Celebrity Life

Academy award-winner Chloé Zhao is the director of Marvel’s much-anticipated Eternals. In an exclusive Interview, we talk to the Chinese director about the movie and her passion for the genre.

At the 2021 Oscars, Beijing-born director Chloé Zhao became the second woman and the first woman of colour in history to win the coveted Best Director award, for her film Nomadland. Moreover, the neo-Western drama that Zhao also wrote, produced and edited, took home the most prestigious statuette of the night, that for Best Picture.

After capturing global audiences with an in-depth and poetic character study that explores the effects of the Great Recession in the US, in her latest project, Marvel’s superhero film Eternals, Zhao directs a stellar ensemble cast, which includes Gemma Chan, Kit Harington, Angelina Jolie and Salma Hayek, in an epic story that spans 7,000 years.

One of Marvel Studio’s most ambitious movies to date, the story, which is also co-written by Zhao, is based on the 1976 Eternals Marvel comic books and follows a group of diverse superheroes who defend humanity. We recently talked to Zhao about the movie, the challenges that came with such a big project and her passion for the superhero universe.

In Conversation with Chloé Zhao

In Eternals you’re bringing together different cultures in a multifaceted story. What do you like about this aspect?

When I came into the process, there was a treatment. And in the treatment [a document that presents the story idea of a film], there were stories taking place in Mumbai where Kingo [one of the characters] was a Bollywood star in the present day. I thought that it was so interesting, because we knew Kingo – played by Kumail Nanjiani – was going to be a character who embraces the side of humanity that loves pop culture, storytelling and showmanship. It was interesting to see
that the writers and the Marvel team didn’t just make him a Hollywood star but a Bollywood one.

It’s also great that the movie includes a beautiful Bollywood dance sequence. I thought it was incredible to include it in a big Marvel production.

Your resumé doesn’t necessarily scream “superhero movie”, but here you are. What did you think when you were first approached?

I wanted to work with the team at Marvel so badly, because I love their movies. But I also felt as if I had something to offer for this particular story. It’s a story that addresses questions that I have as a human being and I knew the making of it would allow me to grow.

You’re a fan of manga and fantasy movies. How important was the use of your imagination for this project?

I’m not just a fan, you know. I’m a proper fan-girl of the genre. When I was hired, I was able to sit down with the creative team and pull a lot of references. It was a mixed bag of movies that have nothing to do with each other. I think in this film you can see there’s a lot of different types of genres and references. Those conversations really seeped. We showed everything, from The Tree of Life to YuYu Hakusho, and the Harry Potter movies. We just looked at everything – and having a team at Marvel so open to trying crazy things was how we got here today.

What were the main challenges of directing such a big movie?

The lack of sleep. And to be able to prioritise. There are just so many important things, you know, there’s my cast, the camera, there’s building a world, there’s the script and all these things I have to make sure that I give an equal amount of attention to, but also sometimes you do have to prioritise one or another. That balance isn’t easy.

Most of your works are about finding a sense of belonging. Why are you particularly interested in this topic?

Lately I’ve been thinking about us as a species, as humanity. As a species, we’re always trying to leave home and search for something else: gold, opportunities, whatever it is. And then in the end, when we get older, we always end up wanting to go home. I think that that’s such a trend. As I’m getting older, I think about these themes quite a lot. Belonging and home.

What do you like about Marvel’s previous ensemble superhero movies?

I’ve always loved this type of ensemble storytelling. That comes from Sailor Moon and Dragon Ball Z, from my manga obsession growing up. But then I was also a big fan of the X Men movies, the earlier ones, when they came out. There’s something about belonging to a group of people and finding your place within this group that’s not necessarily your blood family. It’s so nice and
comforting to watch these people who don’t agree with each other or, you know, come from different walks of life and find commonality, something worth fighting for together. As human beings we like to watch these stories because we hope that we can all find common ground
and things that are worth fighting for and that unite us.

You mentioned that you think a lot about belonging and other similar things. Did you fear that things may get lost in translation in such a big pop-culture project?

For every film I make, I worry that things could get lost in translation. You know, I never know. I try not to go there. Because when a film is done, like right now, this movie is more yours than mine. The way Nomadland came out during the pandemic, for example. I had no idea how the film was going to relate to people when I made it.

Do you see yourself developing a sequel or other stories within this universe?

We were really encouraged to make a standalone movie and really make a film outside the main storyline. It does have repercussions for the future. But we got to see how this film interacts with the world and grows, and what shape or form it will take, and then we can make future plans. This film is not finished yet, the making of this film now is left to you guys. I loved working with my team at Marvel and I’d come back and work with them in a second.

Is it hard to direct such huge actors?

People think it might be harder, but it’s also hard to direct someone who’s never acted before, who doesn’t even care if they show up on set or not. What’s beautiful about this cast is that they were chosen because there’s something about who they are, that’s already the character. And, and so right away, they could walk away and build their characters themselves.

In a movie like this, how do you balance storytelling, action and special effects?

It wasn’t hard because I had such a great team. They’d ask me “What do you want?” “What is the thing you’re trying to do?” And then they’d find ways to present me with ideas. What I told everyone from the beginning was that everything has to happen for a reason. Things can’t just happen because they look cool. It has to be related to the story and character driven, both in visual effects and world building. Action also needs to have character development in it. World building has to have a lot of restraint and limitations because everything has to make sense.

The post Chloé Zhao on Directing Marvel’s Eternals and Her Passion for the Genre appeared first on Prestige Online - Hong Kong.

To those whose whirlwind romance looks likely to become permanent, we've put together everything they'll need to know about that all-important token of everlasting love – the engagement ring.

If we didn’t know this already, 2021 definitely proved a certain point – that nothing can get in the way of love, not even a pandemic that knows no end. People may reschedule their weddings to 2022, even 2023, but proposals and engagements are still very much happening.

And with every proposal, there’s the ultimate prop: the ring to symbolise eternal love and commitment. It doesn’t have to be a diamond, but it sure needs to be something you know your partner will cherish. Whether you’re dropping hints to your partner about the ring of your dreams, or even shopping together for it, we’ve gathered all the advice from our favourite bridal jewellers to narrow down the top engagement-ring trends that we believe are here to stay.

Read on to discover all the engagement ring trends.

Trend 1: Keeping it Classic

The diamond engagement ring will forever remain a classic, even if it isn’t technically traditional – diamonds only became synonymous with bridal jewellery when copywriter Frances Gerety coined the phrase “A Diamond is Forever” for a 1947 De Beers campaign. Nonetheless, white diamonds remain a popular choice and numerous jewellery brands purport to offer the best of them.

For example, Graff, the king of diamonds, takes its diamond selection process extremely seriously, having spent generations perfecting the journey of a stone from mine to boutique, ensuring on the way that the cut, the setting and the craftsmanship behind each jewel are flawless. Diamonds are graded by the 4Cs, a universal standard set by the Gemmological Institute of America (GIA) that refers to a diamond’s cut, colour, clarity and carat weight. At Graff, the diamonds are cut and polished to be perfect balanced with symmetrical mirror-like facets to display the optimum scintillation; you’ll also find that in terms of colour, Graff only uses diamonds ranging between D and G – the rarest and most sought-after grades.

