Asia’s Most

September 2022 $45

Stylish
Meet Beatrice Ho and
nine other individuals who
prove that style is more
than just what you wear
 Liens Collection

YO U R S TO R I E S O F LI E N S

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 Around Asia
Meet the inspiring people featured in
Tatler’s regional titles

TATLER HONG KONG TATLER PHILIPPINES

In an exclusive interview, As we celebrate our 21st
former Gurkha-turned- anniversary at Tatler
mountaineer Nimsdai Philippines, we spotlight
“Nims” Purja, star of the eight style sensations, from
hit documentary 14 Peaks: seven-year-old Scarlet Snow
Nothing is Impossible gives Belo to Tessie Singson TATLER SINGAPORE
updates on his latest project, (aka Lola Androgynous). For Shabnam Arashan,
the Big Mountain Clean-Up, We also catch up with on the cover this month,
which saw him and his Atasha Muhlach, the style extends beyond
team removing rubbish Philippines’ representative what you wear to the
from Mount Everest’s “death to November’s Bal des way you decorate your

zone” this spring. Débutantes, one of the most
anticipated society events of
the year.
PHOTOGRAPHY DARREN GABRIEL LEOW (SINGAPORE); ARTU NEPOMUCENO (PHILIPPINES); HERI B. HERYANTO (INDONESIA) IMAGE SANDRO GROMEN-HAYES, COURTESY OF ELITE EXPED (HONG KONG)
home, the restaurants
you go to and the books
you read. Arashan offers
some sartorial tips and a
look inside her enviable
collection of couture
dresses.

TATLER MALAYSIA
September’s cover
star is Linda Chen,
fashion retailer Bonia’s
stylish marketing
and communications
director, who talks
about her career
journey, how her
evolution as a person
informs her current SHANGLIU TATLER
fashion choices, and This month, Tatler meets
how she thrives in the award-winning actor Hai
face of adversity. Qing, whose latest film,
Return to Dust, sees her play
a victim of abuse in rural
TATLER INDONESIA China, a sharp contrast to TATLER TAIWAN
Rosa Vivien Ratnawati is her previous roles and a Designer Shao Yen Chen, of
the minister of environment statement of her ambitions London-based womenswear
and forestry from the beyond television, where she label Shao Yen, has enjoyed
department of solid waste, made her name. a rise to international
hazardous waste and fashion fame that has
hazardous substances included presentations at
management. In this issue, London Fashion Week,
she talks about how to curating a display window
manage waste in Indonesia for Selfridges department
and how to be an impactful store and a feature in Nicola
leader, especially in male- Formichetti’s pop-up in
dominated fields such New York, and creating a
as politics. bespoke dress for Björk.
He discusses his ten-year
Tatler career and future plans for
12 his brand.
 80 66
The Great
Rewilding 104
New dressing rituals
that ground you and
promote spiritual
wellness—and
freedom

124

PHOTOGRAPHY AFFA CHAN (ARTEM) IMAGES NOÉMI OTTILIA SZABO (MODEL), ANTOINE PIVIDORI (CARTIER)
DEPARTMENTS 34 The X Factor 40 The Emperor’s 53 The Weigh-In
12 Around Asia At the latest House Stories, New Groove Claudia Shaw and Derek
22 Editor’s Note four fashion experts Albert and Alex Yeung Chan debate digital versus
26 Contributors discuss the future of reveal the legacy they are in-person fashion shows
176 Alphabet City brand collaborations building with the Emperor
Group 56 Dining Over a Decade
36 To Bollywood Members of Black Sheep
THE SCENE and Beyond 44 At Ease Group share what makes
30 A Dino-Mite Affair Kishore Samtani talks Autopilot founders Antonia them tick
Michelle Ong’s about his new Web3 Li and Harris Chan finally
First Initiative project, Bollyverse step out of the shadows 60 Seriously Though
Foundation throws a Hong Kong’s first and only
palaeontological party 38 The Latest Fashion 50 Shaking Things Up all-femme comedy group is
The man behind digital Bartender Hnin Pwint shaking up the scene
32 A Holiday on fashion company Brand Aye brings flavours of
Home Turf New Vision appears Myanmar to Hong Kong 64 Rhythm of Life
K11 Musea plays host to on an episode of Tatler The Hong Kong Dance
Tatler Louis Vuitton’s Objets TV: Meta Versed 52 Power and Purpose Company premieres a new
Contents Nomades exhibition Jehan Chu reveals his production tracing the
14 catalyst for success roots of Korean dance
 September
124
Asia’s Most Stylish
Tatler presents the
Hong Kong list of the
individuals who have made
ripples in the fashion
world this year

76

PHOTOGRAPHY WILLIAMS + HIRAKAWA (TSANG) IMAGE SANDRO GROMEN-HAYES, COURTESY OF ELITE EXPED (NIMS)
152

66 It’s a Small World

STYLE 110 Watch News rock ’n’ roll Sheung
After All 76 Style News The latest from the Wan home
Artists immortalise Hong The latest trends, designers world of watchmaking
Kong’s disappeared sights and collaborations 166 A Man, Aman
in miniature form 116 The Wish List Vladislav Doronin shares
78 First Things First Everything you need to his beliefs on respect,
70 My Top Shot Steven Stokey-Daley on look your best this month growth and building
Photographer Hana Forrest finding a fan in Harry a hotel empire
chooses a misty scene as Styles and queering
her favourite image school uniforms
FEATURES 170 The Hotels that
152 Moving Mountains Style Built
72 Meet Gen.T 92 The Value of Vintage Record-breaking climber Places to stay with deep
Mazing Lee details her How is resale reshaping Nimsdai Purja sheds light roots in the fashion world
journey from retail to Asia’s fashion retail market? on his latest mission
wellness technology 172 Devil’s in the Details
104 Jewellery News 160 Artists in Residence Alvin Leung prepares to
Tatler All the news about David Peereboom and reopen Bo Innovation amid
Contents jewellery and gemstones Kirstin Mearns roll out the societal upheaval
16 welcome mat at their
 n
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ect
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Vice President SEBASTIEN LAMUNIÈRE

| Letter From the Editor |
Express Yourself
I used to think I was so clever, quoting Oscar Wilde’s
infamous line on how fashion was a form of ugliness so
intolerable that we had to alter it every six months. This
was back in my twenties, with a head full of English
literature and a wardrobe packed with clothes so ill-
fitting it doesn’t bear thinking about.
I was very sniffy about style, mainly because I had none.
I’ve changed my tune since—and my wardrobe.
I’ve come to appreciate fashion for its impact and
creativity; I’ve come to appreciate the difference between
fashion and style, and the key role the latter plays in
self-expression.
September is our style issue, and we’ve chosen this
month to launch this year’s Asia’s Most Stylish list
(p.124). The full list comprises 50 individuals across the
regions in which Tatler has a foothold, and the ten Hong
Kong honourees this year were chosen for a variety of
reasons: some for their timeless grace, some for tirelessly
pushing the boundaries. Our cover stars Beatrice Ho,
Jenny Tsang and Irene Chu each represent a completely
different take on the idea of “dressing to express”; each of
them has ample substance as well as style, and we hope
they inspire you with their flair, confidence and general
bad-assery.
We also dig deep into the resale movement in
fashion. Cherry Mui speaks to Bling Empire’s Jaime
Xie, as well as key people from Vestiaire Collective,
Hula, StockX and Fashion Revolution, to look into
the second-hand market and the impact—positive and
negative—that it has on the fashion industry. Also, is it
Tatler as sustainable as people make it out to be? Flip to p.92
22 to find out.
A digital fashion collection by
BNV and Avavav named A Break
From Gravity, which premiered
at Decentraland Digital Fashion
Week last year
If you prefer digital fashion over vintage, then check
out The Scene section this month. The Weigh-In (p.53)
sees Claudia Shaw from Chanel go head-to-head with
Derek Chan from Hong Kong-based Demo on whether
or not digital fashion shows can ever replace physical
fashion shows. I know what Richard Hobbs would have
to say about this: when we interviewed the founder
of digital fashion house Brand New Vision (BNV)
for Meta Versed (p.38), the visionary told us about
his plan to build a whole new virtual world that will
allow Web3 users to engage with fashion in a way not
currently possible.
These are just some of the many stories in this issue
that balance the frivolity of fashion with something
more compelling and meaningful, due in no small part
to the thoughtful and innovative people involved. As
fashion designer Marc Jacobs once said, “clothes mean
nothing until someone lives in them”.
Perhaps I’m too fond of inspirational quotes, but
maybe that’s just my style.
IMAGE ALVIN GOH AND MORGAN HUNG (TSANG)
—Jacqueline Tsang, editor-in-chief
 The Guest List
ARIANNA PIANCA
Swiss Italian stylist Arianna
Pianca started her career
in Milan, before refining
her skills in London and
New York. Since 2018,
Pianca has lived in Zürich,
where she works with many
different clients, consults
for smaller local brands
and collaborates with
large international houses.
She styled the September
fashion photo shoot. (p.80)
Tatler
26
NOÉMI OTTILIA SZABO
Noémi Ottilia Szabo is
a photographer from
Switzerland, where she
photographed this month’s
fashion shoot. Her career
started “accidentally” after
a fashion stylist discovered
her work on Instagram.
Since then, she has grown
her portfolio while building
a career working for
international brands and
publications. “My main
sources of inspiration are
my model, the light and the
location I’m shooting in. It’s
different on every shoot,”
she says. (p.80)
MIKE PICKLES
Hong Kong-based
photographer Mike Pickles
has more than a decade
of experience working for
brands including Cathay
Pacific, British Airways and
Aman Resorts. This month,
he photographed the
Bitches in Stitches comedy
collective in Hong Kong.
(p.60)
EVA SZE
Hong Kong-born and
-raised artist Eva Sze uses
her paintbrush to capture
the beauty and charm of
her home city, and created
our final Alphabet City
illustration. She is especially
fond of acrylic painting
and urban sketching, and
specialises in cityscapes,
including street views, shop
fronts, heritage buildings
and historic architecture.
She says capturing these
scenes enhances her
appreciation of the beauty
of her surroundings and
encourages her to learn
more about the stories of
the city. (p.176)
A collective of Hong Kong’s
female comedians takes up the
mic, Antonia Li and Harris
Chan unveil themselves as
the creators of Autopilot, and
PHOTOGRAPHY AFFA CHAN (SAMTANI)

artists immortalise the city’s

sights in miniature
Kishore Samtani, founder
of the Web3 project
Bollyverse. Opposite
page: digital fashion by
Brand New Vision
 A Dino-Mite Affair
When Michelle Ong,
chairman of the First
Initiative Foundation
(FIF), puts her mind
to something, neither
pandemic nor typhoon can
stand in her way.
On July 6 and 7, Ong’s
annual fundraiser came
back with a bang. This
year, it was The Big Eight:
Dinosaur Revelation, which
warranted eight fossilised
dinosaur skeletons being
flown to Hong Kong for an
extraordinary showcase of
the true magnitude of these
prehistoric creatures.
On display until
November at the Hong
Kong Science Museum,
the exhibition boasts an
unrivalled number of
8 Kong. From a scientific
original fossils and some
world premieres: namely
the only scientifically
accurate spinosaurus
skeleton in the world and
the largest triceratops
skeleton ever unearthed.
“What you are seeing
here is really the greatest
show on Earth, as far as
dinosaurs are concerned,”
said visiting palaeontologist
Nizar Ibrahim, who
could hardly contain
his excitement during a
preview tour of the fossils.
“It was challenging to do
this: like trying to assemble
all of the most famous
paintings [in the world]
at the same time. These
[fossils] are the Mona Lisas
of the dinosaur world, and
they are all here in Hong
point of view, these are
the crème de la crème of
dinosaurs. We couldn’t be
happier.”
Fossils from the US,
Romania, Morocco and
private collections in
Switzerland and Germany
were pieced together to
create the visual story.
“There are so many ways
this exhibit could get into
the Guinness Book of World
Records; it’s really mind- 1
blowing,” Ibrahim added.
VIPs who attended 2
the opening were invited
to a series of intimate
lunches and dinners at
the museum to celebrate.
In keeping with the dino
theme, namecards, table
settings and the decor were
4

