Celebrity Life

There’s no doubt Alex Lam inherited his musical talent from his parents, his father being Cantopop legend George Lam Chi-Cheung, and his mother, Sally Yeh. Still, the singer-songwriter and actor hasn’t let privilege get to his head — he’s not afraid to explore other paths, from a stint in Los Angeles to discover yoga and becoming a yoga teacher, to dipping his toes in fashion.

Lam met Hiro Yoshikawa, founder and designer of Washi Jeans, a Japanese denim brand, a couple years back and was intrigued by the designer’s backstory. Now based in Hong Kong, Yoshikawa is the 18^th generation of a revered sake maker in Okayama, Japan, and the first to leave the family business to pursue his own passion in denim-making. By chance, Yoshikawa had found an old document that charted out his family’s history, written on washi paper. Inspired by this, he developed and patented the Washi No. 6 paper yarn, which he utilizes in his first solo collection launching this month.

Lam, who has always had an eye for detail, quickly became an ambassador and muse for Yoshikawa, and took it upon himself to bring the recognition Yoshikawa deserves by helping him stage his upcoming solo debut.

We sit down with Alex Lam and Hiro Yoshikawa at Washi Jean's studio to talk about style and the upcoming debut of Yoshikawa's solo collection Life on Earth.

Can you describe your style? What are your wardrobe essentials?

AL: My style has always been inspired by musicians. I grew up watching some of my favourite bands like The Rolling Stones, The Beatles, and today, I'm inspired by singers like Drake. For me, my summer essentials include a sleeveless vest, a good multi-functional blazer and a pair of high-quality designer jeans.

Have you always been passionate about fashion and did you want to work in fashion?

AL: I have always cared about how I look and my outfits since I was a kid. I remember there was one time when the collar of my t-shirt wasn't right and I wouldn’t wear it out until my parents fixed it for me. Having friends who are in the fashion industry allows me to execute and experiment my ideas during workshops, like the ‘marshmallow’ colourway of the t-shirt I’m wearing right now. 

How did the both of you meet?

AL: I met Hiro-san thought some of our mutual friends.

HY: have been making jeans for other brands for the past 30 years and it has always been my dream to have my own denim brand. I have always hung out with people from the fashion industry, and meeting Alex from the music and acting world has made my life more fun and exciting.

Can you tell us a bit about your project with Hiro-san?

AL: I was hanging out with a group of producers and we often talk about fashion shows, designer brands’ videos, installation art and music. Once we found out Hiro-san wanted to launch his own denim brand this year, we decided to catch this opportunity and put our ideas together. We are organising a VIP launch event with a fashion show on June 11, 2021.

What was the biggest challenge you had to overcome with this project?

AL: I think the rules of the game changed after Covid started last year. We looked at online fashion shows last year, without the tradition styles, and we knew our team needed to do it in a cleverer way. The restriction for event gathering is 30 persons at the moment, so we were not able to invite too many friends and make the event as big as before. Plus the campaign and fashion show video shoot all in one day, that’s the biggest challenge in this project.

HY:  We have been staying in our studio almost every day is the past few months, meeting different parties like our PR team, models, videographers and producers.

What else are you up to this year that you can share with us?

AL: I have released a new song and I just finished a music video for another song. I have also been working on my YouTube channel and created a few series, but it’s been slightly slowed down because I was focusing in this project.

Has the pandemic affected the way you work or changed your priorities?

AL: Before Covid, I was busy working with clients, who often prepared everything. With changes and restrictions during this period, I am able to organise and create more content by myself.

What are you currently inspired by?

AL: There are many indie musicians and young kids out there who are doing their music in their unique styles. I admire them a lot as they can release songs as long as they think it sounds good. I used think good music requires the best studio and recording equipment, but turned out a lot of indie musicians are producing high quality songs just by working at home.

You have a YouTube channel, you're into fashion, music as well as classic cars. How did you get into each of those passions and how do you balance it all?

AL: Project by project. I’m now focusing more on quantity over quality and I'll keep learning from the progress and mistakes.

Do you have a motto you live by?

Stay healthy. As I was a yoga teacher, I still practice yoga for two to three hours each day. It’s a good way to reflect on myself and find peace.

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There’s no doubt Alex Lam inherited his musical talent from his parents, his father being Cantopop legend George Lam Chi-Cheung, and his mother, Sally Yeh. Still, the singer-songwriter and actor hasn’t let privilege get to his head — he’s not afraid to explore other paths, from a stint in Los Angeles to discover yoga and becoming a yoga teacher, to dipping his toes in fashion.

Lam met Hiro Yoshikawa, founder and designer of Washi Jeans, a Japanese denim brand, a couple years back and was intrigued by the designer’s backstory. Now based in Hong Kong, Yoshikawa is the 18^th generation of a revered sake maker in Okayama, Japan, and the first to leave the family business to pursue his own passion in denim-making. By chance, Yoshikawa had found an old document that charted out his family’s history, written on washi paper. Inspired by this, he developed and patented the Washi No. 6 paper yarn, which he utilizes in his first solo collection launching this month.

Lam, who has always had an eye for detail, quickly became an ambassador and muse for Yoshikawa, and took it upon himself to bring the recognition Yoshikawa deserves by helping him stage his upcoming solo debut.

We sit down with Alex Lam and Hiro Yoshikawa at Washi Jean's studio to talk about style and the upcoming debut of Yoshikawa's solo collection Life on Earth.

Can you describe your style? What are your wardrobe essentials?

AL: My style has always been inspired by musicians. I grew up watching some of my favourite bands like The Rolling Stones, The Beatles, and today, I'm inspired by singers like Drake. For me, my summer essentials include a sleeveless vest, a good multi-functional blazer and a pair of high-quality designer jeans.

Have you always been passionate about fashion and did you want to work in fashion?

AL: I have always cared about how I look and my outfits since I was a kid. I remember there was one time when the collar of my t-shirt wasn't right and I wouldn’t wear it out until my parents fixed it for me. Having friends who are in the fashion industry allows me to execute and experiment my ideas during workshops, like the ‘marshmallow’ colourway of the t-shirt I’m wearing right now. 

How did the both of you meet?

AL: I met Hiro-san thought some of our mutual friends.

HY: have been making jeans for other brands for the past 30 years and it has always been my dream to have my own denim brand. I have always hung out with people from the fashion industry, and meeting Alex from the music and acting world has made my life more fun and exciting.

Can you tell us a bit about your project with Hiro-san?

AL: I was hanging out with a group of producers and we often talk about fashion shows, designer brands’ videos, installation art and music. Once we found out Hiro-san wanted to launch his own denim brand this year, we decided to catch this opportunity and put our ideas together. We are organising a VIP launch event with a fashion show on June 11, 2021.