At Hearts on Fire, cut is the most important of the 4Cs. A round, brilliant-cut diamond is arguably the most sparkling and radiant, as it displays the highest number of facets within to reflect light, and this is also the cut that Hearts on Fire exclusively specialises in.

Trend 2: Going for Fancy Shapes

Today, however, there’s definitely a rise in popularity for fancy shapes. Clients who go to Angie Marei in New York, aren’t looking for round brilliant-cut diamonds.. The Dominican-Egyptian designer takes inspiration from Ancient Egyptian decorative arts, architecture and the anti-traditional elegance of the Art Deco era to bring each piece a unique story. Her Ayla Bridal Collection for example, is inspired by the majestic open curves and fluidity of Arabic calligraphy and decorative arts, with a serpentine design that’s a spiritual symbol of rebirth, transformation, eternity and immortality.

“Most of my clients are requesting unique cuts over the traditional round brilliant cuts,” Marei tells us. “For example, our Ayla Engagement Ring featuring a marquise-cut diamond is in high demand now. They love the ultra-feminine look of the marquise shape. We’re also getting a lot of requests for pear and oval-cut diamonds.”

Similarly, De Beers has noticed the trend for fancy cuts, and has extended its offering of fancy-cut and fancy-colour solitaire diamond rings this year, offering its clients full control of their individual expressions. Marquise-cut, a modification of the round brilliant that maximises carat weight and gives the illusion of longer and slimmer fingers, dates back to the 1700s. According to legend, Louise XV of France requested a diamond cut to resemble the perfectly-shaped mouth of his mistress, the Marquise de Pompadour.

Heart-shaped diamonds are also making a comeback among hopeless romantics. Their popularity dates back to the 16th century, when Mary Queen of Scots gave Queen Elizabeth a heart-shaped diamond ring as a gift of friendship.

Trend 3: Design-Forward

London-based designer Liv Luttrell, who excels in creating bespoke engagement rings for her clients, says she’s “found a real interest in dramatic design-led pieces.

“I’ve been exploring geometric shapes paired with detailed settings and simple curving architectural-inspired lines,” says Luttrell. “The challenge I relish is to take a bold brief and bring it to life, where the final design has the right balance of quality, uniqueness and timeless elegance that will be wearable for a lifetime.”

Intricate design is on the mind of Harry Winston’s designers, too. Inspired by the intricate details and elements of a bespoke wedding gown, the house has applied the same mindset and artistry to its new Bridal Couture collection of rings. Each ring highlights the various diamond cuts with signature elements that recall the wedding-day ensemble – such as the corset lacing of a couture gown, married with a pear-shaped diamond centre stone, or an emerald-cut diamond contrasting with the delicate open-weave fabric of Chantilly lace. For a more avant-garde take on an engagement ring, there’s also an exquisite ring designed with two marquise-shaped diamonds of approximately the same carat weight, resting asymmetrically side-by-side on a diamond and platinum band.

Trend 4: Attention to the Ring Band

Jewellery designer Rachel Boston has noticed a trend for more unusual band styles. “At the moment, we’re seeing a lot of interest in more unusual band styles, with people leaning towards wider statement bands,” she says.
“A chunky band is a perfect way to turn something that would otherwise be a much more classic-looking engagement ring into a piece with a really unique character,” says Boston. “Split bands are a popular choice as well, and much easier to wear and pair with a wedding band than you’d think. We’re also seeing a draw towards intricate, Art-Deco inspired halos.”

For popular British fine-jewellery brand Annoushka, which introduced its first bridal collection this year, it’s all about the ring jacket. Called Love & Commitment, the collection ranges from simple solitaires and delicate three-stone designs to more extravagant fine stone rings. What’s super interesting is the diamond ring jacket that clients can pair with an engagement ring. Available in yellow or white gold, the interchangeable ring jacket slides snugly around the solitaire ring for extra oomph and pizzaz. The ring jacket functions perfectly as a wedding band, or could even be added as a milestone gift in years to come.

Trend 5: Making a Statement with Colour

Every couple is different, and every proposal is unique. There’s definitely a growing number of people looking for something different – and coloured stones have never been more popular. According to London-based jeweller Michelle Oh, “We’re seeing a huge and growing demand for coloured stones to be used in engagement rings these days. Gone are the days when someone just wants a round brilliant-cut white diamond solitaire for an engagement ring.”

People today are looking for uniqueness. “More and more people try to be different and steer away from silhouettes and shapes that feel too commonplace,” says Oh. “I think this is all part of the zeitgeist of wanting to express individuality and uniqueness.”

Colour is an extremely personal way to display this sense of individuality, she adds. “Even those who still want some diamonds on their ring will opt for less traditional-looking diamonds, such as champagne or grey diamonds, or maybe an unusual cut or shape, to get that different look in their diamond ring.”

The post Sandra Ng and Coba Cheng on Their Love for Cinema and Celebrating Local Stories appeared first on Prestige Online - Hong Kong.

Many may know him as the Thai Prince of South Korea – Nichkhun Buck Horvejkul has been taking the entertainment industry by storm ever since he first debuted in 2008 as part of the South Korean hip-hop boy group 2PM.

When the band took an official hiatus in 2017 to complete their mandatory military service, Nichkhun, who was born in the US to Chinese parents, stepped out to pursue his own personal interests outside of the band. To great success too, in 2019, he penned and released an album in South Korea, China and Thailand called Me. Dabbling in acting, Nickhun has also been cast in the upcoming Hollywood film Hong Kong Love Story alongside fellow actors Byron Mann and Kenneth Tsang, and will be appearing in a Thai horror film called CRACKED.

As 2PM prepares to make their comeback this year with its latest album MUST, we catch up with Nichkhun to see how he's getting along with his bandmates, the new album release and the exciting new world of acting he's found himself in.

Nichkhun, congratulations on 2PM's latest Album MUST. How does it feel to unite with your bandmates after a 5-year hiatus?

Thank you. It was like a dream come true for me to be able to make a comeback again after so many years in hiatus. Though I worked on my own projects during that time I have missed being together with the whole 2PM. We had a lot of fun during production and promotion. It felt like yesterday when we last released our album.

What was the most exciting thing about making the new album?

Just the fact that all 6 are back together was the most exciting part and the rest just followed along. The same 6 kids reunited for a fun comeback.

What's next for 2PM?

Well we have another mini album releasing in Japan and we are definitely looking for any opportunity to perform live on stage. Just waiting for this fog to be lifted.

Congratulations also on your Hollywood debut! Has this always been a dream for you?

