TAKING A journey along the ancient Silk Road, Thai handbag-maker Tu’i is marking its eighth year with a remarkable autumn-winter collection unveiled in a fashion show at EmQuartier that resembled a nomad camp.
East meets West in the new “tribal” line from Tipanan “Tu’i” Srifeungfung, presented amid a picturesque landscape of mountains, prairies, deserts and lakes.
Schooled at the Instituto Maragoni in Milan, Tipanan came out with a signature handbag that’s beloved for its use of mixed materials, including exotic skins.
The new collection of bags in 10 styles is made for strong and fearless “Tu’i tribal girls”. There’s a distinctive geometric structure and more rich materials from around the world, including Thai snakeskin, fox and rabbit fur and ostrich plumes, plus an ingenious replication of snowflake crystals.
The Tu’i bag is “unique in the way it mixes materials, like exotic skins matched with calfskin, and this season I’ve included lots of fur”, Tipanan says.
“The bags are fun and have different dimension, and I always love touching the different textures. We attach a lot of importance to leather, metal and all the details in the material.”
Tipanan says the bag is made entirely by skilled local craftsmen, adhering to a geometric square structure, though this season she’s introduced a cuddly, rounded pom-pom bag made with rabbit fur.
Also in the collection is a range of fascinating jewellery – a necklace and earrings embedded with crystals, pearls and feathers – and exquisite silk scarves inspired by vintage French needlepoint but with an eastern touch, plus a fox-fur scarf.
The colour palette is based on the nomad landscape – White Snow, Beige, Sand, Mongolian Pink, Persian Red, Deep Forest, Tundra Grey and Black.
The new line exudes Tu’i’s exotic “maximalist” approach, but Tipanan says she’s always keen to come out with another collection for every season.
“Perhaps I learned that from the Italian approach to fashion design. Each collection is different, because at least the colour palette should be well designed, |as you can see in the clothing |collections.
“I think it’s so much fun, because you can’t stop being fashionable. I made my ‘classic models’ and some of the favourites are still available in every collection, slightly changed in colour or materials, but always maintaining the same shape.”

THREE YEARS in the making, the first Thai-Myanmar co-production, “Thueng Khon…Mai Kidthueng” (“From Bangkok to Mandalay”), opened to packed theatres in Myanmar last week picking up Bt6 million in its first three days of screening and shooting straight to top position in box office rankings.
The film, which opens today in Thailand, is directed by Chartchai Ketnust, a man better known for his talents in post-production work, particularly editing, which earlier won him Thailand’s national film award – the Subhanahongsa – for his work on “Final Score”, a documentary that followed six students in the run-up to their university entrance exams. He also co-founded White Light Production along with another well-known editor-director, Lee Chatametikul, and respected cinematographer Sayombhu Mukdeeprom.
“From Bangkok To Mandalay” is his first feature film but comes on the heels of years of experience, including directing documentaries like “October_14 (Student Uprising 1973)”. Yet Chartchai says his friends and colleagues worried whether he was up to working on such a complex co-production with a relatively new Myanmar company.
“They felt it was a risk,” Chartchai says bluntly. “They pointed out that I’d be working with people who speak a different language and filming in a country that has only just opened up to the world. But I knew that the time had come to do something in Myanmar.”
He admits that his original plan was to make a low-budget film using funds promised by a friend. That idea fell through when his friend told him he was no longer interested in the project. Chartchai, however, persisted, using his Magenta Films Studio to seek funding and finally attracting cash from Tee Entertainment, which belongs to Somchai “Tee Matching” Cheevasuthanon, a company involved in the entertainment business in Myanmar, as well as the Audio Engineering Enterprise (AAE) from Myanmar.