What was the biggest challenge you had to overcome with this project?

AL: I think the rules of the game changed after Covid started last year. We looked at online fashion shows last year, without the tradition styles, and we knew our team needed to do it in a cleverer way. The restriction for event gathering is 30 persons at the moment, so we were not able to invite too many friends and make the event as big as before. Plus the campaign and fashion show video shoot all in one day, that’s the biggest challenge in this project.

HY:  We have been staying in our studio almost every day is the past few months, meeting different parties like our PR team, models, videographers and producers.

What else are you up to this year that you can share with us?

AL: I have released a new song and I just finished a music video for another song. I have also been working on my YouTube channel and created a few series, but it’s been slightly slowed down because I was focusing in this project.

Has the pandemic affected the way you work or changed your priorities?

AL: Before Covid, I was busy working with clients, who often prepared everything. With changes and restrictions during this period, I am able to organise and create more content by myself.

What are you currently inspired by?

AL: There are many indie musicians and young kids out there who are doing their music in their unique styles. I admire them a lot as they can release songs as long as they think it sounds good. I used think good music requires the best studio and recording equipment, but turned out a lot of indie musicians are producing high quality songs just by working at home.

You have a YouTube channel, you're into fashion, music as well as classic cars. How did you get into each of those passions and how do you balance it all?

AL: Project by project. I’m now focusing more on quantity over quality and I'll keep learning from the progress and mistakes.

Do you have a motto you live by?

Stay healthy. As I was a yoga teacher, I still practice yoga for two to three hours each day. It’s a good way to reflect on myself and find peace.

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There’s no doubt Alex Lam inherited his musical talent from his parents, his father being Cantopop legend George Lam Chi-Cheung, and his mother, Sally Yeh. Still, the singer-songwriter and actor hasn’t let privilege get to his head — he’s not afraid to explore other paths, from a stint in Los Angeles to discover yoga and becoming a yoga teacher, to dipping his toes in fashion.

Lam met Hiro Yoshikawa, founder and designer of Washi Jeans, a Japanese denim brand, a couple years back and was intrigued by the designer’s backstory. Now based in Hong Kong, Yoshikawa is the 18^th generation of a revered sake maker in Okayama, Japan, and the first to leave the family business to pursue his own passion in denim-making. By chance, Yoshikawa had found an old document that charted out his family’s history, written on washi paper. Inspired by this, he developed and patented the Washi No. 6 paper yarn, which he utilizes in his first solo collection launching this month.

Lam, who has always had an eye for detail, quickly became an ambassador and muse for Yoshikawa, and took it upon himself to bring the recognition Yoshikawa deserves by helping him stage his upcoming solo debut.

We sit down with Alex Lam and Hiro Yoshikawa at Washi Jean's studio to talk about style and the upcoming debut of Yoshikawa's solo collection Life on Earth.

Can you describe your style? What are your wardrobe essentials?

AL: My style has always been inspired by musicians. I grew up watching some of my favourite bands like The Rolling Stones, The Beatles, and today, I'm inspired by singers like Drake. For me, my summer essentials include a sleeveless vest, a good multi-functional blazer and a pair of high-quality designer jeans.

Have you always been passionate about fashion and did you want to work in fashion?

AL: I have always cared about how I look and my outfits since I was a kid. I remember there was one time when the collar of my t-shirt wasn't right and I wouldn’t wear it out until my parents fixed it for me. Having friends who are in the fashion industry allows me to execute and experiment my ideas during workshops, like the ‘marshmallow’ colourway of the t-shirt I’m wearing right now. 

How did the both of you meet?

AL: I met Hiro-san thought some of our mutual friends.

HY: have been making jeans for other brands for the past 30 years and it has always been my dream to have my own denim brand. I have always hung out with people from the fashion industry, and meeting Alex from the music and acting world has made my life more fun and exciting.

Can you tell us a bit about your project with Hiro-san?

AL: I was hanging out with a group of producers and we often talk about fashion shows, designer brands’ videos, installation art and music. Once we found out Hiro-san wanted to launch his own denim brand this year, we decided to catch this opportunity and put our ideas together. We are organising a VIP launch event with a fashion show on June 11, 2021.

What was the biggest challenge you had to overcome with this project?

AL: I think the rules of the game changed after Covid started last year. We looked at online fashion shows last year, without the tradition styles, and we knew our team needed to do it in a cleverer way. The restriction for event gathering is 30 persons at the moment, so we were not able to invite too many friends and make the event as big as before. Plus the campaign and fashion show video shoot all in one day, that’s the biggest challenge in this project.

HY:  We have been staying in our studio almost every day is the past few months, meeting different parties like our PR team, models, videographers and producers.

What else are you up to this year that you can share with us?

AL: I have released a new song and I just finished a music video for another song. I have also been working on my YouTube channel and created a few series, but it’s been slightly slowed down because I was focusing in this project.

Has the pandemic affected the way you work or changed your priorities?

AL: Before Covid, I was busy working with clients, who often prepared everything. With changes and restrictions during this period, I am able to organise and create more content by myself.

What are you currently inspired by?

AL: There are many indie musicians and young kids out there who are doing their music in their unique styles. I admire them a lot as they can release songs as long as they think it sounds good. I used think good music requires the best studio and recording equipment, but turned out a lot of indie musicians are producing high quality songs just by working at home.

You have a YouTube channel, you're into fashion, music as well as classic cars. How did you get into each of those passions and how do you balance it all?

AL: Project by project. I’m now focusing more on quantity over quality and I'll keep learning from the progress and mistakes.

Do you have a motto you live by?

Stay healthy. As I was a yoga teacher, I still practice yoga for two to three hours each day. It’s a good way to reflect on myself and find peace.

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This year, to celebrate Mother’s Day, acclaimed photographer Jada Poon launched an intimate photography project with Hong Kong charity Hope of the City. Poon, whose Kindred Studio specialises in family portraits, captured eight mothers and families living the Sham Shui Po district. Shot by Kindred Studio’s lead photographer Kristin, the series sheds light on the power of mother as women and family members.

Through these powerful portraits, Hope of the City and the photographer aim to empower the eight mothers and women featured in the series. Additionally, the series focuses on the individuality of mothers beyond the conventional stereotypes and traditional norms defined by society.

“This charity project has not only created some unforgettable moments for these families through capturing the mothers’ most heartfelt, intimate interactions with their children, but I also hope their individual portraits can help turn the spotlight back on these selfless women who have dedicated themselves to their families, inspiring them to love themselves and appreciate their inner beauty and passion for life,” says Poon.

The eight subjects were invited to participate in the project by the charity, which believes in the power of education and, apart from providing tutoring for children in need, recognises the importance of empowering their families.