I always picture myself living in Cali one day and I know I’m a person who cannot stop working. Having worked out there is a big reason for me to live there so yes being in Hollywood was always a dream for me. But it’s a dream I’m not taking lightly so if I’m going to keep trying to make it in Hollywood I need to make sure I’m always on point.

What can you tell us about Hong Kong Love Story?

I don’t want to spoil too much but I play a wealthy playboy who loves to party with my brother from another mother played by Byron Mann. I feel like we have good chemistry. We always have fun and try out things outside of the script all the time. This may be a character the audience has never seen me play before so I hope they like him.

You also have a horror film in Thailand coming up called CRACKED.

I like to challenge myself and I feel like I always choose romantic comedy types of films because I feel comfortable playing those roles. But with CRACKED it’s dark, it’s depressing, it’s thrilling, and it gets your heart pounding. So I thought it would be another big step in my acting career if I can carry this role. I worked really hard in preparation for the film as well. Hope the audience will like it.

You're often casted as the rich man in acting projects. Do you feel typcasted?

I must admit that I do have an image that the public thinks of when they see me or hear my name. And I want to break away from that especially if I want to continue my acting career. That is why I chose a movie like CRACKED to show my more serious side.

You've really taken on a range of projects from acting to voice acting and singing. Do you have a preference for acting or singing now?

I enjoy both acting and singing. Singing brought me to where I am today and that’s something I’ll always do. But acting is like a new career path that is still yet to be explored so while continuing to be in 2PM I will also work hard as an actor. As for people I want to work with will probably be my members in 2PM. Most of them are known for their acting skills and it will be so much fun if we get to all be in the same project.

You're also working on a project in China. Can you tell us more about it?

I recently joined a Chinese TV show called《追光吧！哥哥2》. It's a performance competition program and there are elimination rounds. I can't spoil too much but I can tell you that everyone on the show is a tough competitor so I will need to prepare well for every round. Hope the viewers enjoy seeing me on the show. I am also taking Chinese lessons so that I can communicate with people on the show.

CREATIVE DIRECTION AND STYLING ALVIN GOH
RETOUCHING SHENG YANG
HAIR JEAN T @ ATEN STUDIO
MAKE-UP ALVIN GOH

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Aerin Lauder joins forces with The Colony, channeling her Palm Beach heritage to design a villa that embodies the island’s contemporary allure

The post Iconic Evolution with Aerin Lauder appeared first on Palm Beach Illustrated.

When it comes to jewellery, our city has no shortage of creative talent. We speak to six Hong Kong jewellery designers to ask them about their past and present inspirations.

Some were born and raised in Hong Kong, while others adopted it as their home, but what Audrey Savransky, Julien-Loic Garin, Narcisa Pheres, Melinda Zeman, Sarah Zhuang and Payal Shah have in common is that they each set up their own jewellery brand here. Each reveals their motivations and inspirations, while explaining their individual styles.

Meet 6 Successful Hong Kong Jewellery Designers

AUDREY SAVRANSKY, AS29 FINE JEWELLERY

The fourth-generation member of a family of diamond dealers, Audrey Savransky was fascinated by jewellery the moment she was given a ring by her grandmother – a yellowgold band encrusted with three rubies. Today, she designs edgy and strikingly beautiful pieces that are sold the world over – and she hopes each jewel is passed down from generation to generation.

When did you decide to come up with

your own jewellery line? I always loved jewels. When I moved to Hong Kong, I started to manufacture for other brands. After getting enough knowledge and experience, I decided it was time to chase my dream and start my own collection. I launched my own company, AS29 Fine Jewellery, in 2008.

When I’m designing, my goal is always to create something that feels bold and powerful, but at the same time will move effortlessly between different occasions.

What was the first piece of jewellery you designed?

My engagement ring – which I’ve changed about four times over the years. Everyone asks, “How can you do that?” To which I reply, I’m a jewellery designer and it’s normal I want to change my ring! It’s not as if I changed my husband four times! I kept the same stone but changed the design.

If you could only wear one piece of jewellery for the rest of your life, what would it be?

One piece? Impossible! For me, wearing jewellery is like having a second skin.

JULIEN-LOÏC GARIN, THE COLLECTION BY JLG

Well-known among the French community in Hong Kong as the former CEO of Le French May for many years, Garin has long been fascinated by jewels and collects precious stones from around the world. He eventually put his hobby to good use by unveiling his own collection last year.

How long have you loved and been collecting jewellery?

As a child I used to collect little jewels and was always looking through my family’s treasures. But it was only later, particularly when I discovered India and how men wear jewellery there, that I seriously started to collect.

When did you decide to come up with your own jewellery line?

It’s always been a dream at the back of my mind, but it was only last year that I started to design – and the pieces materialised. When my fiancé offered me a yellow pear diamond for our anniversary, I decided to design a ring to host it. I knew then it was what I wanted to do, and a lot of Inspiration began to arise from the loose stones we’d been collecting over the years.

What materials or stones do you enjoy working with?

I usually work with solid gold, for its strength and soft shine, its heritage value and its great properties. As to stones, I do love spinels – a fantastic older stone that comes in a lot of colours and has the lustre of a diamond. Pearls are also among my favourite gemstones.

If you could only wear one piece of jewellery for the rest of your life, what would it be?

It probably would be my “Horus” ring. For sentimental reasons, because it ignited my passion for creating, and also because I believe in the protective power of stones.

NARCISA PHERES, PHERES AND NARCISA PHERES

Her label is a red-carpet staple and her bespoke jewels are preferred by stars and royalty. Indeed, everything Narcisa Pheres does has that extra dose of glam…

Tell us about your love for jewellery.

I love and collect art and jewellery. For me, jewellery is art.

When did you decide to come up with your own jewellery line?

It started around the year 2000. I was living in Tokyo, working as a trader for a big firm, dealing with fine arts and antiques, including jewellery. My job was to travel around the world and find special pieces in auctions and exhibitions. Often, I’d be asked to re-design old jewellery pieces around the centre stone. I started designing out of curiosity but it quickly turned into my passion.

What was the first piece of jewellery you designed?

A pair of diamond cufflinks for an American football player, around 20 years ago. I’d been his personal designer for seven years.

Who’s your target clientele?

For the bespoke pieces, collectors wearing Narcisa Pheres jewellery are often seen on the red carpet – celebrities from around the world. As the official designer to Princess Olga Romanoff, I’ve been designing tiaras too. The Pheres collection is our ready-to-wear line, where the target audience is the modern individual.

What materials or stones do you enjoy working with?

I love diamonds, particularly coloured diamonds. I also like working with emeralds, paraibas, rubies and sometimes baroque pearls. They remind me of the Japanese concept of wabi-sabi – beauty in imperfection.

If you could only wear one piece of jewellery for the rest of your life what would it be?

The yellow diamond ring from my husband.