6
1. Amanda Cheung, Michelle
Ong, Jennifer Cheung and
Adrian Cheung 2. Charmaine Ho
and Lucas Lam 3. The star of
the show: a chocolate dinosaur
by chef Smita Grosse
4. Cecilia Yeung 5. The
exhibition featured rare fossils
from around the world, including
this spinosaurus 6. Yvette Ho
and Michelle Ma-Chan 7. Emily
Lam-Ho 8. Rosanna Wong and
Andrew Lau 9. Timothy Yu 10.
Sherman Tang, Ming Ho-Tang
and Christopher Chan 11. Faye
Tsui 12. Lianne Lam, Leta Lau
Tatler and Matthew Lam 13. Gin Lee
The Scene
14. Denise Lo 15. Elia Astorino,
Crisel Consunji, Niu Niu, Gui Li
30 and Wang Liang 16. David Kung

9
12
11 14 15
IMAGES GARETH BROWN/BLOW UP STUDIOS (1, 5) LAM KING YIN (2, 7. 13)
16
designed to reflect the most
famous dinosaurs to walk
the earth, swim the seas
and soar in the sky.
The dinner, themed
“Dinosaurs Unleashed”,
saw eight of the city’s
most respected chefs—a
combined 20 Michelin
stars between them—
prepare an extensive
culinary programme that
tickled tastebuds and let
imaginations fly. Vicky Lau
of Tate Dining Room, Siu
10
13
Hin-chi of Ying Jee Club,
Chan Yan-tak of Lung
King Heen, Grand Hyatt
pastry chef Smita Grosse,
Guillaume Galliot of
Caprice, Richard Ekkebus
of Amber, Eric Räty of
Arbor, Julien Tongourian of
L’Atelier de Joël Robuchon
and Wong Lung-to of
Forum all contributed to
making the meal one to
remember.
In between courses,
touching speeches were
made, including one by
FIF managing director and
Ong’s daughter Amanda
Cheung, and performances
by piano prodigy Niu Niu
and singing sensation Crisel
Consunji were projected
onto the LED screens
surrounding the dining
area. A silent auction also
had guests bidding on
watches, art and wine in
support of the foundation
and its initiatives across art
and education.
When Ong herself took
to the stage, she said: “On
this occasion, we have much
to celebrate. Only through
the unfailing commitment
of all our supporters to
uplift our community
can we continue to
provide meaningful
educational experiences
and programmes to benefit
Hong Kong. I wish you all
the most enjoyable day filled
with fun, surprises and
enduring mysteries of the
lost world.”
The highlight of the day
was the edible chocolate
dinosaurs that arrived on
each table. Prepared by
Chef Grosse, the detailed
dino confections made the
perfect Instagram moment,
with guests posing with
their sculptures, but many
were too nervous to tuck
into the masterpieces. It
was a roar-some occasion
with belly laughter and
a truly once-in-a-lifetime Tatler
experience for many in The Scene
attendance. 31
 1 2 3

A Holiday
4 5

on Home Turf
On July 14, swarms of Lam and Olympic swimmer
the city’s biggest fashion Stephanie Au, each of whom
influencers descended often travels for work but
upon K11 Musea’s Arts and has been grounded due to
Cultural Centre to glimpse the pandemic, basked in
the latest iteration of Louis the transporting nature of
Vuitton’s annual Objets the event, which evoked
Nomades exhibition, a the most exciting aspects of
collection of travel-inspired travel. Both spoke to fans
furniture and objects made and members of the press
by international designers. about their favourite pieces
The invitation-only event from the collection and
saw the sixth floor venue at where they imagined placing
the Victoria Dockside retail
destination transformed into 6 7
a kaleidoscopic wonderland
of blue, pink, green, orange
and purple, creating an
arresting showcase of pieces
and guaranteeing mass
Instagram exposure.
The fashion set showed
up in force: Elva Ni arrived
dressed head-to-toe in the
French brand and posed
alongside the limited-edition
Tatler furniture pieces, holding
The Scene the gaze of assembled
32 paparazzi. Actress Karena
 8 9 10

11 12 13

these items in their own
home.
Since the launch
PHOTOGRAPHY ANNA KOUSTAS (1, 3, 6, 7, 9, 10, 13, 14)
at the entrance of the
exhibition, setting the stage
for Asian talent to present
the latest innovations in
home furnishings.
London-based designers
Raw Edges returned to
Objets Nomades with
their Cosmic Table, a disc
of bevelled glass set atop
a futuristic, interlocking
carbon-fibre base. Vuitton’s
14
Campana, aka the Campana
Brothers, delighted the eye
and ignited the imagination
with their pieces, including
the enveloping Bulbo
lounge chair (affectionally
known as the Game of
Thrones chair among the
Tatler team), the rainbow-
hued Aguacate Multicolore
artwork crafted from
leather straps, and their

of Objets Nomades in iconic monogram flower Merengue pouffes, designed

2012, Louis Vuitton has
collaborated with designers
from around the globe.
Creative director Frank
Chou is a new name to the
Objets Nomades ranks,
and his striking Signature
Armchair and Sofa debuting
this edition felt momentous.
received a redesign by the
Marcel Wanders Studio,
another frequent Objet
Nomades collaborator
known for whimsical
creations. Here, the studio’s
Petal Chair took the shape
of a blooming flower.
Finally, São Paolo-based
to evoke the swirls and folds
of meringues, in calfskin
and wool.
The show brought a
sense of wanderlust back
to the city by recreating
excitement around travel
again. Around the world
in 80 minutes? Jules Verne
1. Karena Lam 2. Candice
Chan-Chao and Leonard Chao
3. Stephanie Au 4. Denise Ho
5. Esther Sham 6. The
exhibition was held on the sixth
floor of K11 Musea 7. Angus
Tsui 8. Marisa Yiu 9. Elva Ni
10. Aguacate by the Campana
Brothers 11. Helen Ma
12. Edwin Chuang 13. Queenie Tatler
Mak and Francis Cheng
14. A snapshot of Louis
The Scene

His pieces were positioned Fernando and Humberto would be impressed. Vuitton’s travel collection 33

1
The X Factor
On July 27, Tatler’s House
Stories came back with
a flurry of fashionable
discussion at The Upper
House’s Sky Lounge. This
edition of the panel series
looked at the future of
brand collaborations and
what they will mean for
consumer interest over
time, creating an arena for
debate between Victoria
Tang-Owen, founder
and creative director of
collaborative platform
Victoria Tang Studio; SK
Lam, founder of creative
studio, AllRightsReserved,
accompanied by the
company’s project manager,
Lammy Tsui; and Anaïs
Mak, the fashion designer
behind Anaïs Jourden.
According to online
marketplace StockX,
brand collaborations have
Tatler increased by 200 per cent
The Scene in the past two years across
34 fashion, art and food and
drink. With a new wave of
collaborations rising and
even luxury brands uniting,
the panel looked at what it
meant to go beyond “X”,
a letter that has become
shorthand for when brands
join forces. Moderated
by Tatler’s fashion
director, Cherry Mui, the
conversation looked at how
brand collaborations have
evolved and the process
of choosing the right
collaborative partners.
“The pioneering brand
collaboration was the
Takashi Murakami x
Louis Vuitton crossover.
It truly opened the gates
for artists and fashion
brands to work together,”
Lam said, referring to the
famous spring/summer
2003 collaboration,
which saw Murakami
remodel the French
fashion house’s signature
monogram collection with
3
2
between the artist Kaws
and apparel brand The
North Face to install a
Kaws snow sculpture in
Changbai Mountain in
his distinctive colourful mainland China.
palette. The collaboration “It’s always easy to
was an eye-opener for many come up with an idea,
working in the creative but the challenge is the
industries regarding the execution. Having respect
endless possibilities for for the person you are
crossover between brands collaborating with is so
and artists. important,” said Tang-
Over the years, Lam’s Owen, who worked with
company has mobilised Dior Men’s artistic director
PHOTOGRAPHY AFFA CHAN
its vast network within Kim Jones on the brand’s
contemporary art to pre-fall 2021 virtual show.
engineer the most relevant Tang-Owen was tapped to
and potent projects, such lead the project and source
as a recent collaboration artisans from mainland
4 5
7 8
9 by doing something
China for the show, which
10 was originally slated to
be held in Beijing. “What
we wanted to do was
reinterpret Chinese craft
in a modern way. I needed
to inject new sensibility
into a modern-day context
without it [feeling like a]
cliche,” she said.
Later this year, Tang-
Owen will collaborate
with accessories brand
Kipling. Though details
are still hush-hush, the
thought process behind
1. From left: Anaïs Mak,
SK Lam, Cherry Mui,
Victoria Tang-Owen
and Lammy Tsui
2. Susanna Cheung
3. Abby Cadman
4. Justin Ng 5. Shiva
Shabani 6. Victoria
Tang-Owen and Sarah
Fung 7. Christopher
Owen 8. Karie Cheung
9. Anaïs Mak 10. Jerry
Wong 11. Alexandra
6 Seno and Forum Li
11
the collaboration remains
the same, she said, though
designers must identify
new angles to grab people’s
interest in a crowded
field. “People are so spoilt
these days. They see new
collaborations and new
drops all the time. How
do you get people
interested? I think it’s
genuine and new. I can’t
tell you how I look for
collaborators. It’s about
the right time, meeting
the right people and the
synergy between us.”
Mak, who has previously
collaborated with Nike
and fine jewellery brand
Emphasis, agreed:
“Collaborations should
always start with mutual
respect and genuine interest
in each other’s craft. The the next generation of
goal should be to push talent. “Collaboration is
innovation forward in a a strategic way to enlarge
way that both sides haven’t your audience. Look at
been able to experience the Fendace collection
before,” she said. [this year’s Versace and
Other topics included Fendi collaboration].
brand collaborations in the These are two houses that
metaverse—a topic that came together and broke
prompted Tsui to gush over barriers,” Tang-Owen said.
RTFKT, the Nike-owned “They weren’t competing
digital collectibles studio; with each other. Creativity
how collaborations with came first. We’re on the
bigger labels threaten tip of the iceberg for Tatler
the creativity of small collaborations, and there is The Scene
brands; and nurturing so much more to come.” 35
 | One to Know |
To Bollywood
and Beyond
Business magnate Kishore Samtani’s love for Indian
cinema has entered another dimension. He talks
about his new Web3 project, Bollyverse, and how he
plans to take it global By Tara Sobti. Photography by Affa Chan
When Kishore Samtani
was a young boy living
in Mumbai, the world’s
most prolific centre for
film production, the
influence of Bollywood
was all around him. The
creative energy of the
industry excited Samtani,
and the magic of theatre
and the possibilities of
the worlds that could be
created would inspire him
as an adult to launch a new
project to bring his beloved
Bollywood into the
Web3 era.
In March, Samtani
launched Bollyverse,
a one-stop source of
entertainment for all
Bollywood lovers in the
metaverse, meeting a
need in the space he felt
was unfulfilled. “Indian
representation is important.
Now, everyone will get to
experience the richness
of Indian culture in the
metaverse,” he says from
New York in July, where he
was attending NFT NYC,
a Web3 symposium. In the
Bollyverse, users can attend
movie award shows and
Tatler concerts from the comfort
The Scene of their own homes, play
36 virtual reality games with
stars, buy from India’s
biggest designer brands,
and experience the glitzy
world of Bollywood by
interacting with celebrity
avatars.
The idea has taken off.
In June, Samtani flew
to Abu Dhabi for the
International Indian Film
Academy Awards, for which
Bollyverse was the official
metaverse partner. His team
captured content from the
stage rehearsals, red carpet
arrivals, award ceremony,
backstage and after party.
Using an avatar studio
and 3D motion tracking,
Bollyverse incorporated
every angle of the event to
create an interactive live
performance experience
that will eventually be
available on the Bollyverse
platform.
Samtani’s latest venture
leverages his connections
within the Indian film
industry, achievements in
business and prominent
status within Hong Kong’s
Indian community. After
moving to the city in
1989, Samtani became
a consumer goods
entrepreneur, founding
TV Products HK, a
manufacturer and
global distribution firm
for products from hair
straighteners to hoodie
blankets and toys for
children, now staffed
by a team of 140 across
Hong Kong and mainland
China. While making his
name within commerce,
Samtani retained his love
for Bollywood and passion
for promoting his home
country’s culture and
heritage. Since 2003, he has
brought Bollywood stars
to Hong Kong as part of
touring stage versions of
hit films, including Diwali
Dreams, Chandni Chowk to
China and Da-bangg.
“Until 2019 [before
Covid hit], I was putting
on a show every year. I
have a love for Bollywood,
and put on these shows to
keep our culture alive in
Hong Kong, especially for
the younger generations.
When Indians go overseas,
we sometimes forget our
roots,” he says. Throughout
his career, he has fostered
close friendships with
Bollywood stars: when
his eldest son Kunal got
married to Divya Vaswani
in 2018, Bollywood icons
Akshay Kumar and Salman
Khan were among the
1,300 guests in attendance
at a five-day extravaganza of
epic proportions in Phuket,
Thailand—billed as the
largest wedding ever to be
held in the country.
Samtani understands
the value of community,
a concept central to the
metaverse, as well as how
film, dance and music bring
people together. “I chose
Bollywood because that’s
my strength. I want to get
all of Bollywood together.
We aim to eventually have
partnerships that will give
us access to 2.5 billion
fans. We are bringing this
revolution to the masses
in India and beyond,
connecting brands and
consumers,” he says.
Beyond the Bollyverse,
Samtani already has his
sights set on a long list
of new projects, one of
them being an educational
course on the world of
Web3 to encourage younger
generations to learn about
the metaverse so they, too,
can tap into its potential.
He says, “The virtual world
is moving in parallel with
physical world. What the
internet was 20 years ago
is what the metaverse is
today, and it’s important
for [young people] to
understand how our world
is changing. I need to
work fast.”
Kishore Samtani
is taking his love
for Bollywood to
new heights
 | Meta Versed |
The Latest
Fashion
One man has a brand new
vision for the metaverse, and
it could make a world of
difference to the luxury scene
By Jacqueline Tsang
Luxury brands are flocking
to the metaverse, but
what are they actually
doing there? Richard
Hobbs, the man behind
Animoca-invested company
Brand New Vision (BNV),
appeared on an episode
of Tatler TV: Meta Versed
to discuss how far digital
fashion has come in virtual
worlds, and how much
further there is to go.
Hong Kong-based BNV
aims to be a gateway for
luxury brands and fashion
designers looking to enter
the metaverse, by working
with them to create digital
wearable collections that
will be interoperable across
different virtual worlds.
“It’s relatively easy
for people to enter this
space, but there’s a lot
more to it now: it’s not
just about creating or
selling an NFT; it’s about
the whole metaverse and
Web3 experience,” Hobb
explained. He pointed out
that while brands are keen
Tatler to enter the metaverse and
The Scene get involved, to offer better
38 customer service and obtain
additional engagement with
their fans and community,
one danger is that what
these people see in the
space so far “may not live
up to their standards and
expectations”.
“All the elements that go
into creating and building
a fashion brand—the DNA,
the history, the passion—
are not always synonymous
with technology, which
is often about speed and
scalability,” he said.
Decentraland and The
Sandbox are currently meantime, but that doesn’t
two of the biggest virtual mean you can’t present
worlds in Web3, and Hobbs fashion in the metaverse in
said that the former is the compelling ways,” he said.
best fit for fashion-related He also weighed in on
activations. He emphasised the pros and cons of fashion
that there’s still a lot to be events in The Sandbox.
done with technology in “The Sandbox is built
order for the metaverse around the concept of
experiences to match up play-to-earn, gaming and
with real-life expectations. earning rewards,” he said.
“Metaverse catwalk “[While it’s not] the best
shows will not work for place to show wearables,
the time being—there’s it’s about giving people the
still a lot of bandwidth metaverse experience where
and streaming that need they can walk around,
to be worked out in the engage and interact with