“Hope of the City is honoured to be collaborating with Jada on this project,” says Kevin Iu, Associate Director of Community Engagement at Hope of the City. “In addition to seeing a mother’s powerful love in each portrait, it also expresses a unity of hearts. It's because of the dedicated cooperation of neighbours, professionals, churches and institutions, that this beautiful dream could be brought to life. I hope that the participants will feel a sense of warmth and love when enjoying the exhibition.”

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The Carlyle hotel-inspired bolthole -- slated to open on the uppermost floors of Rosewood Hong Kong later this year -- will offer a blueprint for the eponymous group's vision of "a new kind of international members' club". We venture north of the harbour to discover just what that entails...

Hitherto, the Hong Kong ecosystem of private members' clubs has been split broadly between two camps: at one end, you have venerable institutions catered to the needs of the city's professionals (the FCC) and those who surround them (the KCC); at the other, a burgeoning array of social haunts meant to profit from the growing number of Silicon Valley types -- hawkers of crypto, CBD cafes, and other speculative investment opportunities -- who reside here.

Call me Debbie Downer, but neither feels like an especially glam place to visit. After all, such clubs justify their patronage by way of mostly pragmatic considerations: a convenient location; access to business networking opportunities; affordable gym membership; and so forth. This, as Rosewood Hotels CEO Sonia Cheng well knows is where Carlyle & Co. can break the mould -- by conjuring a little glamour into Hong Kong's mostly comatose members' club scene.

Best thought of as a kind of pied-à-terre to the Rosewood Hong Kong (spanning the 54th-56th floor of the hotel) Carlyle & Co. is, in effect, Cheng's answer to the boutique members' clubs that have dominated pop culture these last 20 years. In Hong Kong -- where bureaucratic red tape is frequent; and decent-sized real estate scant -- her hotel group's latest venture feels especially impressive -- if for no other reason than the sheer audacity of it all.

In recent weeks, the first details of the club's leviathan 25,000 sq. ft. premises have begun to emerge, inspired in broad strokes by the "intriguing, inimitable and ultimately indefinable" style of The Carlyle in New York (incidentally also a brand owned by Rosewood Hotels). To orchestrate this vision of Hong Kong-via-Manhattan, Rosewood turned to British designer Ilse Crawford, whose approach has imbued the club's many rooms with a light, playful sensibility -- affording each a healthy dose of individual personality.

For fusty decadents like yours truly, the gentlemen's spaces -- including a barber, shoeshine, and capsule store by an award-winning haberdasher -- hold immense charm -- even though they espouse just one of many eclectic visual styles members will enjoy each time they navigate the club. The aforementioned differ significantly from spaces like the Cabaret Bar and Sitting Room, both of which employ the medium of painting (by artists Jean-Philippe Delhomme and Christina Zimpel respectively) to celebrate The Carlyle hotel's legendary Bemelmans murals.

Supper & Supping

In the spirit of its progenitor, the various dining venues at Carlyle & Co. seem to be accompanied by an august sense of occasion. The crux of the action happens at the brasserie, which (like any decent club restaurant in Hong Kong) serves a medley of Western, Chinese, and all-day delicacies. Here, the focus is on simply cooking the freshest produce the club can source -- various of the small plates are smoked, cured, or otherwise preserved in-house -- yet it's hardly the most theatrical outlet. That honour belongs to Café Carlyle, an intimate supper club intended as the local chapter of the eponymous tippling destination in New York. Members can expect this to be the repository of the club's live musical programming, which (consistent with the historic acts that have taken to the stage at the Carlyle hotel) will include an assortment of uniquely American artforms like jazz, funk, and blues.

Members craving a dose of sunshine can also take a selection of food and drink on the club's 55th-floor terrace, which (much like the Rosewood property at large) enjoys the sort of view that's conducive to sonnet writing or spontaneous tears of joy. Flanking one end of that terrace, you'll find the local chapter of Bemelmans Bar. Like its namesake, the menu here is split roughly equally between fine wines, punchbowls and classic cocktails; though, at the weekend, you can expect a certain frenetic atmosphere to take hold, as the space merges with the terrace for live DJ performances against the backdrop of Victoria Harbour.

Cosy quarters, brimming with personality

Though Carlyle & Co. members can easily book themselves into one of the 400-plus rooms at the surrounding Rosewood property, the entire 54th floor of the club is given over to eight themed suites -- all of which celebrate the history of The Carlyle hotel. More or less equal in size, each offers an inviting and distinctive interior personality. If you're retiring following an evening spent drinking (one too many) Martinis for instance, the 'Tommy' seems an apt choice -- named for and inspired by the legendary Bemelmans bartender Mr. Tommy Rowles. Other known personalities include Dorothy Draper, the original 'modern Baroque' decorator of The Carlyle's interiors; and Eartha Kitt, the renowned actress and Broadway musician. For dedicated students of café society, a stay in every single suite would seem like money well-spent.

A variety of membership packages are available at Carlyle & Co., with or without health club membership. To learn more about rates (or inquire about eligibility) visit Carlyle & Co. online.

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The Carlyle hotel-inspired bolthole -- slated to open on the uppermost floors of Rosewood Hong Kong later this year -- will offer a blueprint for the eponymous group's vision of "a new kind of international members' club". We venture north of the harbour to discover just what that entails...

Hitherto, the Hong Kong ecosystem of private members' clubs has been split broadly between two camps: at one end, you have venerable institutions catered to the needs of the city's professionals (the FCC) and those who surround them (the KCC); at the other, a burgeoning array of social haunts meant to profit from the growing number of Silicon Valley types -- hawkers of crypto, CBD cafes, and other speculative investment opportunities -- who reside here.

Call me Debbie Downer, but neither feels like an especially glam place to visit. After all, such clubs justify their patronage by way of mostly pragmatic considerations: a convenient location; access to business networking opportunities; affordable gym membership; and so forth. This, as Rosewood Hotels CEO Sonia Cheng well knows is where Carlyle & Co. can break the mould -- by conjuring a little glamour into Hong Kong's mostly comatose members' club scene.

Best thought of as a kind of pied-à-terre to the Rosewood Hong Kong (spanning the 54th-56th floor of the hotel) Carlyle & Co. is, in effect, Cheng's answer to the boutique members' clubs that have dominated pop culture these last 20 years. In Hong Kong -- where bureaucratic red tape is frequent; and decent-sized real estate scant -- her hotel group's latest venture feels especially impressive -- if for no other reason than the sheer audacity of it all.