MELINDA ZEMAN, BOOCHIER

Melinda Zeman didn’t intend to set up a jewellery brand – she only wanted to create pieces she loved for herself. But as demand grew from friends and beyond, Boochier was formed in 2019, a fun and playful brand that embraced her one-of-a-kind, tongue-in-cheek pieces. Drawing inspiration from pop culture and Zeman’s own multi-cultural sensibility, the collection features pops of neon, smatterings of gemstones and gold chains.

How did you start designing jewellery?

I began designing for myself because I love jewellery but in Hong Kong, it was quite hard to find jewellery that was more contemporary and modern, but still feminine, quite cool and edgy at the same time. Then people started asking if I could make them a few pieces too. It grew from there and two years ago I decided to host my first trunk show.

Where does the name Boochier come from?

I was researching different East-meets-West names, because I felt like I really embodied that. My father’s from Ghana, I was born in the UK and grew up in Hong Kong, so I’m quite international. I wanted a name that could represent this DNA. Then I stumbled upon name Guillaume Bouchier, who used to travel between France and China in the 1800s, making jewellery and introducing European craftsmanship to China. I really liked the story but renamed it Boochier to give a sense of unexpectedness to it, something that represented the more playful nature of my brand.

Tell us about your first collection.

When I designed Fruit Hoops, I knew I wanted to use the knot in some way. Because I felt as if it can represent so many different relationships in your life. So many cultures have put symbolic meaning on the knot. It could be a reminder of all the ties you have in your life, the people you love. I wanted to make it untraditional, though, in the sense that the collection would be super colourful. We experimented with so many enamel colours to get these specific shades of pink, yellow, green, blue and purple.

SARAH ZHUANG, SARAH ZHUANG JEWELLERY

Born into a family in the jewellery business for over two decades, Sarah Zhuang never dreamt of a life outside of design. When she and her sister took over the family business, she also began designing her own, eventually spreading her wings and launching her brand in 2017 that creates functional and elegant pieces for the modern woman with a fast-paced way of life.

Tell us about your love for jewellery.

When I was a teenager I loved fashion accessories. I’d spend a lot of my allowances on these crazy, big earrings. I only learnt to appreciate fine jewellery after I took my first GIA jewellery-design course, which was when I officially entered the industry.

What was the first piece of jewellery you designed?

The first piece I designed and that actually went into production was in 2013. I was taking the jewellery-design course at the time, and had to design a piece during the final exam. I liked it a lot but I couldn't take the exam paper home, so I memorised it and re-created it when I went back to the office. I saw potential in that piece and thought it might have some commercial values, so I developed a complete collection based on it. The collection name was “Let it Snow” and the first set was sold within the first week.

Who’s your jewellery made for?

My brand celebrates womanhood and each collection personifies a unique trait of modern women. Our slogan is “As versatile as women” – we combine elegance with functionality and create transformable jewellery that can be worn in multiple ways to adapt to the busy lifestyles of modern women. Women who wear our jewellery have strong and distinctive personalities, they’re confident and sophisticated, they love fashion and are comfortable about expressing their uniqueness.

PAYAL SHAH, L’DEZEN BY PAYAL SHAH

She carries forward an ancient Indian jewellerymaking tradition and working with unique stones, but Payal Shah pushes it forward with a completely modern take, novel designs, a global outlook. Her accessories are worn the world over by international celebrities – while she herself looks like one.

Tell us about your love for jewellery.

Jewellery is part of my family’s DNA – my parents were diamond suppliers to a lot of manufacturers in Hong Kong. My love for designing my own jewellery using unique stones spoke to me.

When did you decide to come up with you own jewellery line?

Years ago, while I was working at an architecture firm, I created a capsule line for a Singaporean brand. That was my first taste and experience in creating jewellery and also the industry. I enjoyed every part of the process. A year later I quit my job and designed under my own label.

What is the first piece of jewellery you’ve ever designed?

The first piece I ever designed was a ring using slice diamonds with white diamonds in a floral shape.

What was the inspiration for the latest collection?

The latest collection has a unisex appeal. The designs are androgynous, as we get a lot of men looking at them too. The Guns ’n’ Roses Collection mostly uses a matte finish. The styles have a gorgeous geometric exterior that gives the collection a bold edge.

What materials or stones do you enjoy working with?

I enjoy working with slice diamonds, rose cuts, fancy shapes and blue sapphires. These stones have such a multi facade, which is what I love about them.

If you could only wear one piece of jewellery for the rest of your life, what would it be?

My Fiona flower earrings. They’re just a perfect pair. Considering how effortless and light they are, I could sleep in them too.

Hong Kong Jewellery Designers Photoshoot

PHOTOGRAPHY ALISON KWAN
LOCATION THE UPPER HOUSE

The post 6 Successful Hong Kong Jewellery Designers on Their Inspirations appeared first on Prestige Online - Hong Kong.

Princess Mako of Akishino, the niece of Emperor Naruhito, is set to marry her partner Kei Komuro at a low-key ceremony on 26 October, 2021.

The marriage will take place at a registry office followed by a press conference. Soon after the marriage, the princess and her husband will leave for the United States where they plan to settle permanently.

Since Komuro is a commoner, the princess will also become a commoner after marriage. This is because Japanese law states that female members of the royal family lose their royal status upon marriage to a commoner.

The 30-year-old Princess Mako met Komuro, who is of the same age, at the International Christian University in Tokyo, where both studied.

Raised by a single mother, Komuro is a lawyer. He studied law at the Fordham School of Law in New York and works at a law firm in New York City. On the other hand, the princess graduated with a master's degree in art museum and gallery studies from the University of Leicester in the UK.

Their engagement was announced in 2017 — a piece of news that was well received in Japan at the time. The Japanese media lavished praise on Komuro. The princess had said at a press conference that Komuro was "sincere, strong-minded, a hard worker with a big heart" and she was drawn to his "bright smiles like the sun".

However, they ran into rough weather soon after it emerged that Komuro’s mother owed USD 36,000 to her former fiancé. The media quickly turned on Komuro, and he was dubbed a “gold-digger”. Public opinion of him changed, too, and the Imperial Household postponed the marriage, which was expected to be held in 2018.

Earlier in 2021, Komuro issued a 28-page statement in defence of his mother, saying that his mother believed that the money was a gift and that Komuro has promised to pay it back.

In October this year, after announcing 26 October as their date of the marriage, the Imperial Household Agency said that intense media scrutiny had resulted in Princess Mako developing post-traumatic stress disorder (PTSD).

Speaking to the media at the Imperial Household Agency, Tsuyoshi Akiyama, director of the NTT Medical Centre Tokyo, who is also the princess’s psychiatrist, said that she “finds it difficult to feel happy due to the persistent fear of her life being destroyed."

The princess also expressed her desire to turn down a USD 1.3 million payout from the government given to female members of the royal family who lose their title. According to The Japan Times, the government will agree to the request.

Meanwhile, Komuro remained on the wrong side of the media as well as Japanese royal family loyalists when he was seen sporting a ponytail upon his arrival in Japan for the wedding. For some in Japan’s society, a ponytail on someone who is going to marry a princess of the Japanese royal family is a sign of non-conformity.

