My time in Thailand is often short but precious, a time to reconnect with my family, friends, and heritage. Through food, nightlife, culture and simply just looking at my environment, I am reminded of how beautiful and culturally rich the country I hail from is. However, since coming to New York, I find myself being taught Eurocentric and western design, and I realise that a lot of Thai heritage is slowly being forgotten through the plague that is homogeneity within design, and the eurocentricity of furniture and spaces in the west. I can walk into most Thai restaurants today and ensure that I'll see minimal references to the ancient and rich heritage that we possess. Hangyaw is a direct response to that. Through the exploration of Thai heritage, culture and motifs, I aim to celebrate the blue-collar workers of Thailand, the ancient festivals, and the beautiful typography and graphic design long forgotten. Translating to Long-Tail, I pay homage to the sailors of the Chao Phraya and the Andaman, those who not only work through their long-tail boats, but those who customise them and define authentic Thai creativity. The shade references Yi Peng and Loy Krathong, Thai festivals of rebirth, symbolic through firelight. The overarching design language and angularity references ancient sanskrit yantra, ancient runes that provide safety and protection, popular but not only worn by Muay Thai fighters, but by Buddhists all over the country. Through the use of modem materiality, I aim to recontextualise and celebrate the different intersections of Thai culture, so maybe one day I can walk into a restaurant and see my heritage lighting up the room. Our culture has been overlooked for too long, and it is about time everything old becomes new again.