The story came about both because of the director’s interest in history and his frequent visits to Myanmar. It eventually developed into a road movie about a young woman Pin (Philaiporn Supinchomphu), who has lost her boyfriend (Uttsada Panichkul) and is finding it difficult to move on with her life until she finds her grandmother Suda’s love letters. They come with an instruction from her late grandmother asking her to read them in chronological order and pay particular atten
tion to where they were posted – all in Myanmar. In fact her grandmother was originally called Thuzha (Wutt Hmone Shwe Yi) and moved to Thailand 50 years earlier. The letters tell of her love affair with Nanda (Nay Toe), a postman. Pin sets off to Myanmar with help from music instructor Moe Nai (Sai Sai Kham Leng) who takes her to all the places mentioned and translates the letters for her.
Pin’s journey runs in parallel with the story of her grandmother’s life back in the 1960s with the beautiful scenery
of Myanmar as the backdrop. “Movies and TV dramas often portray love as the best thing there is. But I disagree. I don’t think love is the best answer to everything.Without love, our life can move on,” says the director.
“The character is trapped in her love, but her grandmother handed over the letters in the hope that she would understand that in life and love we can start over and move on without love,” he says.
Chartchai is grateful to his friend, veteran musician Anant Nakkhong, who took him to visit the Gitameit non-profit community centre and music school in Yangon, which grants scholarships to talented musicians nationwide to study music.
But the original inspiration, says the director, is based on his own family history. His parents were the product of an arranged marriage and while they were not in love, the family was happy. One day, two young women showed up at the door and introduced themselves as the daughters of his father and his ex-lover.
“All the adults already knew. Only my sibling and I had been left in ignorance and we were shocked then surprised when my mother happily ushered them in,” he says.
Inspiration for the letters came from his own grandmother, who communicated with her ex-boyfriend by letter for several years. The couple eventually drifted apart and only met again after she was married.

In the film, he says, while Pin’s grandmother used her letters to communicate both her happiness and sadness to the one she loved, Pin wraps herself in isolation after losing her boyfriend.

The fact that the film was a co-production made filming a lot easier, Chartchai continues. “We were able to shoot in lots of different places in Myanmar including such tourist landmarks as Shwedagon pagoda in Yangon, the sea of pagodas in Bagan, the hill resort town of Pyin U Lwin, which is known for its British colonial architecture, and also Hsipaw in Shan State.”
As the project continued, sponsorship from major companies like Brand (Myanmar) pushed the budget up to Bt25 million, helping Chartchai and his partners shore up the storyline.
“At first the focus was just on Pin and Moe Nai, but the additional funding meant we could further elaborate on the story of Nanda and Thuza,” says the director.
The extra money also helped pay for A-list superstars like Nay To, Wutt Hmone Shwe Yi and Sai Sai. “Nay To is Myanmar’s answer to Thongchai ‘Byrd’ McIntrye and has acted in hundreds of movies. Wutt Hmone Shwe Yi has the superstar quality of Thailand’s Patcharapha ‘Um’ Chaichua while Sai Sai is a hip-hop singer and actor with millions of followers,” Chartchai explains.
And while he admits that the film crews in Myanmar are not up to the Thai standard, he says he would far rather work there than at home.
“The scenes in Myanmar are more powerful and have more impact than the scenes we shot in Thailand. Perhaps it’s because of the atmosphere or the locations, which are very different from what we are used to,” he says.
Chartchai hopes his movie will change the image of non-studio films, which often disappoint audiences.
“Limited budget or lack of promotion support are not good excuses when a film is criticised.
“For me, the ticket price is the same, so our task is to make the film the very best we can,” he says.

SHOWING NOW
– “From Bangkok to Mandalay” opens today at theatres nationwide.
– It’s in Thai, English and Myanmar with subtitles.

AMERICAN beauty-products brand IT Cosmetics, popular around the globe for eight-plus years, recently made its debut in Thailand, with products on sale at the Sephora store.
Co-founder and chief executive Jamie Kern Lima flew in from the US to attend the opening in the Oriental Residence’s Playroom.
Joining him there were local celebrities and beauty writers including Kerika Chotivichit, Parva Nakasai, Shaya Na Nakorn, Orachat Laohaphol, Pimpisa Chomanan, Pichamon Chomanan, Panitta Sornthaiteva and Kamonporn Wongrukmit.
The latest IT line represents “a new dimension in makeup”, Lima said, with products developed by renowned plastic surgeons and dermatologists and attention paid to every detail.
The Playroom was lively with white and pink balloons that invoked the brand’s “skin-friendly” philosophy. Guests enjoyed demonstrations by an IT team and beauty tips shared by Lima.
She explained that she was working as a TV news anchor and was in the middle of a live broadcast when she wiped her brow, unwittingly scraping off the makeup she was wearing. Rather than remaining embarrassed by the mishap, she became determined to create a makeup line that would stay in place and still look great.
Lima said she’s spent much of her adult life trying to conceal severe hereditary rosacea and hyper-pigmentation. Every option she tried fell short of meeting her needs, always creasing, cracking or caking up on her skin and making her look older.
In 2008 she partnered with skin experts, plastic surgeons and dermatologists in formulating a new and innovative makeup range, and IT Cosmetics was born.
“I won’t launch a new product unless I believe wholeheartedly that it will change the lives of women and their skin, all the while empowering them to feel their most confident,” she said. “I believe every woman is beautiful and I believe every woman deserves to look and feel her most beautiful.”
Thanks to their coverage, durability and smooth texture, the products are quite suitable for hot Thailand.
The most popular product is Colour Correcting Full Coverage Cream, which is seven products in one – foundation, sunscreen, brightener, colour corrector, anti-ageing serum, pore-minimising primer, dark-spot corrector and moisturising day cream.