(Main and Featured images: Handout / Imperial Household Agency of Japan / AFP)

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Diego Urrutia, Matti Anttila, and Nic Roldan fete a business venture with a meal paired with High Goal Gin cocktails

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Led by Japanese and Koreans, Asian stars are entering the much-hyped NFT space. We talk to the people behind the just-launched Hong Kong-based platform KLKTN, and artists such as Kevin Woo and Miyavi.

Tere’s no fandom quite like K-Pop or J-Pop fandom. Just google BTS Army and you get the idea. With social media, streaming and stardom in this era, the relationship between stars and their legions of fans is an ever-evolving beast. Now these musicians are dipping their toes into the world of blockchain and NFTs, hot on the heels of digital visual artists. Beyond the hype and headlines, there’s a fundamental shift in ownership and the artist-fan dynamic that could flip the way music is funded.

“What attracted me the most to NFTs was the fact that I had absolute ownership of my music and art,” says Korean-American K-pop star Kevin Woo. “I was able to create something special for my fans that had value emotionally and economically. It was a brand new way for me to express myself creatively.”

Woo has released limited-edition collectable artwork inspired by his latest single “Got It”, all produced in collaboration with Hong Kong-based NFT platform KLKTN (Kollektion). But that’s not all – his NFTs come with behind- the-scenes Moments in Woo’s life, private virtual-viewing parties with the singer and even exclusive one-on-one mini “dates”, where you can video chat with Woo as he drives around LA.

“Fans can get directly in on the fun and even take valuable assets for themselves as keepsakes,” says Woo. “Through NFTs, fans can now collect, own and share a piece of my music and artwork, allowing them to be a part of my artistic journey and eventually helping me produce more content for them.”

On the KLKTN platform, these artist NFTs are billed like a sexier, dynamic digital version of old-school sports trading cards, with each granting the owner special access and specialised content by said artist. Another star working with KLKTN is Japanese rock legend, singer and guitarist Miyavi, who has massive local and worldwide followings.

The possibilities are endless … We’re creating native data for the entire digital future

Jeff Miyahara

“NFTs are something I’d never experienced before. Not only to me, but it’s also a new possibility for us. It’s a part of the future,” Miyavi says. “The world, especially the digital world, is evolving rapidly. How people consume content is changing.”

“We think we’re really on the cusp, the leading edge of this new universe, of being able to engage not only with traditional forms of entertainment but doing so in a more robust way via the internet and blockchain to an entire global audience,” says KLKTN co-founder and chief creative officer Jeff Miyahara. As one of Japan’s most sought-after music producers and songwriters, Miyahara’s idea for KLKTN came about when his Pro League NBA friends told him about NBA’s Top Shot, a pioneering sports NFT platform.

“I thought, ‘Wow, what would happen if we cracked this model, we could do something really similar to this, but for the music industry,’” he explains. “It’s not just looking at the players, but there’s an entire level of fandom around it, there’s an entire layer of community. And so that’s really where this conversation started.”

Through mutual friends, he talked to finance and tech expert Daisuke Iwase (who at the time was enduring Hong Kong’s brutal three-week hotel quarantine). And through many conversations and combined expertise, a partnership for KLKTN was born. Working through the logistics, tech, legalities and creative side of this new sector in blockchain business was a big effort for the core team. Currently, the concept has few competitors in the music industry and has just happened to capture the explosive first wave of NFT mania.

Remember this March when the art world was shaken as an NFT by digital visual artist Beeple reached US$69 million in a Christie’s auction? That elevated him from relative public obscurity to the three most valuable artists alive today – and also marked a milestone in the NFT boom. With much hype and bandwagon jumping; there’s the obvious subsequent talk of a bubble. Iwase and Miyahara, however, are being careful to future-proof their platform for longevity and quality content. “We want to create something that’s lasting and sustainable,” says Iwase, who’s now KLKTN’s CEO.

“This is my second start-up, you know. A year from now, I don’t want this NFT bubble bursting and then looking stupid. We want to create something that has real value.” What does that mean in the world of NFTs? Are there not hundreds of thousands of people digitalising their artwork as an NFT and trying to flog it in cyberspace? The last time a friend showed me a nascent NFT marketplace for art, it was hardly an impressive array, yet basic digital works by unknown visual artists were on there for tens of thousands of dollars. But as with platforms like NBA’s Top Shot show, there’s a way to connect popular culture with this still rather niche technology. “With this new NFT technology, it adds another layer of engagement, ownership and security too,” adds Miyahara.

Many of the leaders in the NFT music and entertainment world just happen to be from Asia, where fervent social-media engagement, online shows and virtual events have already boosted that culture of fandom. For K-Pop, J-Pop and music fans alike, the team at KLKTN is betting on real value coming from quality content that might give fans intimacy and exclusivity with their preferred artist.

Price points can start low, at US$5-$10 upwards per NFT here because, Iwase says, they want to capture real fans of this music, rather than just crypto sharks or NFT speculators. By winning over genuine fans who “wouldn’t mind trying new things for the sake of engaging with their favourite artists”, KLKTN can get a true sense of how the fandom will engage in the long term.

“I think we want to create products that our fans will genuinely enjoy, and will also enrich their experiences … we’re putting a lot of time and effort into the collectable items – it’s not just throwing up random JPEG or MPEG files, which anyone can do,” adds Iwase. “And for the artists themselves, it needs to be about creating sustainable value.”

By launching their first project with Woo, whom Iwase describes as a kind of “older brother of the current K-Pop stars”, there’s already the footprints of global expansion. The K-pop figure has fans in Korea but also Japan and the US, where he grew up and lives now (his latest drop, “Got It”, is in English). Woo and Miyahara have worked closely together for a while, so it made sense to launch with an artist “who’s willing to trust us and take a leap of faith in this experiment,” says Iwase.

Japanese rocker Miyavi has always been an innovator at the forefront of integrating new technologies with his music. A pioneer in the field even in Japan, he’s even tested virtual-reality performances. His NFTs with KLKTN aim to offer a “collecting” experience rather than merely owning digital assets, with digital ArtKards, candid Moments and a virtual CD cover with notes.

“We used to own photo albums, pieces of vinyl, CD sleeves or whatever we could collect as precious treasures,” says Miyavi. “That experience of collecting is the core of this project. It’s just happening in the digital world.” Music artists understand the fan-club framework has changed radically in the digital era. KLKTN is banking on a long-term structural shift as people spend more time in the digital world. Gaining access to private Moments of your favourite artists – things you wouldn’t see on Twitter or Instagram – is valuable to superfans.

Woo’s fans are already curious and supportive. “They’re enthusiastic about starting something new with me, especially because we’re making history together,” he says. “They feel appreciated and deeply connected to my project, feeling a sense of community … we have perks included in my NFTs, such as giveaways, livestreams, and virtual meet and greets, which they loved.”
This new kind of engagement has implications for future metaverses and how the celebrity-fan dynamic might shift in these all-digital worlds.

