also experimented with hammering¹ and reticulation² techniques to recreate the raw, time-worn feel of ancient artifacts.

¹ Hammering: A jewelry-making technique where metal is shaped by repeated hammer strikes.
² Reticulation: A surface treatment technique that creates an intricate, textured pattern on metal.

What’s your favorite moment in the studio?

I love the moments when I’m deep in thought, brainstorming new ideas. Sometimes, I work without any music, just letting the distant sounds of cars and people outside fill the space. It’s not completely silent, but I like treating those ambient noises as my own kind of background music.

My design process is a little unconventional—I don’t sketch. Since my work doesn’t follow a set structure or geometric form, sketching can feel restrictive, boxing me into a fixed idea. Instead, I visualize the design in my head and let it take shape naturally as I work. Once I have a rough idea, I jot down a few quick notes—whether it might become a ring, earrings, or something else—and then dive straight into creating it. Because of this, every piece turns out unique, and I think people appreciate that sense of unpredictability. Over time, I’ve realized that this free-flowing approach really suits me.

What does beauty mean to you?

For me, beauty is all about naturalness. I’m not a fan of things that strictly follow trends or norms. That applies to fashion as well. When I was in Australia, my professors and classmates all dressed in ways that reflected their personal style—one person might wear striped socks with boots, for example. But when I came back to Korea, I noticed how trend-conscious people were. Personally, I prefer things with lasting appeal—something you won’t grow tired of over time. That’s the same philosophy I bring to my jewelry. When a particular jewelry style becomes trendy, it quickly gets copied everywhere. But since nature is my biggest inspiration, I like to think of my work as “copying” nature instead. I create pieces based on what I genuinely love and what I’ve seen and felt firsthand. That’s why you won’t find designs exactly like mine anywhere else. So to me, beauty is something natural—something unique.

One last question. Where do you see a.neujac going in the future?

I take a long-term view. If I have kids one day, I’d love to bring them to the studio with me. Even as I grow older, I want this to remain a part of my life—something I can continue as a passion. I work at a much slower pace than most brands, which typically release seasonal collections in spring, summer, and winter. Instead, I prefer to take my time, focusing on one piece at a time. I want each design to have the exact texture and form I envision before it reaches customers. My goal is to move at my own pace—slowly and steadily—for the long run.