This chair departs from the modernist notion that regarded ornamentation as a “crime,” reinterpreting it instead as an expression of individuality and cultural diversity while exploring the possibilities of contemporary furniture decoration. Its structure draws from the turner’s chair, a form popular before industrialization, while the ornaments—once symbols of wealth and class—are replaced with emojis, a universal design language that resonates with today’s society. In doing so, the work dismantles the authority of ornamentation and reframes it as a medium for expressing personal emotion and identity.