people—and we’re trying
to make that work in a
fashion-friendly format.”
It is precisely this sort
of online interaction that
got Hobbs and his team
thinking about a “fash-to-
earn” system. As BNV
starts building its own
metaverse, BNV World,
this concept of monetising
engagement is going to
play a central role in its
operation.
“We wanted to take
the real-world elements of
the fashion industry and
Digital fashion
produced by BNV in
collaboration with
brands. Clockwise from
top left: Avavav outfits;
Mishka gold cap;
Francis de Lara glasses;
AVAVAV boots; Jack
Irving garment
translate that into Web3,”
Hobbs said. He explained
that in the physical world,
for example, if you wear a
new outfit to an event and
people ask about it, you’re
essentially promoting the
product and advertising
the brand, but with no
monetary gain. In Web3,
this could be very different.
“If people interact with
you [in the metaverse], they
could be clicking on you
and finding out where you
got your wearable—they
can see it’s from this
designer, that there are
only a hundred of [this
wearable in existence], what
it’s currently trading for
and where to buy it. You’re
giving a lot of information
and you’re promoting for
that brand, and you could
be rewarded for that,” he
said. “Our ‘Fash coin’ and
the economy we’ll create
to support it enable that
to happen.”
When a player sells
NFTs, for example, a
percentage of that will go
into a treasury that enables
the reward structure; so the
more people who buy and
trade digital wearables as
NFTs, the more cash there
is in the system to be able
to reward promoters, be
they stylists, publications or
influencers.
The best part? No wear
and tear.
“If you borrow
something in real life, it
might come back damaged
or it may need to be dry-
cleaned,” Hobbs said. “With
a digital asset, it comes
back in exactly the same
condition as it went out.”
This advantage over real-life
goods, coupled with the
fash-to-earn business
model BNV is working
on, opens up a world of
possibilities for the savvy
influencer or whale.
“I could be a whale with
the most exquisite wearable
collection … [and I can] let
other people rent my stuff,”
Hobbs explained. “So you
could pay me in Fash to
rent digital sneakers from
me, and if you’re getting
engagements [at an event]
in terms of clicks, likes
and reactions, we share
that profit.”
Down the line, this
process could even
potentially increase the
value of the wearable,
good news for those who
also see NFT wearables
as investments. It’s an
ambitious idea with lots of Tatler
promise. Now, Hobbs just The Scene
has to build it. 39
Albert Yeung
and son Alex
are celebrating
the Emperor
Group’s 80-year
anniversary. The
duo look back on
their journey to
the top
| Time Travel |

The Emperor’s
New Groove
In May, Alex Yeung was appointed vice chairman of the Emperor
Group. As the family business celebrates its 80th anniversary,
Yeung and his father Albert tell Tatler about the legacy they are
building By Tara Sobti. Portrait by Simon Schilling
When Alex Yeung joined his family to open in 2023. and share their proudest moments
business in 2009, he knew exactly Now Alex has taken up the reins and biggest career mishaps.
what he was getting himself into. as the company’s third-generation
After all, he practically grew up leader, he hopes to take the business ALBERT YEUNG, CHAIRMAN OF
in the Emperor Group’s offices, to new heights while continuing EMPEROR GROUP
and spent every chance he could his philanthropic efforts in youth How did you first get your start in the
learning the tricks of the trade from development and protecting the family business?
the man who knew the company business’s storied history and legacy. In 1942, my father, Yeung Shing,
best: his father and the chairman In celebration of the Emperor opened the Shing On Kee Watch
of the group, Albert Yeung. Alex’s Group’s 80th anniversary, the team Shop on Shanghai Street in
recent appointment as vice- is launching a virtual tour this Kowloon. In 1964, I opened the
chairman comes as Emperor Group autumn that will be accessible to Observatory Watch Shop on
is celebrating its 80th anniversary, everyone, in collaboration with a Nathan Road and, eventually, set
giving the Yeung clan two reasons local social enterprise. The tour up the brand Emperor Watch and
to celebrate. will take viewers on a journey Jewellery to consolidate the business
Founded in 1942 by Albert’s through time to witness how the following the success of those
father Yeung Shing, Emperor group has played a defining role two shops. We have grown into a
grew from a small watch shop in in the history of Hong Kong, with diversified conglomerate consisting
Kowloon to an integrated group projects in locations including The of six listed companies on the
with diversified business units, Pulse, Repulse Bay’s beachfront Hong Kong Stock Exchange, with
which include property, financial shopping centre, and the revitalised our business footprint spanning
services, watches and jewellery, commercial complex 4 Kin Fat Lane across Hong Kong, mainland China,
entertainment, culture, hospitality, in Tuen Mun. Macau, London and Southeast Asia.
digital media and home living. “From Time to Timeless’ is the
The group fared well during slogan for our 80th anniversary,” What has been your proudest
the pandemic: despite challenging says Alex. “The number 80 has accomplishment so far?
economic conditions, the team meaning too: eight is a symbol of I am proud of the team spirit of
expanded the Emperor Cinemas infinite loops and zero is a circle my colleagues, which is amazing
business into The Lohas in Tseung that has no beginning and no end. considering the significant size of
Kwan O, Times Square in It’s a reflection of how our business our group. A number of our staff
Causeway Bay and The Venetian units work together as one.” For the across different business units have Tatler

in Macau. A new theatre brand, first time, the father-and-son duo sit been working shoulder-to-shoulder The Scene

Emperor Cinemas Plus+, is also due down for an interview with Tatler with me for decades. We owe our 41
 success to our people. My children
and I are in close contact with not
only our existing staff, but also those
who have retired.
What is your fondest memory of
your father?
I remember my father as a man of
action. He would roll up his sleeves
to tinker with watches and renovate
the shopfront. He could always
carry conversation easily with any
customer. He was also a fair and
strict father to me and my siblings,
and instilled in us the principles
of life and business that he firmly
believed in. These philosophies have
inspired all areas of my life.
What do you think your father would
say to you today, as the company’s
80th anniversary approaches?
I believe he would have been
satisfied with what we have
achieved, but there is always room
for improvement. Life is a journey
of continuous learning. I think he
would have asked everyone in the
group to keep up the good work and
set our eyes on the future.
What’s the best piece of advice your
father ever gave to you?
The importance of integrity, loyalty,
respect and impartiality towards our
friends. Also, that you cannot simply
judge a person by his appearance,
status or line of work. This piece
of wisdom has helped me cultivate
lots of goodwill and helpful
connections, which contribute to
the success of our group. My father
was the best mentor I had. When
I was a child, I would follow him
to his business meetings, where I
would learn first-hand the art of
doing business. He taught me to be
generous without worrying about
return, and that sometimes, today’s
loss can lead to tomorrow’s reward.
What was your biggest career failure
and what did you learn from it?
In 1983, I over-leveraged my business
and plunged into insolvency. After
Tatler an extremely difficult time, I finally
The Scene managed to save my business from
42 being liquidated by the banks, all
1
within two years. A company must
have ample cash flow to prepare for
the unexpected; only then can you
pick and choose your strategy. This
painful lesson forever changed the
way I do business.
Do you have any secret hobbies?
I am a great fan of movies. It’s my
favourite pastime. I usually watch at
least one movie per week at home;
it’s like stepping into a dream. That
is why we invested in the movie
industry: to offer people a window
to experience an alternative reality.
The first movie I invested in was
back in the 1970s called Encore,
starring Danny Chan, Leslie
Cheung and Mary Jean Reimer.
What is your hope for the future of
Hong Kong?
Having been rooted in Hong Kong
for 80 years, our group has gone
through many historic moments
with the Hong Kong people. Hong
Kong has always been inclusive,
open and diverse, and its people
always see opportunity in adversity.
I am confident that there will
be many more opportunities
for success in Hong Kong as the
economic growth roadmap of
mainland China unfolds.
2
3
ALEX YEUNG, VICE-CHAIRMAN
OF EMPEROR GROUP
Did you always want to work in the
family business?
When I was little, I would go to
dad’s office to pick him up from
work. I would run around the
office to help deliver documents. In
primary school, I already knew what
“HR” and “accounting” meant.
I would often hear dad chatting
about business with the other senior
members of the family. In high
school, my summer holidays were
spent interning with the company.
The group has always been part of
my life. It was only natural that I
chose to join straight after college.
Growing up, did you ever feel there
was a certain expectation of you?
Yes, and this very expectation has
become my motivation. The most
important thing is to make sure I’m
doing my part and the rest will fall
into place.

