etc Archives - DAEKI and JUN

C2C : Hangeul Lettering Workshop

Bacchus–S

[ Bacchus-S ]
Cultural Code: South Korea × USA
by Chris Hamamoto × Daeki Shim × Sara Raffo

In 1963, Bacchus adopted a gear-shaped icon to reinforce its brand identity in South Korea. This emblem symbolized industrialization, diligence, the restoration of vitality, and mental relaxation. The brand name “Bacchus” was derived from the Roman god of wine, further emphasizing its association with rejuvenation and energy.

In the same year, the modern smiley icon was created by American graphic designer Harvey Ross Ball. Commissioned by the State Mutual Life Assurance Company, the design aimed to boost employee morale through a simple yet impactful visual expression.

These two iconic symbols—emerging from distinct national and cultural contexts—respectively embody ideals of revitalization and mental well-being, and of corporate emotional welfare. Over time, both have transcended their original functions to become enduring cultural symbols.

[ About Bacchus ] South Korea
Bacchus is a representative product that goes beyond a simple nutritional supplement and holds significant social and cultural symbolism for the Korean people. Bacchus was first introduced in 1961 as a tablet-type nutritional supplement called “Bacchus-Jeong,” and later, in 1963, it was launched in its current drinkable form, “Bacchus-D,” becoming Korea’s leading fatigue recovery product. In particular, starting in 1963, Bacchus adopted a gear-shaped icon, reinforcing its brand image associated with industrialization and diligence. The name “Bacchus” is derived from Bacchus, the Roman god of wine and harvest, symbolizing the restoration of vitality and mental relaxation.

Since Dong-A Pharmaceutical officially launched Bacchus in 1963 as Korea’s first drink-type fatigue recovery product, it has gained widespread popularity among people exhausted from the waves of industrialization and economic growth, establishing itself as an everyday essential. In particular, Bacchus has helped relieve physical fatigue for various social groups, including laborers, office workers, and students, leading to the widespread public perception of “fatigue recovery = Bacchus.”

Bacchus has become a widely accessible product that can be easily purchased anywhere in the country, naturally permeating the daily lives of Koreans regardless of age or gender. The act of handing someone a bottle of Bacchus goes beyond simply offering a drink; it conveys an unspoken message of encouragement, “Cheer up,” and symbolizes Korean emotional warmth and consideration. This cultural symbolism is particularly prominent among delivery workers, bus drivers, and the older generation.

Furthermore, Bacchus has grown alongside Korea’s modernization and industrialization, serving as an icon representing the spirit of diligence and perseverance promoted during the 1960s and 1970s, including the Saemaul (New Village) Movement. In Korean popular culture, including films, TV dramas, and advertisements, Bacchus frequently appears not only as a fatigue recovery product but also as a symbol of small comfort and the everyday emotions of ordinary people. Thus, Bacchus has evolved beyond a functional beverage for relieving fatigue to become a deeply rooted socio-cultural asset that reflects the emotional identity and daily culture of the Korean people.

In terms of economic performance, Bacchus has achieved remarkable success both domestically and internationally. As of 2022, Bacchus had recorded a cumulative sales volume of at least 22.6 billion bottles, and by the end of 2023, sales reached approximately 23.3 billion bottles, with some statistics reporting up to 27.75 billion bottles sold. If lined up vertically, Bacchus bottles (approximately 12 cm tall) would circle the Earth about 70 times. In addition, Bacchus became the first single pharmaceutical product in Korea to surpass annual sales of 200 billion KRW in 2015, maintaining continuous growth with approximately 249.7 billion KRW in sales in 2022, 256.9 billion KRW in 2023, and reaching 264.6 billion KRW in the domestic market and 348.2 billion KRW globally in 2024. Notably, Dong-A ST, responsible for overseas exports, generated approximately 261.9 billion KRW in Bacchus-related revenue in 2023, demonstrating the substantial economic value Bacchus creates both at home and abroad.

The long-term market dominance of Bacchus is attributed to consistent brand positioning centered on “fatigue recovery,” expansion of distribution channels (from pharmacies to convenience stores and large retailers), and diversification of product lines, including decaffeinated versions, jelly formats, and canned products. Moreover, Bacchus has transcended its role as a consumer good, functioning as a cultural symbol and a medium of emotional connection among Koreans, maintaining annual sales exceeding 300 billion KRW.

However, in global markets, there is an increasing need for product localization and differentiated strategies, with a particular emphasis on developing new brand strategies and product innovations targeting the MZ generation. In conclusion, since the launch of drink-type Bacchus in 1963, the product has achieved cumulative sales of approximately 20 to 27.7 billion bottles and average annual sales exceeding 350 billion KRW over the past 60 years, firmly establishing itself not merely as a health supplement but as a cultural and industrial asset symbolizing the alleviation of fatigue in Korean society.