In recent weeks, the first details of the club's leviathan 25,000 sq. ft. premises have begun to emerge, inspired in broad strokes by the "intriguing, inimitable and ultimately indefinable" style of The Carlyle in New York (incidentally also a brand owned by Rosewood Hotels). To orchestrate this vision of Hong Kong-via-Manhattan, Rosewood turned to British designer Ilse Crawford, whose approach has imbued the club's many rooms with a light, playful sensibility -- affording each a healthy dose of individual personality.

For fusty decadents like yours truly, the gentlemen's spaces -- including a barber, shoeshine, and capsule store by an award-winning haberdasher -- hold immense charm -- even though they espouse just one of many eclectic visual styles members will enjoy each time they navigate the club. The aforementioned differ significantly from spaces like the Cabaret Bar and Sitting Room, both of which employ the medium of painting (by artists Jean-Philippe Delhomme and Christina Zimpel respectively) to celebrate The Carlyle hotel's legendary Bemelmans murals.

Supper & Supping

In the spirit of its progenitor, the various dining venues at Carlyle & Co. seem to be accompanied by an august sense of occasion. The crux of the action happens at the brasserie, which (like any decent club restaurant in Hong Kong) serves a medley of Western, Chinese, and all-day delicacies. Here, the focus is on simply cooking the freshest produce the club can source -- various of the small plates are smoked, cured, or otherwise preserved in-house -- yet it's hardly the most theatrical outlet. That honour belongs to Café Carlyle, an intimate supper club intended as the local chapter of the eponymous tippling destination in New York. Members can expect this to be the repository of the club's live musical programming, which (consistent with the historic acts that have taken to the stage at the Carlyle hotel) will include an assortment of uniquely American artforms like jazz, funk, and blues.

Members craving a dose of sunshine can also take a selection of food and drink on the club's 55th-floor terrace, which (much like the Rosewood property at large) enjoys the sort of view that's conducive to sonnet writing or spontaneous tears of joy. Flanking one end of that terrace, you'll find the local chapter of Bemelmans Bar. Like its namesake, the menu here is split roughly equally between fine wines, punchbowls and classic cocktails; though, at the weekend, you can expect a certain frenetic atmosphere to take hold, as the space merges with the terrace for live DJ performances against the backdrop of Victoria Harbour.

Cosy quarters, brimming with personality

Though Carlyle & Co. members can easily book themselves into one of the 400-plus rooms at the surrounding Rosewood property, the entire 54th floor of the club is given over to eight themed suites -- all of which celebrate the history of The Carlyle hotel. More or less equal in size, each offers an inviting and distinctive interior personality. If you're retiring following an evening spent drinking (one too many) Martinis for instance, the 'Tommy' seems an apt choice -- named for and inspired by the legendary Bemelmans bartender Mr. Tommy Rowles. Other known personalities include Dorothy Draper, the original 'modern Baroque' decorator of The Carlyle's interiors; and Eartha Kitt, the renowned actress and Broadway musician. For dedicated students of café society, a stay in every single suite would seem like money well-spent.

A variety of membership packages are available at Carlyle & Co., with or without health club membership. To learn more about rates (or inquire about eligibility) visit Carlyle & Co. online.

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The Carlyle hotel-inspired bolthole -- slated to open on the uppermost floors of Rosewood Hong Kong later this year -- will offer a blueprint for the eponymous group's vision of "a new kind of international members' club". We venture north of the harbour to discover just what that entails...

Hitherto, the Hong Kong ecosystem of private members' clubs has been split broadly between two camps: at one end, you have venerable institutions catered to the needs of the city's professionals (the FCC) and those who surround them (the KCC); at the other, a burgeoning array of social haunts meant to profit from the growing number of Silicon Valley types -- hawkers of crypto, CBD cafes, and other speculative investment opportunities -- who reside here.

Call me Debbie Downer, but neither feels like an especially glam place to visit. After all, such clubs justify their patronage by way of mostly pragmatic considerations: a convenient location; access to business networking opportunities; affordable gym membership; and so forth. This, as Rosewood Hotels CEO Sonia Cheng well knows is where Carlyle & Co. can break the mould -- by conjuring a little glamour into Hong Kong's mostly comatose members' club scene.

Best thought of as a kind of pied-à-terre to the Rosewood Hong Kong (spanning the 54th-56th floor of the hotel) Carlyle & Co. is, in effect, Cheng's answer to the boutique members' clubs that have dominated pop culture these last 20 years. In Hong Kong -- where bureaucratic red tape is frequent; and decent-sized real estate scant -- her hotel group's latest venture feels especially impressive -- if for no other reason than the sheer audacity of it all.

In recent weeks, the first details of the club's leviathan 25,000 sq. ft. premises have begun to emerge, inspired in broad strokes by the "intriguing, inimitable and ultimately indefinable" style of The Carlyle in New York (incidentally also a brand owned by Rosewood Hotels). To orchestrate this vision of Hong Kong-via-Manhattan, Rosewood turned to British designer Ilse Crawford, whose approach has imbued the club's many rooms with a light, playful sensibility -- affording each a healthy dose of individual personality.

For fusty decadents like yours truly, the gentlemen's spaces -- including a barber, shoeshine, and capsule store by an award-winning haberdasher -- hold immense charm -- even though they espouse just one of many eclectic visual styles members will enjoy each time they navigate the club. The aforementioned differ significantly from spaces like the Cabaret Bar and Sitting Room, both of which employ the medium of painting (by artists Jean-Philippe Delhomme and Christina Zimpel respectively) to celebrate The Carlyle hotel's legendary Bemelmans murals.

Supper & Supping

In the spirit of its progenitor, the various dining venues at Carlyle & Co. seem to be accompanied by an august sense of occasion. The crux of the action happens at the brasserie, which (like any decent club restaurant in Hong Kong) serves a medley of Western, Chinese, and all-day delicacies. Here, the focus is on simply cooking the freshest produce the club can source -- various of the small plates are smoked, cured, or otherwise preserved in-house -- yet it's hardly the most theatrical outlet. That honour belongs to Café Carlyle, an intimate supper club intended as the local chapter of the eponymous tippling destination in New York. Members can expect this to be the repository of the club's live musical programming, which (consistent with the historic acts that have taken to the stage at the Carlyle hotel) will include an assortment of uniquely American artforms like jazz, funk, and blues.

Members craving a dose of sunshine can also take a selection of food and drink on the club's 55th-floor terrace, which (much like the Rosewood property at large) enjoys the sort of view that's conducive to sonnet writing or spontaneous tears of joy. Flanking one end of that terrace, you'll find the local chapter of Bemelmans Bar. Like its namesake, the menu here is split roughly equally between fine wines, punchbowls and classic cocktails; though, at the weekend, you can expect a certain frenetic atmosphere to take hold, as the space merges with the terrace for live DJ performances against the backdrop of Victoria Harbour.