5 Kee Watch Shop, in the
4 6
7 emotions are involved?
8 afternoon has been a long-standing
What do you admire most about
your father?
“The will to win”—that is my dad’s
life motto. Life isn’t always smooth
sailing, and my father always taught
us to never lose the will to win. He
said that we had to stand on our
own two feet and not expect others
to come to our rescue. His tenacity
is an inspiration to us all. My dad
has always been my role model. He
plays doctor and fireman every day
in the company: doctor because he
listens to the pulse of the business
from various line managers, and
firefighter as he instantly comes
to the rescue of those in tricky
situations. I have been learning how
to be a doctor and a fireman from
him ever since I was a child.
Is working with family difficult,
especially when high stakes and
Our family meeting on Sunday
tradition of ours. More than 30
family members sit down together
to chat about life. This is how we
have built and cemented the family
bond. Family business succession
is about keeping everyone on the
same page on our family values and
reaching common ground through
candid conversation.
Out of the various industries
your family operates in, which is
your favourite?
Every business segment in our group
has its own characteristics and
appeal. Entertainment and culture
are the two segments that I have
been involved in the most. We’ve
digitised our Emperor Cinemas
experience by installing wireless
phone chargers in the seats and
by offering free digital ticketing.
Recently, we’ve ventured into the
metaverse, where we’ve built a
virtual community in The
Sandbox, which has a venue for
1. Albert Yeung at his
father's shop, Shing On
1950s 2. Albert and his
wife Semon Luk with
son, Alex 3. The duo at
a corporate basketball
game in 2019 4. Alex
attends a ceremony
for the Emperor Group
in 1993 5. Alex aged
six, accompanies his
father on a business trip
6. Alex is particularly
passionate about youth
development 7. Albert
with many of his former
staff. The chairman takes
pride in their close bond
8. Albert celebrates
the completion of the
Emperor Group Centre in
Wan Chai in 1993
digitised entertainment that brings
artists closer to their fans.
How are you preparing the company
for future generations?
Young people are my muses. I am
actively involved in youth work,
and I am currently the chairman
of the Hong Kong United Youth
Association. Young people are the
future, and it’s important to listen
to their ideas and help them realise
their potential. Understanding their
everyday lives is part of our market
intelligence.
What does the future of
entertainment in Asia look like
to you?
The rapid advancement in
technology and the digitisation
of entertainment are closing the
distance between artists and their
fans, giving way to new, immersive
experiences for our audiences. This
also opens windows of opportunity
for Asia to export music, movies and
drama into the international arena
and for cross-collaboration within
the creative industries. Riding
on the wave of the metaverse, we
are hoping to create new business
ecosystems in our entertainment
and cultural businesses.
Do you believe in luck?
Life is 30 per cent luck and 70 per
cent hard work. I am convinced that Tatler
life is not determined by sheer luck, The Scene
but by one’s will to be a winner. 43
 Antonia Li and Harris
Chan are taking the Hong
Kong apparel scene by
storm with their athleisure
brand Autopilot

Tatler

The Scene

44
At
Ease
After launching athleisure
brand Autopilot incognito,
friends-turned-business
partners Antonia Li and
Harris Chan finally step
out of the shadows for an
exclusive interview with Tatler
By Tara Sobti. Photography by Affa Chan
You hear it all the time: never mix business and
friendship. But childhood friends Antonia Li and Harris
Chan aren’t phased by this adage at all. Last year, the duo
co-founded Autopilot, a brand that blends activewear
with everyday attire, designed for people on the go.
In just 12 months, the Autopilot brand has released
four collections, and has become known within Hong
Kong’s fashion-savvy circles for its gym-to-cocktails
approach to dressing. With functional layering as its core
concept, Autopilot has found fast fans among members
of the Tatler community including Patricia Tung-Gaw,
Faye Tsui and Lindsay Jang, who have all embraced the
brand’s “one-minute transformation” style of dressing.
The brand focuses on three areas: performance—
using innovative fabrics like ultra-smooth Japanese
wakayama mesh and Ceravida Fresh, a chemical-free
antimicrobial and anti-odour garment-coating
technique; transition—for easy, pull-on items such as
sheer, colour-blocked maxi skirts; and layers—which
involves fashion-forward pieces designed to elevate any
look. Think military-inspired boleros, windbreakers
and trench coats with pockets big enough to fit an iPad
in them.
When Tatler interviewed Chan and Li in June, the
pair had, until then, remained largely anonymous.
Despite living in an age when social media has made
privacy a commodity, only their inner circle knew they
were behind the Autopilot launch. “We wanted our
products to speak for themselves without us being part
of the narrative. It’s our one-year anniversary now and
our presence is growing, and we feel it’s the right time to
come forward,” Li says.
Although Li and Chan were first introduced in
London in their late teens by friends Alison Chan
Tatler
The Scene
45
 “No one should have to
give up their workouts
or rich social lives simply
because their clothing
can’t keep up”
El-Azar, Edward Tang and Chan’s godsister, Queenie
Rosita Law, the duo’s family connection predates this
encounter: Li’s mother, Sandra Wong, is an intellectual
property lawyer who worked on a case for Harris’s father,
Boby Chan—who, along with Harris’s mother Shirley,
co-founded womenswear brand Moiselle in 1997.
Much like their clothing, there is an ease to Chan
and Li’s friendship. “I’ve always admired Antonia’s
perspective and talent. We have a deep connection and
we respect each other’s dreams,” says Chan, who is also
CEO of Moiselle. Li agrees: “I’ve always admired his
work ethic [with Moiselle] and we like bouncing ideas
off each other. He’s my work husband, and he gives me
the space and freedom to create.”
The pair made the decision to go into business
together during a hike in 2020. “Harris asked me:
‘What do you think women will want in the future?’
and I thought, people need outfits that they can wear
throughout the entire day: outfits that encourage
exercise and support a hands-free and handbag-free
lifestyle. How do we make [dressing] easy for people? No
one should have to give up their workouts or rich social
lives simply because their clothing can’t keep up,” Li says.
For Li, launching a fashion brand was a new
experience, but her master’s in entrepreneurship and
Tatler marketing, and a background in branding gave her a
The Scene foundation. In 2014, with her best friend Ruth Chao,
46 Li founded digital creative agency Indicube, which has
— ANTONIA LI
serviced clients such as Lily and Bloom, Estée Lauder
and Mr Porter. “[With branding], it’s all about how you
want to convey yourself. It’s very similar to fashion,”
says Li, who is now in charge of creative direction and
marketing for Autopilot.
Chan’s background in fashion from his studies at the
London College of Fashion and Central Saint Martins,
and experience managing Moiselle equipped him well
HAIR AND MAKE-UP WENDY LEE (ANTONIA LI) HAIR MARK IP MAKE-UP EVELYN HO (HARRIS CHAN)
to run the day-to-day operations and strategic planning
for this new venture. Moiselle and Autopilot’s customers
differ, but Chan likes the challenge of designing for each:
“[Working on both] benefits each brand. One minute,
I’m thinking like Gen Z, and the next, like a young, chic
mom. It’s fun and keeps me on my toes.”
In June, Autopilot moved into its first physical
location: a 1,000 sq ft shop at K11 Musea. In July,
the brand’s second store opened on Queen’s Road
Central and, later that month, it dropped its new
pre-fall collection, this time featuring men’s pieces for
the first time.
That the brand is going from strength to strength is a
sign that the pair have found a niche in the market and
customers are responding to smart, fuss-free designs that
simplify busy routines. “Nowadays life is very stressful.
Between social media, the news, Covid-19 and work, it’s
just too much,” says Chan. “With our designs, we want
to make people’s lives better. The clothes aren’t
just pretty; they’re useful too.”
Autopilot clothing
is designed to be
stress-free, elevating
every look and
encouraging exercise
 Amy Lo Upfront with
The co-head of UBS Global Wealth
Management Asia Pacific, and head and
chief executive of UBS Hong Kong reflects
on the rise of sustainable investing
There has been a sea change in
investment trends in the last 24
months. “Previously clients would
ask, why should I invest sustainably?
Now they ask, how can you help me
invest sustainably?” says Amy Lo.
Sustainable investing is
something that Lo has advocated for
many years, well before it became
the buzz phrase it is today. And the
fact that investors are finally coming
round to the proposition is clearly a
welcome change.
“Finance has a catalyst role
to play to help solve some of the
biggest challenges in the world.
That’s our corporate responsibility,”
says Lo. “And as the largest global
wealth manager, UBS is in a
position to lead and shape and to
mobilise wealth for public good.”
In September 2020, UBS made
the landmark decision to make
sustainable investments its preferred
solution over traditional investments
for private clients wishing to invest
globally. “At that time, it was a
very bold announcement and
Tatler commitment,” says Lo; UBS was the
48 first global wealth manager to do so.
Since then, Covid-19, climate
change, macro-economic factors
and greater investor awareness
have all contributed towards
staggering growth in sustainable
investment and the integration
PHOTOGRAPHY STEPHANIE TENG STYLING TASHA LING HAIR NICOLE BURAK MAKE-UP JAIME SMITH AT SMUDGEMAKEUP ARTISTRY SET DESIGN ZOE TSE
of Environmental, Social and
Governance (ESG) factors across
investment.
UBS’s Q1 2022 global investor
sentiment survey revealed that
the majority of investors cited
sustainable investments as one
of the most attractive sectors to
invest in in the current geopolitical
situation, while according to the
bank’s global family office report
2022, over half of the family offices
made sustainable investments in
2021. As of December 31, 2021, UBS
sustainability focus and impact
investing assets had grown by 78 per
cent YoY to USD 251 billion.
Sustainable investing, however,
is not a home run. Greenwashing—
where companies try to appear more
sustainable than they really are—is
a major challenge. But it’s one
that Lo believes can be addressed
by increasing ESG resources
and expertise to screen and vet
investments. With over two decades
of involvement in sustainable
investing, Lo said the bank has a
key role to play in helping to create
common standards that will provide
clarity on what is expected. Greater
regulatory guidance and clarity on