“The possibilities are endless,” admits Miyahara, “because now we’re not working on just one certain platform, but we’re creating native data for the entire digital future.” For Miyavi, the draw to be part of “this huge transition, or ascension” means there’s an element where “less physicality actually feels spiritual at the same time as it feels digital”. We’re all curious about what the future holds for how we live, interact and communicate. “I’m also excited to witness what comes from myself in making chemistry with this new experience,” he says.

What can we expect from artists like him in the future, as well as your own personal favourites? Exclusive NFT music drops or virtual concerts with special access? Artist mini-metaverses? “Absolutely yes,” says Miyavi. “I see this as an extension of my Virtual Live project. Since last year I’ve been hosting multiple virtual live concerts and just did one in partnership with Kiyomizu Temple in Kyoto. NFTs will be a means of my expression and, yes, I’d love to do that in the future. Music is a big part of the world of art. It’s something you can’t see but can most definitely feel.”

The post Inside KLKTN: The Digital Collectible Where Asian Stars Enter the Much-hyped NFT Space appeared first on Prestige Online - Hong Kong.

Christine Hau is a co-founder of the Hong Kong-based architecture and design practice Lead8, which in just seven years has rocketed from start-up to the ranks of the world's leading firms. She tells us about its remarkable success and her own contribution towards it.

For an architectural firm founded just seven years ago to vault into the ranks of the world’s largest practices seems an achievement so remarkable that it’s frankly unbelievable. Yet that’s exactly the feat that Lead8 – a Hong Kong-based architecture, urban-masterplanning, interior-design, graphics and branding company that set up shop in a modest Quarry Bay studio in 2014 and now has offices in Shenzhen, Singapore, Kuala Lumpur and London – has managed to pull off.

Not only does it currently rank in 53rd place among the globe’s leading architectural firms – with major projects ongoing in the Greater Bay Area as well as further afield, and a team of more than 250 in five locations around the world – but Lead8 also walked away with five 2021-22 Asia-Pacific Property Awards for its large-scale projects in Shenzhen, Nanjing and Chengdu, as well as a pair of Gold Stevie Awards recognising business excellence. Although continually engaged in the visionary exercise of re-imagining urban and interior living for a future that seems especially challenging, surely such an astonishing degree of success must have been beyond the wildest dreams of the company’s founding partners?

“When we set up Lead8, we’d already worked alongside each other for many years, and we shared a passion for creativity and excellence in design,” says Christine Hau, one of Lead8’s co-founders and executive directors who form the company’s global leadership team in Hong Kong. “We all wanted to bring about change, introduce new ideas to the industry and give back to our cities and communities through resilient, meaningful and impactful design. Setting up Lead8 gave us the platform to do that, so this has been a natural progression for us.”

At Lead8, Hau oversees the company’s business, financial, legal and operational sides, as well as leading its marketing, communications, branding and social responsibility activities. Born in Britain and one of the eldest daughters of constantly travelling parents from Hong Kong, her businessman father expected she’d work as his apprentice until an interest in design spurred her to study in that area, later combining it with management.

“You can put on a nice dress or jacket and it’s individual,” says the effervescent and engaging Hau, in an accent that bears no discernible traces of her Scottish birthplace, “but I feel building design – architecture and interiors – is for everyone. I’m captivated by the beauty of forms and details in buildings and cities, so I studied subjects that united my passion for design with my affinity for business – with business providing the means of turning creative visions into reality.”

After completing university, she began her career in the UK, and eventually made the decision to head to Hong Kong. It wasn’t simply a matter of having strong family ties here; she also felt this was a place where she could take her career to a new level and possibly a new direction. “This is a fast-paced place and an international hub, where there are opportunities both here in Asia as well as connections with the West.”

In any case, Hau was already accustomed to an international way of life. “We moved around and travelled a lot,” she says, “so my childhood was quite adventurous and exciting – a mix of cultures and experiences – which is partly why I’ve always believed we should explore opportunities as we go along.

“Learning isn’t just about formal education and books. Experience is also very important in life, which is how I’ve brought up my children. It also probably explains why I’ve persistently changed course in life, grasping opportunities to study and change direction.”

After spending time at other international design practices, where she gained further experience in areas such as finance, corporate law and governance, strategy and operations, Hau took the plunge and joined a group of architects and designers she’d worked closely with to found Lead8. The team moved into its first studio in Shipyard Lane, literally around the corner from the much-expanded premises on King’s Road that the company occupies now. “The move into this new studio was a defining moment for us,” she says. “It marked a step in our evolution from start-up to international design brand and set the scene for our next chapter.”

While the company’s meteoric growth is beyond impressive, it must surely have something to do with the sheer physical scale and breathtakingly imaginative reach of many of its projects, in which every detail – from the macro to the micro – is considered, and natural elements and the latest technologies both form integral parts. Yet for all the size and scope, Hau insists that much of Lead8’s work is underpinned by “design that understands people – and the urge to push the boundaries to deliver destinations and experiences unlike any other” in their respective locations.

Typifying this approach is the vast Hubei Coordination Urban Renewal Scheme in Shenzhen, due for completion in 2024, which conserves and protects a historic 500-year-old village, yet does so in the context of a dazzling and forward-looking 21st-century urban development. Another major undertaking in the Greater Bay Area is New World’s 11 SKIES at Chek Lap Kok, which will be Hong Kong’s largest hub for retail, dining and entertainment, in a development adjoining the airport terminals, along with grade-A office towers, immersive educational experiences and even an indoor/outdoor karting track.

For sheer imaginative bravura, however, it’s hard to beat HarbourLoop, a Lead8 social-responsibility case study that proposes a 23km-long walkway and cycle track encircling Hong Kong’s Victoria Harbour, with two elegant infrastructure additions linking the two sides and a series of community, culture and commuter hubs along the way. “We did it to show the possibilities of urban design thinking for Hong Kong – a zero-carbon network that unites both sides of the harbour,” says Hau. “As a design firm, we’re in the fortunate position of driving and sparking conversations about the future, which is what influences change.”

As for her own role within the firm, Hau says she uses design thinking to inform the way she oversees Lead8’s business, financial, legal and operational activities. “It offers me and my team the opportunity to manage and build a design firm differently, and to help our team of designers do what they do best – which is to create designs that are positively giving back to our communities. We create the platforms on which our global team and operations can function, and we nurture, support and empower our teams – we’re passionate about our people.”

Asked about her experiences as a female in her industry, Hau says she believes that “when it comes to work, women have traditionally been conscious of their gender, but this is changing – and I see the younger generation of women and men active in this shift. But I’ve always had strong female leaders in the industry to look up to and my own experience has been that gender hasn’t limited my opportunities.

“No matter what your gender is, leadership is about more than just being a boss. It’s inspiring, motivating and empowering those around you. Just as design inherently gives back to the cities and communities it touches, at Lead8 we have a deep commitment to the next generations through mentoring and learning opportunities, and we’re equally dedicated to supporting causes that help to build a brighter world.”