Cosy quarters, brimming with personality

Though Carlyle & Co. members can easily book themselves into one of the 400-plus rooms at the surrounding Rosewood property, the entire 54th floor of the club is given over to eight themed suites -- all of which celebrate the history of The Carlyle hotel. More or less equal in size, each offers an inviting and distinctive interior personality. If you're retiring following an evening spent drinking (one too many) Martinis for instance, the 'Tommy' seems an apt choice -- named for and inspired by the legendary Bemelmans bartender Mr. Tommy Rowles. Other known personalities include Dorothy Draper, the original 'modern Baroque' decorator of The Carlyle's interiors; and Eartha Kitt, the renowned actress and Broadway musician. For dedicated students of café society, a stay in every single suite would seem like money well-spent.

A variety of membership packages are available at Carlyle & Co., with or without health club membership. To learn more about rates (or inquire about eligibility) visit Carlyle & Co. online.

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The sprawling 10-acre "urban branded residences" will bring Marriott's world-class hospitality to homeowners in Vietnam for the first time.

Even by the ambitious standards of Marriott International -- the world's leading hotel operator with some 750 properties situated across Asia -- the upcoming Grand Marina, Saigon is breaking new ground. Situated at the epicentre of the Vietnamese capital, the eponymous development is poised to set new standards in elevated living: bringing one of the world's most desirable names in branded residences to well-heeled locals and savvy adopters in Vietnam's growing market for luxury real estate.

Overlooking the northern banks of the Saigon River, this grandiose project accounts for a sprawling 10 acres of the most exciting real estate in District 1. To execute construction of its "first branded residence in Vietnam" Marriott turned to Masterise Homes, a renowned developer in Saigon best known to international property buyers for luxury residences like Lumiere Riverside.

Masterise Homes' latest effort consists of 8 glitzy residential towers crisscrossed by a network of private parks and plazas, anchored by an 850m promenade that puts the Saigon River on residents' doorsteps. "We take great pride in creating exquisite real estate developments to impeccable standards," says Jason Turnbull, MD of Masterise Homes. "These first Marriott-branded residences in Vietnam [will be] located at the heritage landmark of Bason -- where water meets land. We're proud to be introducing this one-of-a-kind project to the Hong Kong market."

Here in the +852, adventurous homeowners can get an exclusive peak at Grand Marina, Saigon at an event hosted by the Asia Bankers Club. From 27-28 March, a series of seminars will run at JW Marriott Hong Kong, where prospective purchasers can learn more about the eponymous group's latest residential concept in southeast Asia, and its projected impact on the surrounding neighbourhood. "We're delighted to partner with Masterise Homes to offer Grand Marina, Saigon to Hong Kong and beyond," says Kingston Lai, CEO of Asia Bankers Club. "[These residences] are a rare opportunity that tick all the boxes".

Now established some twenty years ago, the 'residences' arm of Marriott International opened its first global location in Singapore back in 2010. Now with over 100 outposts globally, these Marriott-administered properties come with a host of unique benefits including dedicated concierge, F&B, and fitness teams; plus a host of exclusive offers in the Bonvoy loyalty programme.

Sign up for the exclusive Grand Marina, Saigon seminar (on from 27-28 March at JW Marriott Hong Kong) at Asia Bankers Club online.

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The latest ready-to-wear design from The Anthology deepens the brand's burgeoning reputation for sartorial clothing that's elegant yet easy-wearing -- a winning combo even when you're aren't 'working' from home.

Last April, while institutions around the globe were struggling to contain the fear and uncertainty wrought by a now-familiar contagion, huge numbers of clothing brands dealing in what we'd call 'classic menswear' were on the brink of a similarly existential collapse. With offices emptying out at record rates and 'stay home' orders being enforced worldwide (many of them still ongoing today) it seemed that the long-prophesied 'death of the suit', and by association, tailored clothing, had finally arrived.

Multinational menswear outfitters in the mould of J Crew -- known in their heyday for peddling slim, modish suits in malls from Indonesia to Alaska -- disappeared overnight, having failed to recognise (or worse, acknowledge) the sea change that has been taking place in men's fashion these last six years. And that's before we were all locked up, drinking badly-made cocktails over Zoom.

Fortunately, a handful of smaller brands (including an inexplicable number focusing on sartorial clothing, in Hong Kong) have managed to make lemonade out of the current crisis, principally by taking familiar styles of clothing and cranking the comfort factor, both literal and emotional, up high. Those themes were at the forefront of the design process when Hong Kong-based The Anthology released its 'Lazyman' in 2020: a "casual, multifunctional jacket" that's a no-brainer for the 'working from home' brigade, but still smart enough to warrant a place in your wardrobe when the pandemic inevitably ends.

To complement this beloved "blazer alternative", the brand has just released the 'Taskmaster' -- a quasi-outerwear design that rustles many of the same thematic feathers as its predecessor, while expanding The Anthology's casualwear universe. "If the Lazyman is an alternative to the office-appropriate navy sport coat," says co-founder Buzz Tang, "then the Taskmaster is our answer to the classic American work shirt."

It turns out that The Anthology's answer to workwear of the 21st century owes a debt to designers like Ant Franco and Jerry Lorenzo. In an era when fashion's influences are rapidly decamping between art, history, and pop culture, that's certainly no bad thing. Commencing from the reference point of the American workshirt, Tang & co continually tweaked the Taskmaster until they arrived at something suitably "fast-adapting" for a mixture of modern urban situations. It's for working, for loafing, for when you're stuck at home working on your loaves.

Almost by necessity, that makes this different to the scores of workwear designs which have come before: the body is shorter and slimmed for a closer fit, ensuring it wears well even whilst tucked beneath a trouser waistband; whereas the chest pockets have been expanded to handle the tools of modern professionals -- two oversized, postbox-style shapes roomy enough to stash your phone, spectacles, currency or even a palm-sized writing aid.

Intriguing choices in fabric are a signature at The Anthology, and the Taskmaster is no exception in this regard. For the Taskmaster, the brand has chosen to keep its sartorial sensibilities low-key, working closely with its Italian textile partners on a corded glencheck that juxtaposes a sumptuous handle with hardwearing, robust externalities. I say 'low key' since the colour here has enough degrees of separation to isolate it from the exploded plaids we're used to seeing on the high street. According to Tang, this corduroy begins life as a dusty beige cotton that's woven over with cords, shaded in what he likes to call "bleeding fountain pen". Collectively, those colours are redolent of a quill and ink -- an allusion, very nearly imperceptible, to The Anthology's blue feather logo.

The 'Taskmaster' overshirt is now available for HK$3,300. To learn more, visit The Anthology online.