standards, definitions, disclosure
and data, which are currently
lacking and have proved a barrier to
sustainable investing, will also help.
For clients looking to invest
sustainably, UBS has identified a
shift in Asia-Pacific from exclusion
portfolios, where investors simply
avoid investing in companies
that do not meet ESG criteria, to
ESG integration, where these
factors are at the core of the
investment process.
St. John blouse,
Iris & Ink suit,
Buccellati earrings
The areas and themes drawing
the most interest include energy—
specifically clean and renewable;
food security due to the food
disruption caused by the pandemic
and the Russia-Ukraine conflict;
and, as more data is created,
cybersecurity.
With the ever-increasing impact
of climate change, investment in the
environment is perennially popular.
In November 2021, UBS and its
Optimus Foundation partnered
with consultancy Earth Security to
create The M40 Initiative. This aims
to support mangrove conservation,
which is vital for climate change
mitigation, by providing innovative
finance opportunities around
projects that protect and restore
coastal ecosystems.
The global pandemic has shone a
spotlight on other investment areas,
including digital transformation
and healthcare. With regard to
the latter, UBS’s Oncology Impact
Fund 2 (OIF 2) was launched in
October 2021 following the record-
setting success of OIF 1 in 2016, and
invests in companies developing
innovative treatments for cancer
and other serious diseases.
For Lo, when it comes to
committing to sustainability, it’s
not only what UBS can offer. “As a
firm, we need to walk the talk. We
are committed to achieving net zero
by 2050 and to mobilising capital
towards investment in a low carbon
economy to assist clients in this
journey.” Within the Hong Kong
office, Lo is dedicated to doing
what she can to raise awareness and
affect change. Examples of recent
initiatives include committing
to purchase locally produced
renewable energy until 2025 and
launching a zero-paper campaign.
“We need our colleagues on the
floor to feel that they themselves are
also making a difference.”
Lo is optimistic about the future
and the potential of sustainable
investing. “I believe we can make
a difference. While UBS and the
finance sector are not going to
single-handedly change the world,
what we can hopefully do is ensure
the necessary solutions get faster
and better with more innovative
funding, and we fulfil our roles in
society as custodians of wealth. As
I always tell our clients, we are only
the custodians; it’s about how we
leave a better world for the Tatler
next generation.” 49
 | Meet Me at the Bar |
Shaking Things Up
Head bartender Hnin Pwint Aye’s
new bar programme at Club
Rangoon in Central is an ode to
Burmese women. She tells Tatler
how she’s bringing flavours of
Myanmar to Hong Kong with
“culture-forward” cocktails
By Tara Sobti. Photography by Affa Chan
Myanmar isn’t known for its bar
culture. How did you get your start in
the business?
In April 2010, I joined the food
and beverage industry out of pure
curiosity. I studied at the Myanmar
International Institute of Tourism
and Hotel Management in Yangon.
After my studies, I moved to Dubai
where I worked as a waitress in
the lobby of the Grosvenor House
Luxury Collection Hotels by
Marriott. During busy periods,
I would help out in other venues
within the hotel, and saw bartenders
making hundreds of cocktails
and engaging with guests like old
friends. I saw what I wanted to do
and how my personality would
fit in such a role. Sometimes,
being a bartender is like being an
entertainer: we entertain the guest
with our passion. [Bartending] has
transformed me into a confident
woman who knows what she loves
and loves what she does.
You have worked in Macau, Dubai,
Tatler Myanmar and now Hong Kong. How
The Scene are all the bar scenes similar and how
50 are they different?
They are all unique. Dubai is more
focused on hospitality, high-quality
service, and food and beverage
offerings, and this is thanks to
the talented bartenders from all
over the world who move to the
Middle East for a new experience.
The Hong Kong bar scene focuses
more on trends, techniques and the
skill of the bartenders. Consumers
are much more sophisticated here.
Myanmar is very different due
to its turbulent political history.
Nightlife was non-existent until
recently, and alcohol consumers
were almost always men. Women
are legally allowed to drink, but it
was always considered taboo. Now,
I am happy to see that perceptions
around alcohol are evolving, further
elevating our local cocktail culture.
Young bartenders can experience
the thrill of bartending, hone their
craft and eventually showcase their
mixology on an international stage.
What was it about Hong Kong that
drew you here?
I arrived in November 2021.
Although I came during very tough
times, Hong Kong has always been
my dream city. I had difficulty
applying for a visa, finding a flight
and getting a hotel during this
hectic period. It was extremely
challenging, but these moments
made me even more determined to
fight for what I wanted, which was
to be in a city where I could learn
from an amazing community of
talented bartenders.
How did the opportunity at Club
Rangoon come about?
Last year, [founder] Nelson Htoo
reached out to ask if I was interested
in the role. I was excited to move
to Hong Kong, but I also felt
somewhat responsible to be a voice
for my country and represent my
culture through mixology. There is
a greater purpose to everything I
do now.
What can you tell us about Club
Rangoon’s new cocktail menu, The
Poetics of the Pantry?
Joining Club Rangoon gave me
the perfect opportunity to share
Burmese traditions and culture
with the world. I’ve always wanted
to create culture-forward cocktails,
with each sip being a momentary
window into my homeland. The
name is a riff on a book called The
Poetics of Space by Gaston Bachelard.
The book explores the potential
of space to evoke memories and
emotions. The menu incorporates
quintessential Burmese ingredients
and positions the pantry as a space
of collective experience
and memory.
Each cocktail has a unique
experience, inspiration and
personality. The three signatures
are: Ma-Gyi-Thee, which highlights
tamarind, one of the most cherished
ingredients in Burmese cooking,
making this a unique sweet and sour
drink; 3pm in Rangoon pays tribute
Hnin Pwint Aye is
championing Burmese
culture with her new
bar programme at
Club Rangoon

to Myanmar’s inimitable tea

culture through the use of
chai spices, tea liqueur and a milk
skin garnish; 19th Street is named
after the street where the [open-
air] Bago Market is located, and
is inspired by the flavours and
scents of the streetside vendors. It
makes use of local produce with
the addition of charcoal-smoked
cauliflower syrup.

Why is highlighting Burmese women

and what they cook so important
for you?
Burmese women are the strongest
group of people I know. We go
above and beyond, and we are
more than what society makes of
us. I want to highlight the idea
of reinventing what society has
instilled in us through my drinks.

What do you wish people knew about

Burmese food and drink?
Many dishes are inspired by food
from India, Thailand and China,
but we also have our own unique
and authentic way of cooking based
on three main pillars of flavour:
chin-ngan-sat, which translates to
sour-salty-spicy. I would love for
everyone to try Burmese cuisine and
discover how diverse and varied it is,
and get to know how similar—and
dissimilar—it is to other Asian
cuisines.

What are some of the challenges

you’ve faced as a woman in the
industry?
I was told that I wouldn’t be a good
leader; that I wasn’t good at what I
do; that I didn’t have what it takes—
because I have a strong personality
and because I am a woman. But I’ve
proved people wrong by trusting my
gut. Today, I thank those who didn’t Tatler

believe in me. Because of them, I am The Scene

stronger. 51
 | Power and Purpose |
Jehan Chu
In 2013, long before it became a
mainstream concept, Jehan Chu
Here, he reveals his catalyst for
success By Tara Sobti
the arts. He is a former
art advisor for Sotheby’s
both in New York and
Asia. In 2008, after leaving
the auction house, he
founded Vermillion Art
Collections, an art advisory
company that helps
private individuals and
corporations manage their
collections. He also served
on the board of directors
for non-profit art and
design organisations Design
Trust and Para Site. When
he’s in a really good mood,
you’ll find him onstage,
putting his auctioneering
A former front-end skills to use by energising
developer, Hong Kong- audiences at charity events.
based Jehan Chu has, Here, he reveals how
to date, invested in and luck and mindfulness have
supported more than 230 impacted his life, and why
crypto projects. he didn’t invest in major
Since launching blockchain firms like Bitmex, Binance
venture capital and crypto or Animoca when he had
trading firm Kenetic, the chance.
Chu has gone on to found
the Ethereum Hong I invest in and support
Kong community, and founders who are building
co-found both the Bitcoin the future of Web3 and
Association of Hong Kong crypto technology. My
and the Hyperledger Hong company believes that
Kong community. He blockchain technology is
is a graduate of Silicon the next internet and that,
Valley’s Kauffman by imagining the future
Fellows Program, which and guiding or backing its
is designed to accelerate founders, we can help the
innovator success, and world take its next step into
is also the co-founder a natively digital age.
and a board member of
Social Alpha Foundation, Luck has been the key
a blockchain and social catalyst for me. I’m lucky
impact non-profit. that my parents encouraged
Tatler When he isn’t making independence and
The Scene strides in the Web3 space, imagination and supported
52 Chu dedicates his time to my education. I’m lucky to
have been born into
a time and place that
allowed me to focus on
my dreams rather than on
simply surviving.
Being helpful is my number
one ingredient for success—
if you can add value and
solve problems, people
will always come back.
We did extensive work
on the [blockchain-based
service network] BSN for
almost a year before we
even invested. We have a
close relationship with BSN
because we were helpful
first and foremost.
Second is to be clear
about your own path. The
best founders are not only
skilled and resilient; they
have an internal clarity of
purpose. The better you
know yourself, the more
successful you will be.
Number three is to be
humble. Nothing is more
humbling than thinking
you’re a genius on Monday,
and then seeing a 70 per
cent drop in your market,
which seems to happen
every Tuesday in crypto.
Humility is not only about
managing my ego; it’s
also about trying to help
others and appreciating
the value in growing my
community.
I’m an ideas guy. It’s what
energises me and it’s the
possibility of something
new that wakes me up
every morning. My father
always teased me about
my eyes being bigger than
my stomach, and it’s the
same with my ideas. I don’t
have the ability to execute
everything I imagine.
My daily challenge is
reconciling what I dream
of with what I can actually
do and, more importantly,
making sure the things I do
are done well.
I have surrounded myself
with extremely capable
people who help bring to
life the things I dream of.
In venture capital, as in
love, there are always
“the ones that got away”.
There are so many great
companies and founders
which I should have
invested in but didn’t,
like Bitmex, Binance and
Animoca, in the seed
rounds. I didn’t have either
the time, focus or money
to make the investment. I
don’t regret missing these
investments, though. I’m
grateful for the founders
I backed and how many
of them have achieved
incredible success.
Recently, we’ve started
backing innovative funds
like the female-led Nural
Capital, which invests in
top crypto funds. We also
back crypto funds like
Kestrel0x1, which was
founded by a number of
[US tech company] Palantir
employees, and Digital
Asset Collective, which is
in partnership with Venture
Souq [an investment service
in the UAE]. We have also
been incubating great ideas
like Ioconic, which brings
Web3 to large brands, and
Gourmeta, which tokenises
the dining experience. We
are taking a major bet on
BSN, and think we can
help Hong Kong claim
a seat as the blockchain
centre of Asia by being the
home for BSN.
Mindfulness is a big part of
how I deal with the stress of
daily life, and I’m a long-
time supporter of vipassana
meditation [a form of
Buddhist meditation].
I’m not religious, but it’s
helped me get through the
toughest times when my
luck ran out and I needed
to keep going.
 The Weigh-In
Claudia Shaw, head of style advisory for Chanel Asia-Pacific, goes
head-to-head with Derek Chan, founder and designer of Hong
Kong-based menswear brand Demo, in this month’s great debate

DEREK CHAN CLAUDIA SHAW

Are
digital
fashion
YES shows NO
“Social media is “There’s a palpable
part of our everyday energy at physical
lives. The audience fashion shows that

any
for fashion shows has grown
from just a specific group of
fashionistas to people from all
over the world. Today, as long as
digital shows can never replicate.
It goes beyond the spectacle that
represents the fashion show—
the dramatic sets, the lights,

substitute
you have a smart device, you can the music, the models—and
enjoy a runway show, regardless embraces the creativity that is
of where you are. Nowadays, a the essence of fashion itself. In
show’s audience is mainly online person, you are swept into the

for
anyway, as physical show venues highly charged atmosphere. You
are limited in capacity. Digital get caught up in the rustle of
shows are now being developed the fabrics as the models strut

physical
to look realistic too, thanks to along the runway. You hear the
advancements in technology. gasps of amazement when an
Since they are virtual, ideas that exceptional piece of clothing is
cannot be executed in real life presented, and you sense and

fashion
can now be digitally presented, respond to the vibe of the models,
pushing the creative boundaries who bring the clothes to life.
even further. Designers can bring That’s the advantage physical
a whole new show experience to fashion shows have: they’re

shows?
PHOTOGRAPHY AMANDA KHO (SHAW)

their audiences, turning dreams three-dimensional. The shows are

into (virtual) reality. Technology
is also lowering the cost and
constraints of building a fashion
show. Digital shows could replace
physical shows in the near future.”
something you have to experience
instead of merely watch.”
Tatler