And if you were wondering how – with eight projects nearing completion in the next year and several more about to kick off – this working mother manages to find equilibrium between office and home, Hau says there’s always a connection between work and life. “I’m fortunate to have a supportive circle of family and friends, which helps ease the pressure in challenging times. In any case, instead of separating, I prefer to balance these parts of my life, as I’m passionate about Lead8 and the firm we’ve created. Each day is different – and I don’t count the hours at work, but the results we’ve achieved.”

PHOTOGRAPHY KINWAI CHEUNG
STYLING TASHA LING
MAKE-UP KAREN YIU @MAKEUPBEES
HAIR GLOOMY KWOK @MAKEUPBEES
PHOTOGRAPHY ASSISTANT STEPHEN CHENG

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Following serial cultural entrepreneur Kevin Poon around Hong Kong on a typical working day can be an exhausting and Exhilarating business, as we discover.

Why don’t we meet at Unscheduled? We can chat then,” says Kevin Poon, during an unexpected call in the middle of a day whose blistering heat presages the imminent arrival of a tropical cyclone.

The Unscheduled he’s referring to is a pop-up organised by The Hong Kong Art Gallery Association, which asked around 50 local galleries to exhibit and sell a selection of their works at a temporary location in Central, where Topshop used to be. Poon’s Woaw Gallery, which he set up in 2019, is represented on the mezzanine floor and I find him addressing potential buyers about the work of American artist Charlie Roberts.

“Roberts is currently in Norway and you can see his inspiration from traditional art, pop culture, hip-hop, comics and folk art,” he tells them, as heads nod politely. “I really like all the watches in the paintings,” a masked face in the crowd says out loud. The socially distant gathering makes strangers of us all.

We amble around the space, Poon recognises most of the exhibitors and with the ones he doesn’t know he makes a point of going to shake their hand, letting them know he appreciates their efforts and collection. As a new gallery owner, albeit a long-time collector, has he been keeping track of what the average buyer is looking at?

“I’ve been working my entire adult life, I’ve set myself goals and ambitions early on, but if people want to think I’ve got bank, let them - I know my truth.”

Kevin Poon

“It’s interesting, because before, my perspective initially was more from a collector’s point of view,” he says taking pictures of sculptures he likes. “So
I’d be visiting art fairs and galleries, looking at and buying things I personally like. But since I opened my gallery, I’m aware of what a lot of people are collecting and looking at. You know, many of the artists and buyers are my friends. There’s a lot of people who love art, collecting art, and I really feel it this year, especially in Hong Kong and China, people are respecting creativity, respecting the art, respecting intellectual property. It’s been amazing to observe what sells.”

It’s no secret that Poon hobnobs with artists and stars of all stripes. As we make our way through the space, it seems he’s on first-name terms with just about everyone, with fist-bumps for “homies” and bear-hugs for old friends – friends such as local artist Michael Lau, who’s poised to exhibit at his gallery in Central as we go to print.

“I buy things from artists I’ve been following. Usually, it’s like a friend, or a friend of a friend. Or something I saw online that captivated me. It’s very organic. I support everyone, but it comes from a very genuine space.”

Woaw Gallery has previously featured names such as Koichi Sato, Anna Weyant, Cristina Banban, Simphiwe Ndzube and Sam Friedman. Does Poon have to like the artists to like the art?

“That is an interesting question,” he says, pausing before quietly repeating my question to himself. “OK, so you know, sometimes what you like might not do well, and what you don’t like might actually sell well. So, I guess it’s a give and take. I’m learning more about it as I go along. But, generally speaking, everyone’s super nice. Obviously, if you like the art, then you’ll try to like the artist. But if you don’t like the artist as a person, that’s kind of … a bummer. Man, I really have to think about this.”

“I’m not really afraid of failure. Not everything has gone my way – I’ve been in business for
nearly two decades, and I’ve seen the tide go up and down. But I’m still around, right?”

Kevin Poon

The gallery in Central opened when the pandemic was raging. Did he commandeer the space as luxury brands were zooming out? “Yes, and no. Central has traditionally been for large multinational designer spaces, but my gallery – it’s such a small programme. When the opportunity came to open at that space, for a rate I could work with, why wouldn’t I take it up?

“With the gallery, making money isn’t really at the forefront, it’s not the number-one mission. With that being said, I still want to keep it relatively organic in the sense that I don’t have to do things because I’m chasing a sale. If that happens later down the road, when you have shareholders, then it’s a different question. I still can be very free to select things that I pick from my gut instinct. I go with what I feel is right and then just roll the dice.”

Poon strides out of the pop-up, and we head to the street where his car and driver are waiting. We jump in and race over to a space off Tung Street in Sheung Wan, where a pop-up of his streetwear brand Clot’s collaboration with Sacai is in the making. With construction full on to meet a looming deadline for a 500-guest event, the heady whiffs of wood chippings and fresh paint fill the air, but Poon barges through, nonchalantly surveying the work in progress. “Things fall into place at the right time,” he says.

As many in Hong Kong – including almost 130,000 social-media followers – know, Poon’s got multiple arrows in his quiver, His business ventures include Clot (established in 2003 with his pop. star buddy Edison Chen) and Juice stores studded around China, Hong Kong and LA. His dining ventures include the Elephant Grounds cafes, restaurants La Rambla, Mashi No Mashi, Sushi Mamoru and Wagyu Mafia, and bars such as The Diplomat and Kyle & Bain – the latter, a martini bar that’s part of Margo, was recently voted one of the 50 best restaurants in town. He’s a designer and a restaurateur, he’s been a DJ and he’s organised music festivals. It begs the question: does he have attention deficit disorder?

“I’m sure I do. My wife thinks I do, my teachers in school couldn’t handle my energy,” he says with a loud guffaw. Last October, Poon married model Fiona McLeish, and the couple are now parents to a baby boy. Poon’s a wanted man – his phone doesn’t stop pinging and many strings pull him in myriad directions. “I have the opportunity to take my interests and make them into a business that works for me. Every brand or restaurant or bar is a reflection of some part of me. To be honest, I’m not that much of a drinker or partier any more, but that may be the image some people have of me, because of what I do for a living, but that’s not the real me.”

I put it to Poon that there’s an urban legend surrounding him – that all his ventures are funded by a $100 million inheritance from his father when he was 21, and not the fruits of his own business acumen. “People think I have a hundred mil? That’s crazy!” he says, and he bursts out laughing. By this time, we’ve popped over to Margo where ace barkeep John Nugent whips up a cocktail for us. It’s three in the afternoon, and Poon swirls the ice in his cocktail, never really drinking.

“Please, let me make it very clear. My father worked in a tractor company. There were many difficulties in the early part of my life – my parents separated ages ago. I didn’t inherit a million or billion – I’ve been working my entire adult life, I’ve set myself goals and ambitions early on, but if people want to think I’ve got bank, let them,” he says with a shrug. “I know my truth.”