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Women-owned start-ups have been breaking barriers for some time now, fighting gender inequality that still exists in the entrepreneurial business.

Overcoming such struggles, many women have found success across industries like beauty, health, fashion, and technology. Their success stories have inspired others across generations and borders to make their mark as entrepreneurs while solving problems and supporting other women.

This Women's Day, we look at some of the most successful start-ups led by ladies across the globe.

Emily Weiss, Glossier

This New York-based beauty and make-up brand that creates a wide array of minimalist products — from skincare to makeup to fragrances — was founded by American businesswoman Emily Weiss in 2014. Her inspiration came from the information gathered on her blog Into The Gloss, which featured interviews of women discussing the products they loved.

The e-commerce site rose to success with the help of smart social media marketing with her “direct-to-consumer” approach, obtaining a loyal customer-base in the process. In its first year, the brand raised more than US$10 million in venture backing. As of 2019, it raised US$100 million in Series D funding and was valued at US$1.2 billion, according to the Wall Street Journal.

Weiss says she wanted to make beauty as much of an element of personal style as fashion. Today, celebrities like pop superstar Beyoncé, comedian and actor Tiffany Haddish and even US Congresswoman Alexandria Ocasio-Cortez are known to have sported the Glossier look.

Falguni Nayar, Nykaa

Falguni Nayar founded Nykaa, an Indian retailer of beauty and wellness products, in 2012. Nayar was a managing director at Kotak Mahindra Capital Company and embarked on the journey of becoming an entrepreneur after quitting her job at the age of 50 to join the world of start-ups.

Today, Nykaa markets over a thousand brands — from luxury and high-end to affordable and high-quality ones. It also has its own brands such as Nykaa Cosmetics and Nykaa Naturals. In 2019, it also collaborated with Bollywood actress Katrina Kaif to launch Kay Beauty. In the same year, the company crossed a valuation of a billion dollars.

Melanie Perkins, Canva

The online design and publishing company was co-founded by Australian entrepreneur Melanie Perkins in 2012 with her boyfriend Cliff Obrecht. While teaching other students how to use Photoshop and InDesign, alongside studying at a university in Perth, she realised many found the tools hard to learn and use. So, as an easier alternative, the pair started a graphic design website that is made especially for non-designers.

Canva's free-to-use, easy drag and drop approach to design has made it popular around the world and has more than 30 million users. They also have several templates created specifically for various social media posts and there is a premium version as well, which is paid. In June 2020, the company announced a new valuation of US$6 billion, after a US$60 million funding round, making it one of the most successful start-ups on this list.

Jenn Low, Wanderlust + Co

In 2010, Jenn Low launched the jewellery brand after noticing the lack of options in the mid-priced, luxury designer-looking affordable accessories market. She has an Accounting and Communications education background and has also worked in fashion merchandising for a few years before starting her company.

Based in Kuala Lumpur, all departments of Wanderlust + Co — including design and operations — are run by women. Marketed towards “today’s global digital girl,” Low’s jewellery has been worn by Gigi Hadid, Chrissy Teigen, Jessica Alba and Kendall Jenner. The brand’s products are stocked in over 400 stores around the world, with a majority of its customer base in the U.S.

Gillian Tan, Clicknetwork

Gillian Tan founded the online TV channel in 2007 as a hobby. She started the then-one-woman show with a small loan from her mother, an old Macbook and a mini video camera. Today it is one of the most viewed and subscribed YouTube channels in Singapore. It also became the first in the country to hit a million subscribers in 2017.

Clicknetwork produces lifestyle videos on beauty, travel and shopping, as well as web series on health and fitness, parenting and comedy. In a 2011 interview, Tan said that “being a female director has its merits”, especially in “pushing the boundaries” with female talent, and that women feel more comfortable working with other women.

Elsa Bernadotte, Karma

Elsa Bernadotte co-founded Karma in 2015. The app helps restaurants and grocers avoid food waste by selling the surplus to people at a lower price, instead of throwing it away. The inspiration behind start-ups struck when the founders realised that no one was addressing the issue of food wastage on a global scale. Today, the company operates in over 150 cities across Sweden, London and Paris.

As of February 2020, it has helped save 900 tonnes of food from being wasted. The company also raised US$12 million in its Series A funding, for its mission to avoid food waste around the world. Bernadotte was also named in Forbes list of “30 under 30” of social entrepreneurs in 2018.

Ida Tin, Clue

This Berlin-based company was co-founded by Danish entrepreneur and author Ida Tin in 2012. Clue is an app that helps women track their menstrual cycle, along with the fertile and ovulation windows. Tin also coined the term “FemTech,” used to address technology that focuses on women’s biological needs.

As of 2018, the app had over 10 million active users across the world. Tin built the app with her partner Hans Raffauf because she wanted to help women remember their period start and end date and symptoms or any hormonal changes observed during the time. Though the app was founded before she had any children, she used its features to help conceive her second son. In 2016, Clue raised US$20 million in Series B funding.

Devita Saraf, VU Technologies

Devita Saraf founded VU Technologies in 2006 at the age of 24. The company, with a revenue of $130 million, makes premium, affordable televisions that can also be connected to a computer, used for workouts and even gaming. Today, VU is one of the fastest-growing television brands and has sold over 3 million units worldwide.

Saraf was included in Fortune's Top 50 Most Powerful Women in India (2019) and recently featured in IIFL Wealth Hurun India 40 & Under Self-Made Rich List of 2020. Along with being the chairperson and CEO of her company, she is passionate about fashion as well. She has modelled for Indian clothing and jewellery brands, featured in VU's ad campaigns and graced magazine covers.

(Hero and featured image by Christina @ wocintechchat.com on Unsplash)

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Filmgoers have long been captivated by thrilling car chases and spectacular stunts on screen, some of which often become scene stealers.With franchises like Fast & Furious and Transformers going on to make millions at the box office, it’s safe to say Hollywood has produced its fair share of memorable cars over the years. Let’s look back at some of the most iconic cars in film — which are held in high regard by cinema- and auto-lovers alike.

Most iconic cars in famous Hollywood movies

Aston Martin DB5 in James Bond films

[caption id="attachment_214480" align="aligncenter" width="1024"] Sean Connery during the filming of Goldfinger. (Image: David Dekkers/Facebook)[/caption]

We begin with the one that still gets pulses racing for Bond fans. The car was driven by Sean Connery in Goldfinger in 1964, and became instantly famous for its gadgets such as a smoke screen, oil-slick sprayer and machine guns. The original DB5, which was also featured in Thunderball in 1965, sold for US$4.6 million in 2010. Aston Martin announced in 2020 that it will manufacture 25 limited edition DB5s, each with a price tag of US$3.5 million. Most of the cars were already sold even before they rolled out of the assembly line.