[ About Smiley ] USA
The Smiley is far more than a simple graphic element; it has become one of the most universally recognized visual icons of the late 20th century, symbolizing positivity, optimism, peace, and humor across cultures worldwide. The modern version of the Smiley, featuring a bright yellow circular background with two black eyes and a wide, curved smile, was first created in 1963 by American graphic designer Harvey Ross Ball in Worcester, Massachusetts. At the time, Ball was commissioned by the State Mutual Life Assurance Company to design an image that would boost employee morale. He completed the design in just ten minutes and was reportedly paid $45 for his work.

Although the Smiley quickly gained popularity, it was Franklin Loufrani, a French journalist, who transformed the design into a globally recognized commercial symbol. In the early 1970s, Loufrani trademarked the name “Smiley” and began using the symbol to highlight positive news stories in the media. He later expanded its use by licensing the design for various products, turning it into an international brand.

Interestingly, the concept of a smiling face predates modern history. Archaeological discoveries have revealed simplified smiley-like faces etched into ancient pottery dating back to around 1700 BCE in present-day Turkey. Additionally, in the early 1960s, New York radio station WMCA used a smiling face graphic printed on sweatshirts as part of a promotional campaign. However, the design that became globally standardized traces directly back to Harvey Ball’s creation in 1963, followed by the Loufrani family’s aggressive trademarking and licensing efforts that propelled the Smiley into the mainstream.

Over time, the Smiley has evolved beyond mere graphic representation. It has become a cultural symbol deeply rooted in various movements and industries, including peace activism, counterculture, fashion, art, and digital communication. In the 1980s, it became an emblem of the British rave scene, and in the 1990s, it reappeared in internet culture as the foundation for emoticons and emojis. In contemporary art, the Smiley often appears as a tool to express themes of consumerism, irony, and positivity, notably featured in the works of artists such as Keith Haring and KAWS, where the symbol is frequently reinterpreted with unique artistic perspectives.

In conclusion, the Smiley has transcended its origins as a simple, cheerful face to become one of the most iconic symbols in modern design history and pop culture, continuously evolving to reflect changing social and artistic contexts.

C2C : Design a Chair for Myself!

Beyond The City : Cultural Monuments B

대기앤준은 서울디자인재단과 함께 본 전시를 총괄했습니다.

SYSTEM Series x – x Collaboration

SYSTEM Series x – x Collaboration Proposal
The SYSTEM series is an experimental project by designer Daeki Shim, who has previously held solo exhibitions such as SYSTEM 2018 and SYSTEM 2022, in addition to participating in numerous prestigious exhibitions. Currently, the third solo exhibition of the SYSTEM series, SYSTEM 2025, is scheduled, and two of his works are available as limited editions through ARTN Edition.

Designer Daeki Shim is open to collaboration proposals in various fields, including fashion brands, stationery brands, pop-up shops, exhibitions, limited editions, among others. Interested parties are kindly invited to contact via email.

MORE INFO
– SYSTEM 2018 Exhibition
– SYSTEM 2022 Exhibition

Limited Edition at ARTN Edition
– SYSTEM No.09 / Edition of 30 / 990,000 KRW
– SYSTEM No.06 / Edition of 30 / 550,000 KRW

SYSTEM 2022

A
‘SYSTEM 2022’ is Daeki Shim’s solo exhibition, showcasing his graphic experiments. The prestigious Gangwon Institute of Design Promotion (GIDP) and DAEKI and JUN proudly co-organized the exhibition, which was co-hosted by Gangwon State & Gangwon Institute of Design Promotion.

MORE INFO
– SYSTEM Series x – x Collaboration Proposal
– SYSTEM 2018 Exhibition

Park Hyo Shin – Goodbye

Goodbye : Mise en Abyme (굿바이 : 미장아빔)
“Mise en Abyme: Memories are virtual realities that are repeatedly projected from past to present. An abstracted and blurry taste remains the mere anchor to this ancient moment; This fading image in our minds is being redefined and thus reshaped successively”. – Daeki Shim x Lara Kamhi, 2021

“이젠 멈춰버린 화면 속에서,
내게 여름처럼 웃고 있는 너
Durmuş bir ekranda,
bana yaz gibi gülümsüyorsun”

Music Video
Park Hyo Shin – Goodbye
– Singer: Park Hyo Shin
– Title: Goodbye, 2019

Lyrics
Looking at the passing day
I think about you

You were written on the edge of my memories
Now you’re right here

Now in this frozen screen
You’re smiling at me like the summer

Maybe this time is the last goodbye
Thanks for staying this long

Why were these words so hard to say?
Now goodbye

We’re looking for different dreams
Like a childhood game of hide and seek

I’m alone here till the sun goes down
I’m right here

Now in this frozen screen
You’re smiling at me like the summer

Maybe this time is the last goodbye
Thanks for staying this long

Why were these words so hard to say?

I’ve held this goodbye tightly in my hand
In the end, I couldn’t hold back the tears

Maybe this day is my last goodbye
All the days we spent together were good

Why were these words so hard to say?
Now goodbye

Goodbye