NECKLACES, pendants, charms, rings and earrings glitter in glamorous pink rose gold this autumn in a new collection by Pandora.
Tanapong Chirapanidchakul, chief executive of Tanachira Retail Corporation, the Danish jewellery brand’s exclusive distributor in Thailand, introduced the new collection with an afternoon tea event at the St Regis Bangkok, where guests were invited to create their very own personalised tea.
The new collection fuses tradition with innovation in delicate pieces with a warm pink hue that is suitable for all occasions. Following the global campaign “The Look of You”, the fashion show was graced by four models, Maylada Susri, Chtimon Chungcharoensukying, Kanyawee Songmuang, and Sara Legge, each sporting a different look.
The “Pandora Rose Collection 2016” showcases a blush pink shade inspired by a new era of luminosity, timelessness and elegance. It is a unique new metal blend, which creates softly lit colour, imbued with a mix of coppery, silvery, rosy and golden hues that flatters all skins tones. The motifs are centred around life and love; with glittering geometric shapes, delicate hearts, swirling ribbons and bows.
The collection is divided into three themes. “Classic Statement” features circles of brilliant cubic zirconia that illuminate the delicate Pandora stud earrings. Crafted from the unique metal blend of Pandora rose, the sophisticated studs gain an extra dimension of intrigue when styled with the reversible heart collier necklace, also in feminine pink.
“Ode to Elegance” is inspired by the revival of logos and iconography in design. A necklace pendant boasts a gleaming logo-embellished circle one side and a halo of clear cubic zirconia stones on the other, which are fused together by a delicate structure of cut out hearts.
Lastly, “Rose bows” evokes a sense of vintage elegance. The symbols adorn the sparking bow ring and matching stud earrings. Underlining the warm pink hue of Pandora rose, the designs feature on- trend embellishments of twinkling cubic zirconia ribbons. Multiplying the look with sterling silver bow jewellery creates a stunning contrast of warm and cool colours.