Audi R8 in Iron Man

[caption id="attachment_214221" align="aligncenter" width="607"] Robert Downey Jr. as Tony Stark. (Image: IMDb)[/caption]

Tony Stark aka Iron Man drives around in an Audi R8 in the first Iron Man film, which released in 2008. The car reflected the insouciance and intelligence of the character played to perfection by Robert Downey Jr. Perhaps this is why fans of both the superhero and the car get to see Stark use other variants of the R8 in subsequent films. What's more, Downey Jr. even took his association with the Audi into the real world by unveiling the Audi E-Tron GT in November 2018.

Chevrolet Camaro in Bumblebee & Transformers film series

[caption id="attachment_214223" align="aligncenter" width="1024"] The Chevrolet Camaro was the automobile version of the character Bumblebee in the Transformers series, and is now one of the most iconic cars in film. (Image: IMDb)[/caption]

How can we have a list about iconic cars in film without mentioning the yellow Camaro that was the four-wheeled avatar of Bumblebee? Among the many machines that have been part of the Transformers film series, the Chevrolet Camaro remains inscribed in the hearts of franchise fans and car lovers for both its stunning looks and the central role of Bumblebee. The car has appeared with a different facelift in each of the subsequent films of the series, and all have been received well.

1970 Dodge Charger in The Fast & Furious movie series

[caption id="attachment_214225" align="aligncenter" width="1024"] A modified Dodge Charger that appeared in the film The Fast and The Furious. (Image: IMDb)[/caption]

In 2001, Vin Diesel drove a 1970 Dodge Charger in The Fast and the Furious and got everyone hooked on the franchise with the high-octane thrill of this first film. Though cars — beautiful, powerful and fast — are at the heart of the long-running film series, the Dodge Charger's popularity among fans of the franchise made the makers modify the machine and bring it back in 2015 for Furious 7.

1968 Ford Mustang GT390 Fastback in Bullitt

[caption id="attachment_214222" align="aligncenter" width="1024"] Steve McQueen in one of the scenes from the film Bullitt. (Image: IMDb)[/caption]

The 1968 film is considered by cinema pundits as featuring one of the finest car chase sequences in film history. And the four-wheeler that played a defining role in that was the Ford Mustang GT390 Fastback — a dark green, two-door four-wheeler with a 390 cubic inch V8 engine. The thrill was made even more exciting with Steve McQueen as the man behind the wheels in the film. Fun fact: There were two identical Mustangs used for the chase scene and only one has survived, which was sold for US$3.4 million at an auction in the United States in January 2020.

1968 Austin Mk I Mini Cooper S in The Italian Job

[caption id="attachment_214219" align="aligncenter" width="1024"] A still from The Italian Job showing Mini Coopers racing down Turin. (Image: IMDb)[/caption]

Mini Coopers were famous even before the release of The Italian Job in 1969, but the film took the car's popularity to greater heights. The iconic climax sequence shows the protagonists fleeing with gold in the trunks of three Minis in red, white and blue, which navigate everything from stairs to boulevards and tunnels as authorities mount a massive chase in the picturesque city of Turin. The 2003 remake, too, was a thrill to watch with the new Mini Coopers running down the streets of Los Angeles.

1969 Ford Mustang in John Wick

[caption id="attachment_214218" align="aligncenter" width="1024"] A still from the film John Wick. (Image: IMDb)[/caption]

Besides the killing of his dog, it is the theft of his 1969 Mustang that forces John Wick to come out of retirement and go on a revenge spree that transcends three magnificent action-packed films. The Mustang appears in the first film, released in 2014. Classic Recreations, a workshop based in Oklahoma, US, entered into a partnership with Ford in 2020 to make replica models of the muscle car. The car has a Ford 32-valve 5.0-litre Coyote V8 engine.

1967 Shelby Mustang GT500 in Gone In 60 Seconds

[caption id="attachment_214217" align="aligncenter" width="1024"] Nicholas Cage in Gone In 60 Seconds. (Image: IMDb)[/caption]

The Shelby Mustang GT500 was the ultimate prize that Nicholas Cage's character coveted in the 2000 heist flick Gone in 60 Seconds. Dubbed as “Eleanor” in the film, it is considered as one of the most iconic cars to have raced on screen. Its 1967 original had a 428 cubic inch (7.0 litre) V8 engine producing 355 hp that went 0-100 km per hour in 6.5 seconds. A similar car can be custom-built at the Los Angeles-based Fusion Motor Company.

Subaru WRX in Baby Driver

[caption id="attachment_214216" align="aligncenter" width="966"] A chase sequence from the film. (Image: IMDb)[/caption]

This is the car that Ansel Elgort uses for quick getaways in the 2017 film Baby Driver. The modified 2006 Subaru WRX performed beautifully, in tune with the soundtrack during a particular chase scene, and in the process pocketed its own share of a fan following. Some of the cars used during the filming were sold on eBay. The car is an all-wheel drive with a 2.5 litres H-4 engine.

1981 DeLorean DMC-12 in Back To The Future film series

[caption id="attachment_214224" align="aligncenter" width="1024"] The DeLorean DMC-12 was depicted as a time machine in the film series. (Image: IMDb)[/caption]

There aren't as many cars that have attracted as much attention as the iconic futuristic four-wheeler with gull-wing doors in the Back to the Future film series. The V-6 engine was originally replaced with a V-8 from the Porsche 928, and the car was basically a time machine in the films. Unfortunately, its cinematic success failed to contribute to sales and the company was wound up before the end of the 1980s. But reports last year from CNET and The Manual revealed that the car might make a comeback in 2021.

Porsche 911 Carrera 4S in Bad Boys For Life

The car is the highlight of a chase sequence from Bad Boys For Life, the third instalment of the Bad Boys film series which was released in 2020. Will Smith drives the sleek machine as he gleefully speeds down the roads and beach in Miami while “navigator” Martin Lawrence is only too eager (hilariously) to get out. A Porsche 911 Carrera 4S comes with a 6-cylinder 420hp rear engine that delivers a top speed of 305 km per hour. Its acceleration is 0-100 km in four seconds.

(Main and featured image: IMDB)

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In a series of exclusive interviews with Australian brands making waves around the country and the world and featured in DesignInspire virtual fair, we delve into the city’s diverse and vibrant creative scene.

As the final stop of our journey, we talk to Jonathan Yap, Lead Product Design Engineer of groundbreaking headphone brand Nuraphone and Nimrod Weis, Creative Director of ENESS, which delivers mesmerising transformational art experiences through technology.

Nuraphone

Tell us about your work and how you started your career in design.

