THAIS MAKE AN IMPACT AT SINGAPORE DESIGN WEEK
Despite lacking recognition at home, designers from the Kingdom impressed at a prestigious furniture fair in Singapore
Creativity converged at Singapore Design Week which took place earlier this month. A citywide event, the design week held under the theme “A March Of Design” was an amalgamation of events. From panel discussions with the top minds in design from around the world to gallery shows and city tours, the week is reaffirmation of Singapore’s desire to shift to a more modern, creativity-driven society.
Part of this year’s week was the International Furniture Fair Singapore (IFFS) 2018, a grand showcase of over 400 furniture brands from around the world, including many brands and independent designers from Thailand. Life had the opportunity to speak to several Thai designers at the event, who shared their thoughts on the creative-driven society, Thai designs and their place on the international stage.
SOCIETY 4.0
“When it comes to a creative society, there are really two ways you can go about creating it,” said Jirachai Tangkijngamwong, manager of Thai furniture brand Deesawat.
“The first is to develop and showcase your own brand of creativity. The second is to take the creativity from other countries and showcase it in yours, making yourself a hub of creativity, such as what Singapore is doing right now.”
In Thailand’s case, however, while much has been said about building a creativity-driven “Thailand 4.0”, there is still not enough direct support from those in power. Compared to the sprawling, multi-pronged effort that is Singapore’s Design Week, Thailand’s own — which recently took place in Bangkok and Chiang Mai earlier this year — can’t hold a candle to it. While more Thai people than ever are learning to recognise and appreciate designs, too many others don’t, causing many young Thai designers to struggle to receive attention in their home market. Thongthon Thitikawin is a young Thai designer whose work has been largely disregarded in Thailand. His set of acrylic-based chairs, which incorporate elements of traditional Thai weaving techniques, have garnered positive reactions everywhere they are showcased, with the exception of Thailand, a fact he finds mildly discouraging. The collection was among several showcased under the IFFS’s Design Star stage, which highlighted promising independent designers from around the world.
“Ironically, most foreigners take one look at my work and immediately know I’m a Thai designer. Most of my work is sort of experimental, using less-used or new materials, and Thai people don’t seem to appreciate that as much as others.”
THE THAI TOUCH
But while Thailand as a whole may not be as appreciative of design as it could be, Thai designers are making a splash on the international stage. According to Jirachai, many countries on the international stage — Singapore included — hold Thai designers in very high regard.
“The beautiful thing is that instead of being stuck with a Western or otherwise foreign sensibility, Thai designers began developing their own unique sensibilities in their work, which was apparent to those outside the country,” he said.
“Even for Deesawat, all of our products always have that common DNA, no matter the collection, which is true for most Thai brands. Expressing that DNA in their own unique way is something that Thai designers are very strong at.”
Jirachai said it’s a matter of proportions and craftsmanship. While each country or region may have its own sweet-spot when it comes to the dimensions of their furniture, the innate dimensions found in Thai design sensibilities — coupled with the elegant and graceful curves — seem to exist in a special sweet-spot that makes it unique in the eyes of the world. Coupled designs, Thai furniture is very much the direct answer to the current global design trend.
“The furniture itself doesn’t even have to look remotely culturally ‘Thai’, but it will always have a certain gentleness to its curves that is apparent for foreigners, who see this as distinctive detail.
“It’s not so much about the perfection of the product as it is about the little blemishes and details that give each product its own character and story. It gives an element of personalisation and ownership to customers, which is valued highly by Western clients as well.”
For Thongthon, his interpretation of the Thai design DNA lies in the curves, something that has been pointed out to him by foreign admirers of his work.
“I have a lamp in the collection that is a design based off Thai fishing baskets. A European person took one look at it and told me it reminded him of exactly those fishing baskets, which was how he guessed my work was Thai. Most of the details that give away the Thainess of my work tend to centre around the elegance of the curves, or the style of stitching I use.” Artist and product designer Apiwat Chitapanya, designer of the award-winning Feather Collection under the Masaya brand, was also among the artists showcased at the IFFS’s Design Star stage. The designer attributes the “Thai DNA” to our inherent inclination towards craftsmanship, something that is very much ingrained in all Thai designers and artists.
“I think the fact that so much ritual and ceremony is ingrained in our art culture has also given us so much dedication to the detail. While limiting in some regards, the reverence in which we treat our art is also why we have insisted on working with our hands through the old methods. Our work may not be as pristine as something made by a machine, but there is detail and history to each piece, told through the imperfections made in the process. It may not be perfection, but it’s beauty.”
Most foreigners take one look at my work and immediately know I’m a Thai designer