WITH THE entire nation still in a state of mourning after the passing of His Majesty the King Bhumibol Adulyadej, his subjects are choosing to remember him in various ways. Some are making merit for their beloved King by feeding mourners at Sanam Luang, others through art and music.
Apisit “James” Supakitcharoen has come up with a novel way of honouring the late King. Two weeks after the Monarch passed away, he posted a series of photos of himself holding a picture of the King using the background of the original shot as the backdrop for his own photo.
Gripping the hearts of thousands of Thais, the photos quickly went viral and have been shared more than 50,000 times in less than a month.
Apisit, 35, an amateur shutterbug and a special lecturer at Ramkhamhaeng University, says he took the photos in an attempt to spread the word about the King’s good deeds.
“It took me by surprise when my little project went viral. Initially I posted the photos to persuade my Facebook friends to make a trip to the royal projects. When my friends saw the photos, they asked me to set the privacy level to public so they could share it with their friends and in less than a day my photos were everywhere. My Facebook followers went from 100 and something to 6,000.
“I started thinking about this project when I saw a photo of His Majesty planting the flame tree at Thammasart University’s Rangsit campus in November 1986. That reminded me of the photo I took five years ago of that same tree. Seeing how huge the tree had grown made me think of growth of the royal projects and then to how they continue to flourish.
The concept behind his photograph is not, Apisit acknowledges, particularly original. The differences in time and space in the two images reminded him of the website Dear Photograph where people snap images of a picture from the past in the present.
Apisit went through the Internet to search for photos and information about the location in which the originals were shot, then planned his trips.
“Originally, I wanted to take photos of the King at all the royal projects but with limited time and resources, I had to choose a place that was good for weekend trips. It was obviously better if I could get more than one location per trip. So I started with locations in Bangkok and nearby provinces.”
The first set of photos showed the King and the flame tree at Thammasat University’s Rangsit campus and Thung Makham Yong in Ayutthaya’s Muang district, a “monkey cheeks” area, which His Majesty initiated in order to store water during the floods.
“It is very hard to find the exact location where the King was standing in the photo. I have plenty of photos but many of them don’t have any detail. So I started with Thammasat as I knew exactly where the tree is. But it was still hard since the background and also the size of the tree have changed a lot in the past 30 years.
“When I get the right angle and can seamlessly superimpose the photos from the past over the present day location, I feel that the photos become alive. I feel that His Majesty is still there.”
Apisit’s series includes some happy photos like those of Princess Maha Chakri Sirindhorn’s graduation day at Chulalongkorn University. “They brought a smile to my face when I was shooting them,” he says.
“I really love this set of photos. Taking them made me feel like I was there with the King and the royal family. I felt like I was the official photographer for that day. I was so thrilled!”
But he’s the first to admit that some memories of the good old days make the present even more heartbreaking.
“I took more than 30 test-shots to get the right angle for the photograph of the King in the courtyard of Siriraj hospital. Once I had the old photo lined up with its original location, I was struck by sadness. All I could see in my mind’s eye was the empty courtyard.”
He also acknowledges that some of the photos he would love to take are impossible simply because he cannot find information on the exact location.
“I have a great photo of the King riding a horse on the hill but unfortunately I can’t find any details as to where it was taken. There’s another photo shows His Majesty leaning on a jeep somewhere in Narathiwat province.
“Anyway, the photos are only a small part of the journeys our King took over the years. I really would like the public to see firsthand those royal projects that have brought prosperity to barren land. For more than five decades, His Majesty walked those barren areas and turned them into fields of plenty.
“My generation was probably the last that had a chance to see His Majesty when he was still active and going on field trips to develop the land. That formed a close bond between the King and his people. The younger generation –or ‘Gen Me’ – have only seen the old footage or old photos so they never really understand how dedicated our King was.
“For all the photos I post, I provide details so that those who see them can learn more about His Majesty’s hard work. I have to crosscheck all the facts before posting. I really hope that my work helps bridge the gap in our knowledge and transmits his ideas and visions to the next generation |so what the King started can keep on growing.

Honouring His Majesty the late King as the Supreme Artist he was formally designated during his lifetime, the Thai edition of GQ magazine has reprinted portraits of him by 50 leading Thai artists in a special supplement included in its November issue. The magazine costs Bt100.
The cover belongs to Thailand’s foremost portrait artist, Sakwut Wisetmanee, whose wonderful painting done earlier this year depicts the young King sitting regally on a sofa wearing a neat suit. Original Sakwut royal portraits routinely command up to Bt1 million.
Among the marvels inside is a piece by Suradej Kaewthamai showing His Majesty playing piano. The bright yellow background sets off the lush, tumbling colours of a garden of flowers that encircle the scene, a characteristic of the artist’s work.
Ruengsak Harithaithavorn puts his uncanny super-realistic talent to startling use in “The Throne”, capturing the moment on June 9, 1946, the 19-year-old Bhumibol became King Rama IX.
In “The Master (NYC) No 11”, Jitsing Somboon offers a woodblock likeness of the King in uniform. And, for a more modern perspective, Kongpat Sakdapitak has formed a collage of four vivid portraits that recall Andy Warhol’s pop-art pictures.

His Majesty the late King Bhumibol Adulyadej always kept a camera close to hand, having received his first model from his mother at age eight – a Coronet Midget, green with a black frame. Family reminiscences suggest it stayed glued to his hands for years and he became fascinated with the mechanics involved.
The King’s passion for photography – and his talent – was duly passed on to Her Royal Highness Princess Maha Chakri Sirindhorn, and has famously served as inspiration for countless Thai professional lensmen.
The Bangkok Art and Culture Centre is paying tribute to this meaningful aspect of His Majesty’s life in the photography exhibition “In Remembrance of His Majesty King Bhumibol Adulyadej”, continuing through November 20 on the third, fourth and fifth floors.
It comprises 89 black-and-white images, one each from 89 members of the Royal Photographic Society of Thailand. They show memorable moments from the King’s reign, extending into the recent painful days, illustrate the depth of the public’s affection for him, and examine the Royal Projects with which he brought the country so much benefit.
Among the highlights is a portrait of the smiling monarch taken by Decho Buranabanpot, who for decades accompanied His Majesty as he went about his royal duties. This particular moment was captured on a visit to the Khao Hin Son Royal Development Study Centre in Chachoengsao’s Phanom Sarakham district.
Pittaya Nontapaoraya honours the King’s musical talent with a semi-abstract photo of the |Braille lyrics to the inspiring song “Smile”, composed by His Majesty during a trip to a school for blind people.
And in Chiang Mai in 2008, Chamni Thipmanee got a wonderful shot of a hilltribe man and his three children holding the national flag in front of a calendar bearing the King’s portrait.