I’ve always been enamoured by physical products and, to this day, I am still taken aback by the power of good design and its ability to foster emotional connections with objects that to go beyond the superficial. This is a concept that was taught to me during my industry experience placement in high school, which not only laid the groundwork but cemented my career trajectory in product design. 14 years later, I now help to co-pilot product development at Nura alongside our CTO, with a particular focus on Industrial Design and Mechanical Engineering-related activities.

What are your daily inspirations?

Like everyone at Nura, I’m continually driven by the transformative power of music and our technology’s ability to enrich lives through immersive listening experiences. But beyond that, most of my inspiration comes from the incredible team we have assembled and that I have the honour of working alongside every day.

What does the concept “Design for Good” mean to you?

This is a question that has way too many layers to answer in a couple of lines. However, at its core, I believe Design for Good means to deliver solutions that genuinely impact lives in positive ways, whether it's directly, through tangible product outcomes; or indirectly, through initiatives such as sustainability-related process improvements.

Do you think that design – and more in general art and culture – can be useful tools to better societies?

Absolutely! Although I believe design initiatives must be supported by policy to really accomplish its biggest impact. Take Victoria’s urban design sector for example – green building design and water sensitive urban design has been incorporated as a standard practice, with environmentally sustainable development principles written into Victoria’s planning guidelines to meaningfully impact our city of tomorrow.

How do you think the design and art scene differs in Melbourne compared to Hong Kong?

To be honest I think Melbourne and Hong Kong’s design scenes are actually more similar than dissimilar. I believe this is mostly due to the multi-cultural makeup of our populations, alongside a shared focus on export services. In Melbourne, this is driven by our geographical location, whereas Hong Kong’s is primarily perpetrated by its status as an international business hub.

2020 has been a tough year for pretty much every sector. According to many, the creative industries were not given enough support and importance. Would you agree?

2020 was a tough year for everyone, and I believe that applies for policy makers as well. As such, I think it is a little unfair to comment on what must have been some extremely tough decisions made by people in positions that I do not envy. That said, at Nura, creatives make up the foundation of everything we do, and we recognise the impact they have on translating extremely complex, technical requirements into clear, understandable product solutions. I am extremely proud of the initiatives implemented by the company to ensure our entire team, not only creatives, were genuinely supported through this remarkably tough time.

How did you cope with the pandemic’s challenges? What helped you?

Being in lockdown for months definitely took its toll, but luckily, I’ve been making awesome Techno music poorly since I was 18 so that’s always been a great escape for me (maybe not so much for my neighbours). I’m also very thankful for the amazing support of my friends, family, and Netflix to help me get through it.

What’s next for you as a designer in 2021?

We have a few exciting things in the pipeline, but I would probably make many people unhappy if I were to tell you. But for me personally, I’m incredibly excited to be continuing my Nura journey to help redefine how humanity experiences music by really focusing on putting the user at the centre of all design choices to maximise the impact of delivering the ultimate listening experience and to continue to touch lives in a way that only music can.

Is there any particular trend that you see becoming relevant next year?

Despite 2020 being an incredibly tough year, I think the international lockdowns have actually helped illustrate humanity’s impact on the environment and brought sustainability back to the forefront of the conversation. I really hope this continues into 2021!

ENESS

Tell us about your work and how you started your career in design.

I was very impacted by my grandpa’s approach to art and life. When I as a kid he would take me out into the Negev Desert in Southern Israel to show me his sculptures. That experience of encountering art in the desert – the strangeness and uniqueness of it has stayed with me throughout my life. When I was a child it gave me the feeling that our world could be wonderful and unexpected. I always wanted to be a designer because I most naturally communicate through visuals.

Then I studied Graphic Design at Monash Uni and, although it wasn’t quite what I wanted, what I really gained was that as a discipline, design needs to communicate to the masses. It is a visual communication tool that needs to be accessible to everyone, to speak to all walks of life. Accessibility is very strong in ENESS’ work. We try to create works that communicate simply and boldly to a general audience.

What are your daily inspirations?

I am always looking at objects, nature and even products to see if I can transform these executions into something else. I also really love transforming small pieces of gimmicky technology (like the mechanism of a lucky cat, for example) into different and more advanced designs. I am also of course inspired by the people around me.

What does the concept ‘Design for Good’ mean to you? 

For ENESS, ‘Design for Good’ relates to connecting people in public spaces in new and unexpected ways. We’re interested in challenging public realm and city spaces with new forms of engagement. This accessibility helps people who have no regular access to art, because we’re bringing art to the streets and to new audiences.

We are really proud to be making one object or piece that can be shared by many people, rather than making and selling thousands of products to be used by one person only.

Do you think that design – and more in general art and culture – can be useful tools to better societies?

Yes definitely. Great artistic outcomes can provide individuals and societies with optimism and hope and new ways to think about reality and people’s present circumstances – basically new ways of approaching life.

How do you think the design and art scene differs in Melbourne compared to Hong Kong?

Hong Kong is a very progressive art city. You see a lot of eagerness and energy towards exploring ‘the new’ in artistic circles. There is also so much experimentation from fashion to art. Cultural institutions in Hong Kong really help artists and designers with what they are doing.

Similarly, Melbourne identifies as a creative city, and therefore it really assists creative people with opportunities.

2020 has been a tough year for pretty much every sector. According to many, the creative industries were not given enough support and importance. Would you agree?

The act of creating is a very primal activity and during lockdown many creative and non-creative people were stimulated to create. There was also a thirst for new images, new ideas – inspiring ways of looking at the world and art played a big part in this.

How did you cope with the pandemic’s challenges? What helped you?

Actually, in running a creative business for 20 years, the pandemic wasn’t too much of a challenge – it was just a different sort of challenge. We are very nimble and we work across different types of industries and so by operating according to a start-up mentality we were able to pivot more easily.

What’s next for you as a designer in 2021?

We have a large-scale project on at the moment that has the capacity to stimulate engagement with art in a bigger scale. We are very excited about this because it is both contextual and has great integrity in terms of the broad artistic intent as well as the execution of each individual artwork. We are also now using multiple mediums that are diverse, unusual and technologically groundbreaking.

Is there any particular trend that you see becoming relevant next year or, are we saying goodbye to any trend you can’t wait to get rid of?

Asian cultures have always been mindful of people around them by wearing masks when they are sick. I am hoping that the trend of wearing masks when we are sick – as a compassionate act towards others – is now here to stay in Western cultures as well.

Fashion-wise, I think it’s time to clean up a bit! I personally have fallen into the habit of wearing old jeans to work every day because there are no face-to-face meetings.

For more information visit DesignInspire. Access to DesignInspire ONLINE is free for both trade and public visitors

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