As two of the most compelling figures leading the modern Thai Girls’ Love (GL) landscape, Ormsin Supitcha Limsommut and Folk Sutima Korkiatvanich—known affectionately to global fans as OrmFolk—have built an unmistakable artistic synergy grounded in dynamic contrast and deep mutual trust. First capturing international attention together in 2024 as Kris and Karn in Apple My Love, the pair have seamlessly evolved their on-screen partnership through (your) Apple and their latest project, My Lady’s Bodyguard. Beyond their collaborative roles, both bring distinct personal paths to the screen: Ormsin, born in 1995, holds a degree in Medical Technology from Chiang Mai University, is a talented vocalist who sang “Apple of My Eyes,” and boasts a rich acting repertoire including EN of Love, Love Mechanics, and La Pluie; while Folk, born in 2000, represents a vibrant new generation of acting talent whose breakout role in Apple My Love launched a rising career including Doctor’s Mine.
In this exclusive interview, Ormsin and Folk offer an intimate look into their evolving creative philosophy—exploring how unspoken trust allows for raw emotional vulnerability on set, how the timeless elegance and everyday simplicity of Paris reflect their own design sensibilities, and why the quiet longings of classic European romantic frameworks continue to inspire their approach to storytelling.
Experience OrmFolk live in Paris as they take the stage at The A Festival 2026!
Beyond initial technical chemistry, how has your collaborative dynamic matured to allow space for individual artistic vulnerability while maintaining a unified performance identity?
ORM : Early on, we relied a lot on rehearsals and timing to keep things on track. But the longer we’ve worked together, the stronger our trust has become. It’s reached a point where we have this comfort zone to experiment and bring fresh ideas into the scene because we just know the other person is always there to catch and support whatever we do.
FOLK : We talk and exchange thoughts with each other more now. Even though the two of us have known each other for a long time, there are still so many things we continue to learn about one another every day.
Paris’s cultural narrative sits at the crossroad of quiet elegance and historical grandeur; which subtle nuances of the city’s artistic DNA resonate with your own evolving design sensibilities?
ORM : For me, the nuance that really resonates is how Paris balances that grand history with a quiet, everyday simplicity. You see massive heritage and modern art, but you also feel this effortless lifestyle where everything just lives together in harmony. That connects so much with who I am. My life isn’t just one-dimensional. I’m an actor, I run my own business, and on other days, I’m simply a daughter, a sister, or a friend. Paris reminded me that we don’t have to fit into just one box. To me, a ‘design sensibility’ is really just a way of living; it’s how I take in art and how I work.
You can see that contrast in everything I love. With music, I listen to everything from jazz and pop to rock. With fashion, I dress purely by my mood—some days sweet or cute, some days a sharp suit, and other days casual streetwear. I genuinely love it all. This also defines how I approach acting. Humans have so many layers. When I look deep into a character’s heart, I often notice that what they show on the outside completely contrasts with what they feel inside. In the end, I feel like every style can belong to me, and I love that flexibility. I want everyone to feel that same freedom—enjoy discovering yourself, and never be afraid to be who you are.
FOLK : I like a modern, elegant aesthetic, especially with technologies that make life more convenient but I still appreciate the charm and beauty of history.
As your international presence expands, how do you preserve your foundational identity, and what specific sensory memory or personal ritual keeps you rooted when operating far from home?
ORM : When it comes to preserving who I am as I work internationally, honestly, I’ve never been afraid of losing myself. If anything, I’m more afraid of not changing at all. Maybe it’s because I haven’t faced any sudden, overwhelming shocks in life yet. Some days we pick up new perspectives; other days, little pieces of me might just drift away. It’s not about life getting better or worse every single day—it’s just human nature to absorb the world around us. I just allow myself to flow with every experience, learn from it, and gently shift into who I’m meant to be. Living like that, I never feel that I’m losing myself at all.
FOLK : We still feel that the two of us aren’t that widely known yet, but we’re incredibly grateful every time we travel for work and receive such a warm welcome from everyone.
If you were stripped of the platform and visibility of acting, what underlying creative philosophy would still draw you toward collaborating in another artistic medium?
ORM : Honestly, the core has always been about understanding the emotions and layers of human beings. Even without acting, this interest would definitely lead me behind the scenes, probably into script development, because it gives me a chance to explore and tell stories about human feelings and actions. Or honestly, I’d just go be a singer! Even though I might not have an amazing voice, I just love singing so much and enjoy singing in the shower every single day.
FOLK : If I weren’t an actress one day, I’d probably start my own business and spend my time raising cats.
European classic cinema often relies on silent tension, unsaid longing, and atmospheric depth—which classic romantic framework offers the rich narrative complexity you would most want to interrogate in a modern adaptation?
ORM : When thinking about European cinema, the framework that really draws me in is love separated by timing or circumstances. Most romantic stories we see, including my own previous projects, usually end happily. But in real life, so many love stories just don’t have that perfect conclusion. There is so much depth in that unsaid longing. Modern audiences really connect with that kind of honesty, and as an actor, bringing that unspoken pain into a modern setting would be an amazing challenge.
FOLK : From what I’ve observed comparing the past to the present, I don’t think anything really needs to change, because each era has its own unique charm. That said, love is much more open and accepted nowadays, which is wonderful. To me, love simply comes down to two people loving each other and that’s enough.
Elisa Cutullè