HOMAGE IN BLACK & WHITE
– The exhibition “In Remembrance of His Majesty King Bhumibol Adulyadej”
continues through November 20 at the Bangkok Art and Culture Centre.
– More information visit http://www.BACC.or.th.

New York’s Eighties art scene is coming to Milan with a show dedicated to the late Haitian-American artist Jean-Michel Basquiat, whose works now sell for phenomenal sums.
From his child-like skull and crown paintings to his poetic and enigmatic anatomical depictions, the Museum of Culture in the northern Italian city is holding a retrospective until February 19 into the works of the art prodigy who died from a drug overdose aged just 27.
Born in 1960 in Brooklyn to a Haitian father and Puerto Rican mother, the young, handsome Basquiat became one of the most celebrated and influential artists of his generation, leaving more than 2,000 drawings or paintings.
“Basquiat conquered the world” with his “genius”, says Gianni Mercurio, who co-curated the |exhibition with Jeffery Deitch, |who been one of the painter’s friends.
The retrospective, which runs near chronologically, exhibits works executed between 1980 and 1987, largely on loan from the private collection of prominent New York art dealer Jose Mugrabi, who also knew Basquiat.
Some 140 paintings, drawings and ceramics await visitors, from street art to the youngster’s collaboration with pop art master Andy Warhol, who he met and formed a close relationship with in 1980.
Basquiat, who was a regular museum-goer as a child but dropped out of school at 16, first rose to prominence in the 1970s with graffitied statements across SoHo, done with friend Al Diaz and signed “SAMO” (“same old, same old bullshit”).
His work then began to evolve into colourful paintings, using acrylics, oils, pastels and creating collages on paintings, tables or doors.
Many of his creations feature words and have been described as bridging traditional tribal art and socio-political missives.
His friendship with Warhol would mark him forever.
“The relationship between Warhol and Basquiat was a very close one: Basquiat regarded Warhol as his spiritual father, and Warhol saw in Basquiat the son he never had,” Mercurio says.
But the fruits of their collaboration, exhibited in Zurich and New York, “met with a negative reaction in the press”.
“Some critics said it was a commercial ploy to revitalise Warhol and consolidate Basquiat’s success, others said Warhol did what he wanted with Basquiat, criticisms which deeply hurt the already fragile” New York artist, he says.
Basquiat broke off the collaboration but appeared to suffer his decision. Warhol’s death in 1987 worsened his depression and his heroin addiction spiralled, leaving him dead a year later of an overdose.
“Basquiat was an artist full of contradictions. His personality was based on pride. He wanted to be a famous artist, not just a famous black artist,” Mercurio says.
“He said 80 percent of his work was done in anger. But at the same time, he was a sweet, hesitant person. His fragility came from his fear of losing his success from one moment to another,” he adds.
He need not have worried: his paintings and drawings today regularly beat the expected price at auctions. Between July 2015 and June 2016 his works were sold for a total of US$139.4 million (Bt4.9 trillion), according to specialists Artprice.
And a new record was set in May at Christie’s in New York, with a huge self-portrait going for $57.2 million to a Japanese billionaire.
According to Artprice, between January 2000 and October 2016 the value of works of Basquiat rose a whopping 506 percent.

