minhthy
things i like i see everyday
minhthy
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KAAREM tyh.d open back dolman dress (via Phuket: A Boy Named Sue, part 1)
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KAAREM Scales  Mid-Length Top + Stream Midi Skirt in Orchid Leaf Print
mohawkgeneralstore:

Welcome @kaaremvn to #mohawkgeneralstore 👌 (at Mohawk General Store)
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Burn to Send / đốt về trời
Andinh Ha / Vietnam / 2013 / Drama, Narrative / 20 mins / Vietnamese / San Francisco Premiere

(via Burn to Send | CAAMFest 2014)
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rgrjnr:

Ana Kras interview on L’ArcoBaleno

AC: What can you tell us about the process behind the Bonbon Lamps, starting with the initial sketch?
AK: I do a technical drawing of the frames, and then a metal carpenter in L.A. makes and powder coats the frames. After, I do the manual wrapping work.

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I was working on the first prototype of my first chair. A chair is such a serious piece, in a way; you use it with your body in a particular way. I was obsessively scared that I was going to make a really uncomfortable chair, and I was trying to figure out how to avoid that. I was making a plywood chair, too, which was another challenge. I remember telling Konstantin that, and he said, “Who says the chair has to be comfortable?” At first I was really shocked, because, of course, I was making this chair for people to sit on. And he said, “Yes, but there are different kinds of people. I, for example, sometimes like a chair that is not too comfortable, so that it makes me sit up straight. Then I don’t go all limp and get super-relaxed. You are the boss of your chair, and you decide how comfortable it’s going to be.” And just to have that encouragement, to be shown that freedom, it helped me relax, and it was such a big moment for me.
rgrjnr:

Ana Kras interview on L’ArcoBaleno

AC: What can you tell us about the process behind the Bonbon Lamps, starting with the initial sketch?
AK: I do a technical drawing of the frames, and then a metal carpenter in L.A. makes and powder coats the frames. After, I do the manual wrapping work.

…
I was working on the first prototype of my first chair. A chair is such a serious piece, in a way; you use it with your body in a particular way. I was obsessively scared that I was going to make a really uncomfortable chair, and I was trying to figure out how to avoid that. I was making a plywood chair, too, which was another challenge. I remember telling Konstantin that, and he said, “Who says the chair has to be comfortable?” At first I was really shocked, because, of course, I was making this chair for people to sit on. And he said, “Yes, but there are different kinds of people. I, for example, sometimes like a chair that is not too comfortable, so that it makes me sit up straight. Then I don’t go all limp and get super-relaxed. You are the boss of your chair, and you decide how comfortable it’s going to be.” And just to have that encouragement, to be shown that freedom, it helped me relax, and it was such a big moment for me.
rgrjnr:

Ana Kras interview on L’ArcoBaleno

AC: What can you tell us about the process behind the Bonbon Lamps, starting with the initial sketch?
AK: I do a technical drawing of the frames, and then a metal carpenter in L.A. makes and powder coats the frames. After, I do the manual wrapping work.

…
I was working on the first prototype of my first chair. A chair is such a serious piece, in a way; you use it with your body in a particular way. I was obsessively scared that I was going to make a really uncomfortable chair, and I was trying to figure out how to avoid that. I was making a plywood chair, too, which was another challenge. I remember telling Konstantin that, and he said, “Who says the chair has to be comfortable?” At first I was really shocked, because, of course, I was making this chair for people to sit on. And he said, “Yes, but there are different kinds of people. I, for example, sometimes like a chair that is not too comfortable, so that it makes me sit up straight. Then I don’t go all limp and get super-relaxed. You are the boss of your chair, and you decide how comfortable it’s going to be.” And just to have that encouragement, to be shown that freedom, it helped me relax, and it was such a big moment for me.
rgrjnr:

Ana Kras interview on L’ArcoBaleno

AC: What can you tell us about the process behind the Bonbon Lamps, starting with the initial sketch?
AK: I do a technical drawing of the frames, and then a metal carpenter in L.A. makes and powder coats the frames. After, I do the manual wrapping work.

…
I was working on the first prototype of my first chair. A chair is such a serious piece, in a way; you use it with your body in a particular way. I was obsessively scared that I was going to make a really uncomfortable chair, and I was trying to figure out how to avoid that. I was making a plywood chair, too, which was another challenge. I remember telling Konstantin that, and he said, “Who says the chair has to be comfortable?” At first I was really shocked, because, of course, I was making this chair for people to sit on. And he said, “Yes, but there are different kinds of people. I, for example, sometimes like a chair that is not too comfortable, so that it makes me sit up straight. Then I don’t go all limp and get super-relaxed. You are the boss of your chair, and you decide how comfortable it’s going to be.” And just to have that encouragement, to be shown that freedom, it helped me relax, and it was such a big moment for me.
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hajohinta:

Evolution Door
hajohinta:

Evolution Door
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KAAREM
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KAAREM tyh.d boatneck open back  dress
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A Brighter Summer Day by Edward Yang
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(via pink horrorshow: Kaarem)
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(via pink horrorshow: Kaarem)
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KAAREM
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KAAREM
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KAAREM