Interviewer: Can you talk about the colours and the shapes of the set in Getting Married?
Yoon: Yeah sure. The colours, especially for the backdrop, for the Getting Married, the inspiration has come from the Korean traditional decoration. I' ts called Tanchong and it' s been used in Korea so many centuries to, well basically to protect the woodwork, but also as a decorating method of the architecture and it basically enhances the important buildings like palaces and temples and very rich people' s homes. So I thought that perhaps this is a house the swindler has borrowed, and it' s very colourful and the shapes are also from Tanchong itself as well.
Interviewer: Did you try to make the contrast, economic and social level between the protagonist and the people who were working on the house, so everybody try to see the difference between the social statement, is that, on the dress design?
Yoon: Yeah, traditionally yes. The Koreans lived in a very monochrome houses and dress that way, so having such the richness in the colour and shape, I thought that would take us up to what swindler was trying to do, disguise himself as a very rich man.
Interviewer: And the furniture we' re seeing in Getting Married is very contemporary, so you had that contrast between the traditional and the modern.
Yoon: The furniture also, has been chosen very carefully, again this is a modern play, and what I was trying to do for today' s audience was, I wanted to make the relevance of the Korean play about this relationship, so I have found this Philip Starks Louis Ghost Chair, so it' s French twist with a modern material. And then the table is also called the illusion table, so it' s see-through and it' s modern material but in a classical form, which I thought would work very well with the Tanchong and the very rich colour of the floor.
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