While photographers, painters and poets continually create works that pay respect to His Majesty the King Bhumibol Adulyadej during this time of mourning, the cartoonists over at “Kai Hau Ror”, the weekly comic magazine, are choosing to remember their Monarch in their humorous, playful and light-hearted ways in the magazine’s first ever special edition, “Smile of the King”.
After 43 years of uninterrupted publication, the two weeks following the King’s death saw Thailand’s most popular household gag magazine stopping distribution as a mark of respect. The special edition, which boasts a sleek white cover and elegant gold print, hit the shelves last week though advance online orders have been accepted since late October.
“This is our first-ever special edition and we have dedicated the whole magazine to one person,” Pimpicha Utsahajit, executive director of Banlue Group, which owns “Kai Hua Ror”, tells XP.
“While we put everything on hold to mourn His Majesty’s passing, we also wanted to do something to honour and remember our beloved King in the way we do best, through funny cartoons. It’s only natural that we have chosen to focus on the King’s light-hearted, fun and down-to-earth side because that’s what we’re good at. So in this very special edition, readers will get to read about the King’s endeavours and projects for the people … and the reflections and influences he made on all our lives that made us who we are today.”
Made to be enjoyed and also collected, “Smile of the King” is packed with colour and black-and-white cartoons across |132 pages, 16 more pages than the normal edition.
Unlike many other special edition books and magazines that compile photographs and paintings of HM’s in “picture book” style, “Smile of the King” is a story book, illustrated and narrated by veteran “Kai Hua Ror” in-house cartoonists as well as well-known guests, including The Nation’s political cartoonist Stephff and Briton David Lloyd from “DC Comics”. Among the veteran cartoonists is Phakdee Santaweesuk, creator of the famous mischievous character Pang Pond.
“I’ve created a cartoon for HM the King before and it was a great surprise when we were asked to do this special edition. It’s such a great idea,” says Phakdee, who has been with the magazine since 1989. “Though we had to finish our work very quickly to make it to print, the limited working time was no problem at all. The challenging part was choosing just one of the thousands of things you would like to say about His Majesty. I have always been touched by the King’s down-to-earth lifestyle and witty humour that made him very approachable and close to us.”
Pang Pond in this special edition is seen putting up small picture frames on the wall that later become the shape of Thailand, suggesting that the Monarch is the revered leader who unites the citizens.
Noo Hin, the cheeky Isaan girl with signature flared nostrils, also “stars” in a small strip called “Father”. As she walks around admiring her father’s well-maintained garden, she learns that the simple yet profound practice of sustainable living was encouraged by HM King Bhumibol Adulyadej. “I learned this from this father, our King,” Noo Hin’s father tells her.
“Sustainable, simple living is one of the King’s teachings that I have fully adopted,” says Noo Hin’s creator, Padung Kaisri, who has been with the magazine for 24 years. “I’m from Ubon Ratchathani and his teaching about agriculture is very close to my heart. Noo Hin is the best character to showcase this feeling. I’m very glad to be part of this special project and have the opportunity to personally express my admiration and loyalty to the King, and immortalise his grace with my cartoon.”
Another country boy who grew up touched by the Monarch’s kindness is illustrator and writer Anuchit Kumnoi, founder of inspirational cartoon page http://www.Facebook.com/KiwTum, who makes a guest appearance in the magazine. His simple yet profound reflection of HM the King is seen in his minimalist drawing of a child and his grandmother marvelling at the artificial rain commissioned by HM the King.
“I come from Sukhothai and when I was a kid I always wondered where rain came from out of the rainy season. All of a sudden during the drought there would be this rain that just appeared in time to save us. My grandma would tell me that it was “the king’s rain”, so I always thought of him as an angel that could conjure up rain,” Anuchit says.
“When I grew up, I realised that he was even more than an angel: he was everything to us. He taught us to think of the greater good and live our lives fully while trying to help others. And that really sticks in my mind. Whatever I do in life, I intend to do my best and also try to benefit the greater good.”
Illustrator Nathawee Limpanilchart, from http://www.Facebook.com/MaaJa, also joined the team of illustrious cartoonists with stories of Khun Thong Daeng, His Majesty’s pet dog who he adopted as a tiny puppy.
“The King is the ultimate example of simple life.” Nathawee says. “Look at Khun Thong Daeng. She’s a stray, a mongrel, and she received such love and kindness from the King. His Majesty donated money to set up a home for stray dogs in Hua Hin a few years back to address the stray dog problems and inspire people to adopt more. I’m a dog lover and I’m a big fan of Khun Thong Daeng, so it’s a great honour to tell her story in the magazine.”
Nathawee’s cute depiction of Khun Thong Daeng narrates the story since she first came into the King’s care at just five weeks old and how she grew up to become an intelligent, affectionate dog and a simple joy in the Monarch’s life.
ORDER NOW
– On Online orders close on Friday or while stocks last. “Kai Hua Ror” is also available at bookstores and |7-Eleven nationwide for Bt20.
– For more information, visit http://SmileOfTheKing.com and http://www.Facebook.com/KaiHuaRor.