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Behind The Scenes

Julianne Ahn Makes You Wish You Had Been Invited to her Wedding

Julianne Ahn, the super-awesome designer behind Object & Totem, should add wedding planning to her list of skills. The 5’2” ceramicist and her 6’4” husband Brendan tied the knot in the backyard of a stunning minimalist house—with an equally rad name, the Floating Farmhouse—in Elred, New York. Every detail, down to the name of their wedding Tumblr, shortplustall, is spot-on. Here, a peek into the album. —olivia seely “After a lot of attempts to figure what kind of dress I wanted, I came across this Suno one. I immediately knew this was the dress I was going to wear. It has this silk embroidery all over the front panel, and it’s a drop-waist dress. It is very non-traditional. A lot of people go with a group of girls, but I just went by myself. I’m very decisive!” “That’s my ring boy, Marcus. He’s about three years old now. He’s my nephew, and he’s with my niece Madeleine. Their parents made them watch videos of what to do before the big day. Madeleine pretty much had it in the bag—she was practicing for a while. It was the Olympics for her. And then, by the time she went down the aisle, she just ran. I have pictures of her—she’s just running. And then Marcus! Marcus was supposed to give the pillow to Brendan’s father, but, on the day of the wedding, he got a bit confused. He tried to give it another guest who was sitting on the right side of the row. That was really the only snafu.” “The wedding itself was pretty minimal. The house, the Floating Farmhouse, was a renovated farmhouse by architect named Tom Givone.” “What I really loved about getting married outside is that it was so simple. And I wanted something to echo the minimalism of the house. That day was kind of nippy, and, I’m not joking, the second I came down the aisle, the sun came out of nowhere and beamed down on us. It was very surreal.” “I made flowerpots with succulents as place cards for the guests. It was fun making something for guests to take away that you knew they weren’t going to throw out because you got it at a dollar store. They had a dual function too—we stuck these bamboo skewers in them with typed out name markers for everyone. Every time I go see one of my friends, they still have them.” “Our two really wonderful friends, Helen and Dory, made a homemade batch of jalapeno-infused tequila with honey as our wedding gift. It was amazing! We still actually have some, which is nice because we have a little token from our wedding. We’re probably going to wait until it’s warmer out to drink it.” “The engagement ring is really small and subtle—it’s an eternity ring with a snakehead. I wanted all of my rings to be tiny because I’m constantly working with clay. The wedding bands I had a tough time with. I knew I wanted something really simple and timeless and not overly embellished. And I wanted something to signify us physically. We actually measured each other’s heights and determined the percentage and proportion of his height to my height. My height is 83% of his height. If the ring itself was his height, my height would signify the engraved line that wraps around. I knew it was something I wouldn’t get sick of looking at—a simple geometric line with two circles.”  Photos courtesy of Marisa Rebecca and John Awad of Red Field Photography. Come back tomorrow to see what the lovely Julianne made for us! Get on our email list so you don’t miss it!
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How Julianne Ahn Made Her Ceramic Of a Kind Edition

Though she hasn’t been doing ceramics for that long—she’s only been at it since 2011—Object & Totem’s Julianne Ahn knows a thing or seven about wheel-throwing. Here’s a look at how she transforms an old lump o’ clay into an Of a Kind treasure. —olivia seely “After you measure out a certain amount of clay, you wedge it to get rid of the air bubbles and then you throw it on the wheel and center it. This picture is a glop of clay being centered so it stays balanced in the middle of the vat. Each one has a bit of a nuance depending on what I’m focusing on, or what I’m listening to. But, for the most part, they’re all measured to the exact size. “ “When you finish a piece and it’s been trimmed and stamped and dries out, it’s called greenware. It shrinks a little bit after the moisture leaves the clay body. It’s still very fragile but easier to sand down if you need to edit any parts of it that are sharp.” “Each kiln-firing goes for almost 24 hours. It takes about 12 hours to get to its peak temperature and then 12 hours to cool down fully. You have to fire it twice.” “This is my glazing table where I glaze all of the bottles after they cool down. Glazing is like a monster on its own. You never know what’s going to happen, because there are so many variables.” “I have a few different glazes that I work with. It’s interesting because you can glaze them all the same and they will all come out differently. It has to do with the foundation and its reaction to the glaze. It’s just a matter of brushing the glaze on really evenly and turning your hand. It’s obvious when it’s hand-painted versus dipped or poured.” Out of the kiln the last time—ta-da! Get this goodness tomorrow AM! And get on our email list so you don’t miss out.
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