Crafts can keep their own authenticity only through the sincere expression. Honesty in applying ethnic elements onto a new design combination should be pursued to honour purity and freedom of the crafts originals. Believing that, once, we all were from the same origin, when crafts from one place found resembling the other crafts from across the globe, it is not coincidence. Without boundaries, all crafts belong to the world, and to all of us, with their full right to be preserved, rescued, and reborn.

 

Kitttakhon, is established by a Thai designer, Suwan Kongkhunhtian and Teerapoj Teeropas, to represent the philosophy mentioned above. Ranging from home decorative items to furniture and lifestyle products, Kitttakhon’s products are refined and crafted by the hands of artisans of different expertises from different places.

 

Our design execution with bold, almost naive, expression of combined forms, colours and textures intend to evoke cultural memories as well as celebrate anonymity and universality of crafts and craftsmanship. Visual elements from variety of sources are selectively picked and mixed with the intention to universalise them with global aesthetics. The motives that ornaments the ethnic artefacts of various origins, from Far East to the World's End, are re-composed in order to introduce the new crafts aesthetics.

 

The expression of ethnic/vernacular-inspired aesthetics is manifested through juxtaposition and combination of crafts techniques around the world such as macramé, nautical rope crafts and South east Asian wickerwork for instances. Besides, vernacular materials are relentlessly explored and experimented, in the very same nature which the artisans have passionately practiced . At the fundamental level, our designs never betray the nature of materials. It never try to overcome the materials’ natural properties. Rather, it is guided by that truth, just similarly to how the craftsmen finalise their master-pieces.

 

Instead of tightly integrated and neatly curated, Kitttakhon’s collections of objects are casually clustered and bundled together, leaving some room for our audiences to enjoy interpreting. From time to time, something marginalised, almost kitschy, also reveals themselves as the backdrops of someKitttakhon’s objects. They mutually post the debate on dilemma between tastes and the value craftsmanship.

 

Not to mention cultural narratives, glimpses of multi personality are left with these crafted pieces. At glance, they stand out exotically with full confidence, at the same time, they reminisce something so common that we can comfortably associate with. They belong to anywhere, and nowhere at the same time.