The Scene

53
 Dining Over
a Decade
As they celebrate their company’s ten years in the industry,
members of Black Sheep Group share with Tatler what makes them
tick—and what to expect next By Kee Foong. Photography by Tory Ho
On a busy Friday night last June, police marched into
dozens of hospitality venues in Hong Kong to check
compliance with contentious new Covid-19 rules as
shocked staff and patrons watched helplessly. Among
them was Carbone, a popular New York-Italian-style
restaurant known as much for its theatrical swagger as its
spicy rigatoni vodka and veal parmesan.
As the police were leaving, an officer said to Jack
Gonsalves that they hoped not to have to return. Quick
as a flash, Carbone’s longstanding general manager
quipped, “I hope you will come back, but next time
for dinner.” The officer laughed, breaking some of the
tension.
Gonsalves and his team then went into high gear
to turn the mood around, including sending out
complimentary champagne and dishes. Guests thanked
him for skilfully handling the situation, and kicked on,
testament to the loyalty that this industry veteran and
the restaurant commands.
Weeks later, Tatler is at Carbone meeting Christopher
Mark and Syed Asim Hussain, co-founders of hospitality
collective Black Sheep Group, which owns the venue, to
talk about their decade in business, and they’re sanguine.
While the incident shows how “impossibly difficult” it
has been to operate in recent years due to social unrest
and the pandemic, the pair are upbeat as they assess the
city’s hospitality scene.
Tatler “Hong Kong has had a restaurant renaissance in
The Scene the past 15 years,” says Hussain. “We have world-class
56 operators, chefs, designers and a hospitality scene that
needs to be protected.” It’s a scene that has “gone beyond
food. Some people come just for the food and wine,
others appreciate the design or the vibe; restaurants are
now a total package”, Mark adds.
For Black Sheep, that package is a growing
community of more than 30 restaurants employing
about 1,000 staff; one that has shaped hospitality with
its ballsy approach to dining and service. Not bad for a
pair of upstart entrepreneurs who, a decade ago, decided
to “do something a bit stupid and take on some of the
conventions that weren’t right in the industry”, as Mark
puts it.
They felt that restaurant workers were undervalued,
and that restaurants had short life cycles and were
frequently rebranded to satisfy the public’s urge for
something new, or to add the name of an overseas
celebrity chef with no connection to the city or its diners.
“We wanted to build institutions that lasted, where
staff could attach themselves to a restaurant narrative
and foster a sense of community,” says Hussain. In that,
they have been successful, with only two closures over
ten years. Staff retention rates are high, with many long-
term employees working their way up the ranks.
Among them is Gisela Alesbrook, head chef at Hotal
Colombo, an eatery serving piquant dishes from her
native Sri Lanka. Alesbrook’s ascent is typical of Hussain
and Mark’s willingness to give people a go and reward
talent. With little training as a chef, she became part of
the opening team at their first restaurant ten years ago.
Impressed by her staff meals, they promised she would
Clockwise, from
above: Syed Asim
Hussain and
Christopher Mark;
Gisela Alesbrook;
Jack Gonsalves
 run her own Sri Lankan restaurant one day, which she
took as a joke until it happened three years ago.
One major change Alesbrook has seen in the industry
is greater diversity. “When I started, I was the only
female chef, but now there are more—though it still
needs to improve,” she says. The lack of female chefs is an
issue the world over, but she is heartened that the group
is slowly appointing more women in senior positions; it
now has six female head chefs. Most noteworthy is the
recent hiring of ArChan Chan at Ho Lee Fook, one of
the first women to helm a high-end Cantonese kitchen
in Hong Kong.
Tony Ferreira, who has been with the group for nine
years and was recently made partner, believes that Black
Sheep has raised the hospitality bar significantly in Hong
Kong. “We operate at a very high level of consistency,
with a willingness to go above and beyond. We go back
to the fundamentals of hospitality, like guest recognition
as soon as you step through the door.”
Service is taken very seriously at Black Sheep. Every
Tatler Monday, the leadership team review the previous
The Scene week’s feedback and complaints. Every guest (use of the
58 word “customer” is forbidden) who writes in receives a
personalised reply. In the most serious cases, Mark and
Hussain will attempt to call the person to make amends.
According to Hussain, “A lot of people who are now
our best guests started off with a complaint. This has
often been the first step in what becomes an amazing
relationship or friendship.”
Playing a key role in the elevated guest experience
is Marc Hofmann, who joined the group in 2015 as
an intern and has risen to become managing director.
Among his biggest lessons is that “there are no difficult
guests. If we start with the idea that guests are more
difficult, then we should stop doing what we do.”
That pearl of wisdom came from Gonsalves at
Carbone, who observes that “expectations are much
higher than before, and there’s little room for mistakes”.
He puts the change down to social media and online
review platforms, as well as greater diner knowledge.
He also believes, however, that most diners don’t go
out to eat in the hope of being disappointed. “You don’t
go to a restaurant to give staff a hard time; you go to
have a good time. If things go wrong, it’s because we
haven’t taken the time to understand what the guest
wants. I never say ‘no’ but will go out of my way to fulfil
 From left:
Tony Ferreira;
ArChan Chan;
Marc Hofmann;
Matthew Kirkley
a request.” The only rule for guests, meanwhile, is that
abusive behaviour towards staff won’t be tolerated.
Respect for staff is central to how they operate, say
Mark and Hussain, pointing out that no redundancies
were made for financial reasons during the pandemic.
Employees are paid above the industry average, have
a five-day work week and receive health insurance, a
benefit almost unheard of in the industry. The group
has a new canteen in Soho that could be mistaken for a
hipster café or co-working space, and offers free meals
throughout the day, along with shower and changing
facilities.
Black Sheep revealed exclusively to Tatler that, later
this year, it will launch the Family Fund, which will
be open to the wider community. Originally set up to
provide grants and interest-free loans to employees, it
is now open to anyone with a permanent Hong Kong
identity card. Applications will be reviewed by an
independent board, with priority given to healthcare
and education needs. A percentage of group sales, and
a portion of Mark’s and Hussain’s salaries, will fund
the initiative, with a minimum commitment of HK$10
million annually.
Several openings are in the pipeline, including one
in London, but biggest of all is The Magistracy at Tai
Kwun. Occupying the site’s historic former courtrooms,
the project will launch in three phases starting with the
Dining Room, due to open to the public this month. Its
towering ceiling, period detailing and leather banquettes
recall fashionable brasseries such as The Wolseley in
London. Overseeing the European menu is Matthew
Kirkley, who won three Michelin stars at two different
restaurants in the US before moving to Hong Kong.
Mark sees The Magistracy as the group’s “magnum
opus”, while Hussain says “it shows how far we’ve come,
from working in decrepit basements to now, where the
city of Hong Kong is trusting us to bring monuments
back to life”.
Looking to the future, Mark and Hussain see short-
term challenges, but longer term, Hussain says, “It will
be fantastic because we have an incredibly sophisticated
community of diners. We are social creatures, and
restaurants are the last non-digital frontier as everything
else moves into the metaverse. We are part of Hong Tatler
Kong’s new culture, and when people talk about the The Scene
city’s lifestyle, we’re a part of that conversation.” 59
 Seriously,
Though
The stand-up comedy scene has long
been dominated by men. But Bitches in
Stitches, Hong Kong’s first and only all-
femme comedian group, is shaking up
the industry with jokes that challenge
gender biases By Zabrina Lo. Photography by Mike Pickles
J
enna Hudson remembers her early days of doing
open-mic stand-up comedy in Hong Kong. When
one of her sets didn’t go well, rather than being
bothered by the audience’s silence, she was frustrated
at how much unsolicited advice she was offered by
the other comedians, who were mostly men. On one
occasion, one of them took out his phone as the next
comic began his set and told Hudson to time how
often someone from the audience laughed. He said she
needed to make people laugh every couple of seconds.
“It was just crushing,” she says. “I felt like I wasn’t
being taken seriously. If I was one of the guys, they’d be
like, ‘Ah, you know, you had a bad show.’ But because I
was femme-presenting, they were like, ‘I’m gonna help
you present [your set], you poor girl who needs my help.”
Hudson isn’t the only one who feels she has to fight
to be taken seriously in the industry. Fellow comedian
Tatler Francesca Ayala says there has been little room for
The Scene female, transgender and queer comics. They all had
60 to compete with each other for a spot at a paid gigs
against cisgender men, who make up the majority of
the performers, bookers and audience. “We were an
afterthought,” says Ayala.
At a queer comedy night in 2018, Ayala finally found
herself on the line-up with femme comics: Hudson,
Rose Rage, Dannie Aildasani and Bianca Lau. They
decided to work together on a single, “all-femme” show:
in this case meaning women, those who identify as cis,
femme-presenting or transgender individuals. It meant
they could put on a show that would appeal to their
community, and that didn’t require validation from
people who might not understand the type of humour
they were presenting. It also meant being surrounded by
comics who had had similar life experiences. Because,
while the unasked-for advice from male comics was
always kindly meant, as Aildasani put it, “they don’t
realise how condescending it feels”.
The initial six-member Bitches in Stitches debuted in
April last year at a sold-out gig at Central pub Bobby’s
Rabble. In the roughly 18 months since that first
Clockwise, from top left:
Jenna Hudson, Bianca
Lau, Francesca Ayala
and Dannie Aildasani
 performance, the group has
put on 21 sold-out shows
and now has 13 members.
When the group spoke
with Tatler in July, it was
busy with another sold-out
show at Terrible Baby, the
music lounge and bar at
Kowloon hotel Eaton HK,
and preparing for another
show in August. “It went from
one show to a movement,”
Ayala says.
Ayala says she is surprised by
the group’s success. People who
attend Bitches in Stitches’s shows are
many and varied: as well as reflecting
the femme nature of the troupe, the
audience commonly includes other
members of the LGBTQ+ community as well
as straight men on a date—they are often picked
on the most during the shows. “But they end up
laughing,” says Ayala.
The group is proud to have brought laughter and
created a sense of belonging to the community. Hudson,
who joined Bitches in Stitches last September, thinks
what sets it apart is how tight-knit and supportive it
is, especially in terms of her teammates’ constructive of women or female-identifying audience members in
criticism and encouraging, appreciative attitude. “We’re the local comedy scene compared to New York.
not just a collection of people,” Hudson says. “It feels like “If you want more people to love comedy, they
we’re a troupe with the sole purpose of putting need to see themselves represented,” Ayala says. She
on amazing shows and making people laugh and refers to the longstanding debate in Hollywood as to
feel included.” whether women can be funny, and whether women are
The group now organises stand-up comedy a different kind of funny. But at a time when the world
workshops once a month, in which the team offers is recognising more than a binary gender norm, and a
a safe space and advice to new comics who want to range of sexualities in the world, she believes that it’s
practise, fine-tune their sets and, when ready, perform time to change the way comedy has traditionally been
professionally with the team. done and have a rotating line-up of comics of different
The group’s other mission is to open dialogue on backgrounds and identities. “There’s a time
diversity and, having increased representation on stage, and place for turning a person’s identity into a
expand their audience base. Lau, a full-time actor and punchline, which can be funny, I get it,” she says. “But
comedian who started stand-up comedy as a hobby in inclusivity means that there’s not one authority to say
New York and was one of the first members of Bitches in who’s funny and who isn’t [when] that’s not your identity
Stitches, says that men historically used humour to woo or area of expertise.”
women, who weren’t meant traditionally to be funny or Aildasani says she has heard a lot of men complain
powerful. “Now we’re no longer staying in the kitchen that female comics make too many relationship jokes.
cooking and cleaning. We have jobs, multiple jobs even,” “But it’s not our fault that guys do so much crazy s***
she says. “The dynamic has changed.” that we can all do an hour-long stand-up special based
When Lau moved to Hong Kong in 2020, she not only off our dating lives,” she jokes. Besides, male comics
Tatler faced the challenge of adapting her material for the local deliver their fair share of relationship jokes too, so it’s
The Scene audience—jokes about catcalling or driving no longer only fair to “get two different sides of the coin”.
62 worked, for instance—she was also shocked by the lack The diversity extends from the identities of the