Poon’s rep is rock solid. The media has been charting the course of his career since 2003, when he first started making noise on the club scene as a DJ, and after that with streetwear brand Clot. Although scandal touched his partner, Poon was left unblemished – indeed, his reputation was hardly affected by the association, “Years ago, there were some issues with my business partner that made tabloid headlines and of course I was mad at first – but I stand by my friends. The turnover in my company isn’t a lot – the same people have worked with me for
years.”

We pop next door to his gallery, which is also two doors down from the latest Juice store, set to open later this year. If he makes all the right moves, will every door that opens on 9 Queen’s Road have his stamp on it? Doesn’t it ever get overwhelming – and could it all come crashing down?

“Well, I’m not really afraid of failure. Everything has its ups and downs – you know, I did the music festival BloHK party, which took so much effort, time and money. It was pre-Clockenflap and I didn’t make money on it. Years ago, I went into businesses with my buddy and a scandal hit and threw us off our path. I’m no longer in partnership with Fed [Federico Tan] at Social Capital, as he’s gone a separate way to create his own thing. That’s fine. Not everything has gone my way – I’ve been in business for nearly two decades, and I’ve seen the tide go up and down. But I’m still around, right?”

What’s his favourite part of the business? “My favourite part of my job is having things that I can add to. Yes, I know I have multiple responsibilities – you should see the size of my Excel sheets! But it allows me to switch gears: one track, it’s the fashion and then I switch to the art and then to the food and beverage, and then I go back to fashion. I think it actually helps me problem solve and think outside of the box. The most challenging part of my job is time management, my presence is required at some, my attention to others. Ever since my son was born, I’ve been trying to limit my screen time to be present with him and my wife. I think it’s the most common complaint in Hong Kong from every wife everywhere: ‘Put your phone down, we’re at dinner!’That work/life balance hasn’t been easy.”

Fatherhood seems to have done wonders for the forty-something, who has a new-found serenity about him. Poon has been in the eye of a media storm for years and used to handle things differently, so this zen avatar is a new one for us. “Well, that’s because I’m spending the day with Prestige and having a good time,” he says, before adding more sincerely, “OK, I do have days when I’m frustrated if things aren’t aligned. Things that are outside of my control, for example. When you’re doing cross cultural business between the United States, Hong Kong and Greater China there’s always uncertainty. The laws are different, the governments are different. That keeps me up.

“And sometimes, I’m just off because I’m talking to people in New York, and then I’m waking up early to talk to people in LA and then in Europe, but I think having a positive mentality and getting a night’s sleep really helps.”

The phone rings again for the nth time, beckoning Poon back to the gallery space for a photocall with media partners. Walking back, he tells me how Covid grounded him in Hong Kong, how weekly flights between capital cities are no longer a priority when a Zoom call will do, and how his son has helped shift priorities in a seismic, soul-searching way.

Walking into the pop-up we discover there’s been a change since we left. Every single painting on display by Woaw has been sold, including Night Kitchen, a large oil on canvas.

Poon tells his team to pull out pieces that are in storage in the back – maybe call the main gallery and get other works to hang on the walls. There is more, I ask him? “There’s always more,” he says.

Kevin Poon Cover Story

ART DIRECTION
RICKY LO & JACKY TAM
PHOTOGRAPHER RICKY LO
STYLIST JACKY TAM
PHOTO ASSISTANT
ALSTON CHAN, AZEAL HO, KELVIN SIM
MAKEUP ARTIST LITTLEWHITE
HAIR STYLIST SAM KO

The post Kevin Poon: A Day in the Life of Hong Kong’s Top Cultural Entrepreneur appeared first on Prestige Online - Hong Kong.

We talk to Malaysian-Chinese model Ling Tan about her style and her 25 years in the industry.

Breaking on to the scene in the mid-’90s and billed as Southeast Asia's first international supermodel, Malaysian-Chinese Ling Tan has worked all the major fashion weeks, appeared in the pages of many magazines and was the first Asian model on the Victoria's Secret runway. After a quarter of a century in the business, she’s still posing and walking up a storm today.

What was your breakthrough moment in the international fashion arena?

I’d say it was working with the legendary photographer Richard Avedon, who photographed me
for the Pirelli Calendar.

Tell us some of your favourite photographers you’ve worked with.

Albert Watson, Irving Penn, Peter Lindbergh, Richard Avedon, Steven Meisel and Tyen are just a few names.

What was the most memorable moment in your career?

The grand finale of the Yves Saint Laurent Huate Couture show in Paris on January 22, 2002. It was the most memorable runway show for me. I was wearing a 1962 "Smoking" Tuxedo a from his first collection.

You’re often described as the First Asian Supermodel. What it was like in the 90s breaking through fashion as an Asian woman?  How has fashion changed since then?

When I first started modelling there were not many Asian models working in Europe and the United States. I was lucky to work with so many talented people in the fashion industry and they were all very kind, considerate and respectful to me. But in the last 15 years, the shift is that luxury customers are mostly from Asian countries now and they come to Europe and United States to buy big brand designer goods. Lots of brands and fashion editors started to put Asian models on their runways and magazines, resulting in a dramatic increase the diversity of Asian models.

In terms of diversity, how much do you think still needs to be done in the industry?

Today many designer houses and magazine pages in Europe and the United States are using all races on their pages and runways, promoting diversity as their customers come from diverse parts of the world.

Describe your own sense of style.

I like to wear comfortable clothes with chic, confident and timeless style. When I invest in my wardrobe, I make sure I’ll wear the clothes again and again for many years. I'm not into buying new collections every season and then discarding them the next.

You live in New York now. how does it inspire your sense of creativity and style?

I live in Westchester, a suburb of New York City. It is a very beautiful, calm and  peaceful town. I wear more colours and comfortable clothes when I go out.

Outside of modelling and fashion, what do you like to do?

I love gardening and growing organic fruits and vegetables at home.

 What do you prefer: model dressing on duty or off duty?

Model dressing off duty.

Your sister Ein was also a model. what was it like being siblings in the same competitive game?

My sister and I were lucky that we had a few opportunities to be photographed together in New York and Paris for various magazines and campaigns.

You’re from Malaysia originally. Do you miss your homeland - and if you go back, where do you usually visit?

Yes, I miss Malaysia, my family, home cooked meals, local foods and durian. I always stay in my home in Kuala Lumpur when I visit. I’m very close to my family there.

Since you’re still working now: how is it 25-plus years on?

It is getting harder because the fashion industry is always looking for and using new faces.

(Hero image: Ling Tan In a 1988 Vivienne Tam campaign)

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The House of Creativity (HOC) is a project born out of the passion for creative excellence by founders Sonakshi Sinha, Luv Sinha, and Khush Sinha, a family synonymous with art, culture, and innovations. These three sets of expert eyes with artistic sensitivity and great taste in art form the core of HOC, a platform that […]

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