members of the troupe to the content of their jokes. Rage
draws on her personal experience as a trans woman;
Aildasani deadpans about being an expat in Hong Kong
and ridiculous work relationships; Ayala confronts her
audience with uncomfortable topics such as period sex,
and the racial microaggressions she and other Filipinas
endure; Lau turns trauma and unconventional life
experiences into jokes; and Hudson finds inspiration in
depression, alcoholism and the banter she has with her
family back in England.
As well as being a tool for trumpeting diversity,
comedy brings this group of performers personal solace.
Hudson, a primary school teacher, uses it as a way to
process struggles in her life: it protected her mental
health during her mid-twenties
when she was struggling with
alcoholism, and helped her cope with
feeling inferior to a more popular sibling,
and hopes next to talk about eating disorders and
body image. “I took all that had happened to me and
turned it on its head. If I’m laughing at myself, you can’t
laugh at me first,” she says. “My humour and comedy
are a suit of armour.” Aildasani, a production editor,
says her aggressively people-pleasing personality led her
to do stand-up comedy. Ayala, who works in marketing
and public relations, says what they’re doing is to make
people look at the world through their eyes, and to make
people empathise with them because they’re different.
The name Bitches in Stitches may suggest a loud,
feisty and provocative group, but Hudson has a different
explanation of their intentions: “If what I talk about is
big and personal to me, then it’s very big and personal
to other people [too]. At the end of the day, what better Tatler
way to connect with people than to trauma-bond The Scene
through laughter?” 63
 | Arts Agenda |
Rhythm of Life
The Hong Kong Dance Company premieres
a new production which traces the roots of
Korean dance By Zabrina Lo
In the rehearsal room of
the Hong Kong Dance
Company’s (HKDC)
Sheung Wan studio, a
group of female dancers
sit cross-legged on the
floor. Their arms, toned by
years of training, strike the
edge of the drums with a
gentleness that makes the
instruments almost hum.
Their bodies heave up and
down with their rhythmic
breathing, as if responding
to the heartbeat-like drums.
This might not be the
first thing that comes
to mind when someone
mentions Korean dance; a
more likely mental image
is the hip-hop music and
contemporary dance
movements of K-pop. But
the city’s biggest Chinese
dance company traces the
roots of Korean dance in its
new production, Myth of the
Dancing Durumi, which runs
from September 9 to 18.
The production took
four years to prepare. It
will be the first time the
company presents works
by Chaoxian dance artists;
the Chaoxian people,
recognised as one of China’s
56 ethnicities, are ethnic
Koreans who have been
based in mainland China
for generations. Most
live in Yanbian, a region
in northeastern China
Tatler bordering North Korea and
The Scene Russia; some emigrated to
64 South Korea.
Since it was founded
in 1981, the HKDC has
been pivotal in staging
folk dances, such as those
from Yunnan and Xinjiang,
the Uyghur and Tajik
communities, and the Han
and Tang dynasties. It is also
known for adapting classic
Chinese literature and
legends, such as The Legend
of Mulan, Pu Songling’s
classic ghost story L’Amour
Immortel, and The Three
Kingdoms, to dance.
Before the pandemic,
Xie Yin, the company’s
assistant artistic director,
used to travel frequently
for research. In Xinjiang in
2018, at an annual dance
festival featuring different
ethnic dance groups,
previous dance dramas,
Myth of the Dancing Durumi
isn’t structured as a story.
It is a double bill made
up of a number of dance
sequences portraying the
daily life of the Chaoxian
people. Of Sun, Rain and
Our Land, choreographed
by Jin, reflects agriculture,
traditional customs and
nature; the second half,
The Moon, choreographed
by Han, is an abstract and
contemporary take on
the Korean witchcraft rite
nae-rim gudd, in which a
shaman invokes a spirit to
attach itself to his or her
body to perform miracles
and cure the sick.
Xie met Jin Yinghua, a
Chaoxian dancer and
choreographer from
Yanbian. Xie recalls that she
saw a woman in her forties
twirling on the stage while
her traditional dress spun
around her in ripples. “I
was captivated,” Xie says. In
a similar fashion, HKDC’s
artistic director Yang
Yuntao met Han Hyolim, a
dancer and choreographer
from Seoul, at one of Han’s
shows in 2016 and was
mesmerised. Xie and Yang
decided this was a great
opportunity for a new
cultural exchange between
Hong Kong, Seoul and
Yanbian.
Unlike the company’s

The production has
two main goals. First,
to highlight the way the
female dancers carry
themselves, their hand
gestures and the way
they move their limbs,
all of which demonstrate
Chaoxian women’s
femininity, which in turn
evokes the image of a
durumi, the elegant red-
crested crane. Secondly,
the performance is meant
“to trace the details of
people’s lives”, says Xie,
who coordinates the
show. She explains that
every folk dance reflects
a civilisation’s connection
with the natural landscape
on which the people
depend.
For instance, nomads
in Xinjiang live on plains
and plateaus and in
deserts, which is why
their folk dances involve
opening the body to the
IMAGE LEUNG MO
sky to demonstrate awe
for natural elements. In
contrast, Xie describes
Chaoxian people as more
subtle: the dance moves
are softer and their bodies
fold inward. She adds that
Chaoxian farmers live
near rivers, so their dances
depict the celebration of
the harvest at new year
as an act of praise to the
deities, or as the rituals of
shamanism in summoning
the spiritual world.
Han adds that Chaoxian
dance has a long history
of being performed at the
royal court. The concept of
western modern dance was
introduced to Korea in the
early 20th century from
the west, where there was
a movement against the
balletic dance traditions to
look at dances from other
cultures or spotlight social
issues through dance. Since
then, Chaoxian dance
has been expanded and
diversified in its creative
presentations. In this
Hong Kong production,
the ritual of drinking pig’s
blood, which is sometimes
part of nae-rim gudd, will
be removed, and the focus
instead will be the motif
of the moon. Han says
she wants to dispel the
general impression that
shamanism is associated
with dark magic. “In
Korea, it’s our belief that
shamanism is connected
to abundance and peace,”
she says.
Xie believes most folk
dances represent people’s
desire for peace and a
good life, and sees a
common thread between
the Chaoxian dances and
those from Hong Kong,
despite the contexts
and movements being
different. She gives Tai Ping
Qing Jao, a Taoist ritual for
thanking the gods, and
the Tai Hang Fire Dragon
Dance, performed to stop a
plague in the 19th century,
as examples. “It’s the
same for Chaoxian dance:
villagers in the past turned
to their shamans when
they were sick because they
Myth of the Dancing
Durumi. Opposite
page, from top: Xie
Yin; Jin Yinghua;
Han Hyolim
couldn’t afford a doctor,”
she says.
With HKDC, Xie
is committed to the
company’s goal of studying
and presenting dances
from different cultures,
which she believes also
reflect their foods, lifestyles
and evolution. “All kinds
of ethnic dances are
beautiful,” she says. “I want
to show Hong Kong that
[the dance scene] isn’t only
about contemporary dance
or ballet.”
This ambition also
reflects what she holds to
be every dancer’s desire to
pursue beauty in its myriad
forms. What she finds
beautiful about Chaoxian
dance isn’t merely the
grace of the dancers’ body
movements, but also how
the people find peace and
happiness from the simplest
of things. “We city-dwellers
today can learn a thing of
two from ethnic dances Tatler
dating back hundreds of The Scene
years,” Xie says. 65
 It’s a
Small
World
After All
Egg tarts, temples, the Blue House—there’s
nothing these Hong Kong miniature artists
can’t make, as they immortalise the city’s
disappeared sights as teeny-tiny models
By Zabrina Lo. Portraits by Affa Chan
For the month of July, the top floor
of Central Market was turned into
a wonderland in which everything
had shrunk. There was a miniature
Wan Chai Blue House with real-life
details as intricate as the numbers
and symbols marked on the wooden
staircase and a criss-cross network
of electrical wires mounted on the
building’s exterior; a downsized
Wing Wo Grocery on Wellington
Street with more than 100 tiny
bottles of vinegar, soy sauce and
rice wine; a toy shop selling plastic
“watermelon” footballs found in
the 1970s; the now-closed Kam Kee
Bakery, which used to sell old-style
Chinese pastries; and the King of
Kowloon with his calligraphy.
Tatler These are only a few of the 100
The Scene pieces featured in the city’s biggest
66 miniature art exhibition, An Art
Journey into the Past and Present
Urban Reinvention, which captured
the modern and old sights of the
city’s 18 districts from a 12:1 to 750:1
ratio. The exhibition, currently in
Tokyo, will tour to Seoul before
returning to Hong Kong in
November for another showcase for
two months.
Carmen Poon, founder of the
Joyful Miniature Art Association,
which organised the exhibition,
thinks that miniature art is a great
way to promote Hong Kong’s
cityscape and culture to the world.
“In the 100 steps from one side of
the exhibition hall to the other, you
can get a brief introduction to the
city’s history, food, transportation
and everything,” she says.
Miniature art isn’t new. European
royals and elite families in the 17th
A street with an old-
style teahouse. Inset: A
miniature model of the
King of Kowloon Tsang
Tsou-choi practising
calligraphy

century, particularly in Germany,
the Netherlands and Britain, would
commission carpenters to make
dollhouses, a move which indicated
their elevated social status. In Asia,
Japan is home to netsuke, one of
the earliest forms of miniature
sculptures, also dating back to the
1600s.
Today, there are miniature
collections, exhibitions and
museums around the world. Poon
has noted that most of them focus
on major global tourist attractions
and famous fictional scenes. She
gives the Miniatures Museum of
Taiwan as an example: it exhibits
models collected from Europe and
the US, such as one of Buckingham
Palace and another showing scenes
from classic fairytales such as Jack
and the Beanstalk.
When miniature art came to
Hong Kong a few decades ago,
Poon, who was a publisher at the
time, observed that artists here were
keen to localise the style and subject
matter. She says, “We have cha chaan
teng, grocery stores and food streets,
which are very local and [relatable].”
She adds that the level of detail
and combination of architectural
and geometric considerations with
fantastical designs is very impressive.
Take, for example, the Blue
explains that only the bestselling
items would be placed at the front
of the store, something he replicated
in his model. “The shop’s layout
and arrangements were a result of
the shopkeeper’s experience and
From top: Tim
Kwok-tim Ho wisdom. It is with tiny details like
(left) and Ian Choi these that you can make out what
Pik-lung; Vivian
Lee; Carmen Poon. life was like in the past.”
Opposite page, Recreating a set with historical
clockwise from
top: reading comic accuracy is no easy feat, but the
books in a street;
the staircase in
artists have a bag of tricks to
Central Market; help them. Ho and Choi are civil
Wing Wo Grocery
engineers accustomed to working
on scale models; Ho likes to find off-
the-shelf materials such as correctly
proportioned buttons or beads to
mimic plates and balls, while Choi
uses a 3D printer to create the more
complicated pieces such as the faces
of the tiny people who populate
some of the models. Vivian Lee,
who runs a studio where she teaches
art and made the Kam Kee Bakery
model, is an expert at moulding
intricate clay shapes, which she
paints with oil paint and nail polish:
tiny roasted geese, Chinese New
Year candy and pots of tangerine
trees. Other artists use technology
to add to the visual effects, such as
an LED panel of fireworks in a mini
Victoria Harbour.
These elaborate sets would make
their creators a tidy profit if sold
as home decor or to collectors, but
most of the pieces in the exhibition
are not for sale. They are a true
labour of love: as well as taking
months or even years to make, these
miniature artworks are more a
means of bringing back childhood
memories than making money. Ho,
who is in his 50s and lived adjacent
to the Wong Tai Sin Temple for 30
years, says he combined the current
Wong Tai Sin Temple’s design with
memories of an almost disappeared
written on the wooden staircase, bamboo forest and a hawker stall in
and each household would place his model of the temple.
PHOTOGRAPHY AFFA CHAN (PORTRAITS)

House set created by artists Tim
Kwok-tim Ho and Ian Choi Pik-
lung, who captured seemingly
random historical details of the
grade-I listed building. Ho says
Tatler that, before flushing toilets were
The Scene commonplace in Hong Kong’s
68 tenement buildings, numbers were
their waste bucket next to their
corresponding number. “There
used to be a ‘nighttime fragrant
lady’, whose job was to clear the
buckets,” he says. “Obviously,
everyone wanted to make sure that
they got their own buckets back.”
As for the Wing Wo Grocery set, Ho
Lee, whose speciality is making
miniature food, says that miniature
art is a more tangible and therefore
better way to preserve history than
other art forms such as painting.
She enjoys seeing grandparents
huddling over her teahouse model,
telling the younger generation
about the disappeared treats they
loved. “It’s a great conversation
opener across generations,” she says.
“Miniature things catch your eye,
regardless of whether or not you’re
an artist.”
Twenty years ago, before Lee
became a miniature artist, she was
window shopping when a miniature
cake in a shop that sold bric-a-brac
caught her eye. The trinket cast a
spell on her, so much so that she
started taking classes and moved
into miniature art as her profession.
Today, Lee and Poon’s miniature
art has the same magical effect on
VIPs as well, such as the former
chief executive Carrie Lam, the
consul-general of Japan in Hong
Kong Okada Kenichi, and Japanese
photographer Tatsuya Tanaka, who
each bent down to appreciate the
sets and seemed spellbound by
the exhibitions. Poon recalls, “It’s
like they forgot their positions and
immediately became children.”
These days, apart from organising
exhibitions, Poon also hosts
miniature art workshops specifically
designed for children, elderly
people, ethnic minorities and
people with disabilities, including
one in July on the day of Tatler’s
interview for a group of about 15
elderly people who live alone. The
oldest participant was 89. Marvelling
at the size of their materials like
schoolchildren a fraction of their
age, they kneaded the fluffy clay
dough into cha siu buns the size of
a fingertip, fit the buns into mini
bamboo baskets, and gingerly
set them next to tiny teapots and
pea-sized Chinese teacups. As well
as a creative avenue, the workshop
also offered a chance to bond over
shared nostalgia.
While the pieces Poon focuses on
are tiny, the impact of her work is on Tatler
a far greater scale. As she puts it, “My The Scene
purpose is to bring people joy.” 69
 Each month, Tatler invites a photographer
to introduce their favourite image—this
month, Hana Forrest By Lauren James

A
s well as capturing a place or
moment in time so it won’t be
forgotten, photography can be
a bridge—to the future, or perhaps
to other people—as Hana Forrest
found when she took this picture,
which she describes as “cinematic
and surreal” on a rainy day in
summer 2019. To her, this scene is
a more meaningful representation
of the city than the usual neon,
skyscrapers and crowded streets.
“Bridges are a significant symbol
of Hong Kong and represent its
constant movement,” she says.
“Hong Kong [has] myriad people,
ideas and places, and to me, this
photograph represents its mystery,
melancholy and beauty, but also
its constant movement and its
separate yet connected areas.”
This bridge—Kap Shui Mun
between Ma Wan (Park Island)
and Lantau—now holds a special
significance for Forrest. Last
year, spurred by the time to
reflect afforded by the pandemic,
she formed Hong Kong Photo
Collective, a creative network for
photographers, which she envisions
as “a community for learning,
showcasing talent, networking,
adventure and creativity”. She
organised a first outing to the same
spot this photo was taken, a location
that has come to “symbolise the
start of new chapters”, she says.
“The image is a reminder that
[we live in] a city of many altered
states, changing emotions and
identities. But it’s also a place
that never fails to surprise you; a
city that offers up new ideas and
opportunities if you keep searching.
Tatler “No matter how rainy the
The Scene day, just jump on a boat or the
70 tram and see what happens.”
Fade Out City (2019)

| Introducing the Leaders of Tomorrow on the Gen.T List |
Mazing Lee
The co-founder of Lify Wellness explains
why she left a successful career in retail to
start afresh with her sibling By Lauren James
A questionnaire and the touch of
a button are all it takes to brew a
customised cup of tea from Lify
Wellness’s smart brewer, which uses
an “east-meets-west herbal wisdom”
to tailor drinks to each user’s health
and well-being.
Here, CEO and co-founder
Mazing Lee explains her road to
wellness from fashion, working
with family, and how she grew the
business during her maternity leave.
We have a vision for Lify Wellness to
be a wellness technology platform.
We started with our smart herbal
brewer in 2017, using proprietary
technology to deliver herbal drinks
from scratch in under 40 seconds.
The brewer links to an app that
acts like a personal wellness coach:
we ask 20 questions about your
Tatler wellness needs, and we recommend
The Scene a drink based on guidance from
72 health practitioners, including
traditional Chinese medicine [TCM]
practitioners and western herbal
scientists.
I studied business at Chinese
University of Hong Kong and got
a management trainee position
at [luxury retailer] DFS. In 2013, I
joined my sister, Connie Lee, an
industrial designer, in the business
development and marketing side
of her design firm, Contact Design
Group. When you switch from a
corporate job to a startup, there’s a
lot of unlearning and relearning.
I was so stressed that I developed
hormonal problems; I went to
different doctors, but they didn’t
have a clue what was going on.
I wanted to find out what was going
on in my body, so I pursued a course
in TCM public health. I wondered:
do people really know what their
body needs? That’s when we came
up with Lify. We gained investment
in Hong Kong and started creating
prototypes.
I am grateful to work with my sister.
She is very talented; she executes
well; she is a can-do person, while
I’m more about strategy and
planning. Of course, there are
disagreements, but we separate our
family roles and create boundaries.
In recent years, I have given birth to
two children, and Connie helped a
lot. With my second baby, I realised
there needed to be a compromise
between breastfeeding and business.
I wanted to focus on what we had
accomplished so far and push it
further. I used each maternity leave
to join accelerator programmes,
which connected us to US investors
and gave us access to mentors
outside Hong Kong.
To build a business, you have to have
passion for what you do and have a
vision. Lify is all about wellness, and
we want people to be more mindful
about what they drink, how they
eat, how they live. I was born and
raised in Hong Kong and studied at
a government school; most of my
schoolmates pursued traditional
jobs over entrepreneurship. Being
an entrepreneur requires a lot of
persistence, which comes from
your beliefs, values and support.
You need to find people who have
similar experiences to share, be
open-minded, and tell others about
problems you’re facing and the help
you need, as in a startup, there aren’t
always enough resources.
Entrepreneurship isn’t for everyone,
but people are key. To make a viable
business, you need a lot of energy
and to know how to strike a balance
between work and personal life.
I am grateful for all our family’s,
friends’ and mentors’ support to
help us become Lify today.
PHOTOGRAPHY AFFA CHAN
Generation T is Tatler’s platform for young
leaders shaping Asia’s future. generationt.asia

Celestial Jade
For his latest collection,
the master storyteller
Austy Lee turns his eyes
heavenward for inspiration
Hong Kong fine jeweller Austy Lee weaves tales
with his creations, which are informed by legend
and geology, the ethereal and the terrestrial—and
the Jade Dynasty Collection bears witness to this.
As the name of the collection implies, jade, a stone
whose fine green colour has been treasured by the
Chinese for centuries, is the central gem here.
The Lunar Hare Brooch, an 18-karat yellow gold
piece set with Burmese green jade, tsavorites and
fancy colour diamonds, is inspired by the mythical
Moon Rabbit or Moon Hare. The whimsical design
features a sparkling, diamond-studded crescent
moon and deep green tsavorite stars surrounding
the magical rabbit, representing the folklore
shared among three countries—China, Japan
and Korea—that the rabbit lives on the moon.
From top: The Polaris
with Purple Vibes
Necklace; The Lunar
Hare Brooch
The 18-karat yellow gold Polaris with Purple Vibes
Necklace uses Burmese orange jade set against unheated
Sri Lankan purple and pink star sapphires, black enamel,
blue sapphires and fancy colour diamonds. The orange
shade may come as a surprise to those who believe
jade only exists in green; the value of the gemstone is
measured by its colour, which ranges from lavender, red,
orange and yellow to brown, white, black and grey.
The gleaming jade orb surrounded by waves of
purple and pink symbolises Polaris, the North Star.
Incidentally, the Chinese word for purple, zi, is
connected in Chinese astrology to the North Star, or
Zi Wei, which was considered to be the home of the
celestial emperor and is surrounded by a constellation Tatler
named the Purple Forbidden Enclosure. 73
 The standout trends
we love from fall-winter
2022; why the resale
market is blossoming in
Asia; and an up-close-and-
personal chat with Serena
Williams

Style
 Chanel Eternal No5 necklace in
18K beige gold and diamonds.
Opposite page: Tim Ryan Knit
dress; By Far shoes
PHOTOGRAPHY NOÉMI OTTILIA SZABO (FASHION SHOOT)
 STYLE

MYTHS AND MUSIC

Donatella Versace’s love of music, especially hip-hop,
was the catalyst for her reimagining of Medusa as a musical icon;
in this homeware collaboration with German manufacturer
Rosenthal, the Gorgon of Greek mythology (and Versace’s
emblem) is recreated in fresh pastel colours. With a range of
plates, cups, vases and other pieces to choose from,
this could be the perfect time to cast a spell
of glamour over your tableware.

A RIGHT ROYAL REVELATION

Princess Maria-Olympia of Greece has posed again for Louis
Vuitton’s Capucines collection, this time on the streets of
London in full bloom. The royal embodies the freshness
and ever-changing expressions of the handbag: this season
sees the introduction of two new colour-block models in
medium, and the Capucines Flower Chain, a golden chain
embellished with the jewel-like monogram flowers.

NOTES OF NOTTINGHAM
Following the launch of Paul Smith
Home last year, the brand’s first home
fragrance collection is now here. The
British designer has created four scents
based on his most evocative memories
and named after his personality
traits. Our pick? Bookworm, a scent
formulated with Jamaican pimento
IMAGE PAOLO FICHERA (FENDI)

berry, grapefruit and cedarwood,

which is reminiscent of the stacks of
books and papers in his office and
evokes libraries and warming amber.
 HEART OF GOLD
The oldest fine leather goods
house, Delvaux, welcomed a
new member this season: meet
Lingot. The new unisex crossbody
model takes inspiration from the
brand’s rich Seventies archives
and augments function without
increasing size. A go-to for urbanites,
this double-wear bag comes in a
sophisticated polychromatic range
of leathers and features a distinctive
engineered closure crafted from
a single extruded brass bar.

PET PROJECT
Gucci’s inaugural line for pets is
here and we can’t get enough of
it. Designed by creative director
Alessandro Michele, the collection
dedicated to dogs and cats launched
with a campaign photographed
by Max Siedentopf. The massive
range, which incorporates Gucci’s
eco-friendly Demetra material
and recycled cotton, includes
everything for our fluffy family
members, from collars, leads,
feeding bowls and carriers
adorned with GG-canvas
to made-to-order couches
for pampered pooches.

FURTHER NO MORE
Fendi is growing its commitment
to ecologically friendly practices
while maintaining fur as a key
component of its DNA. With the
updated version of Fendi First,
first seen on the autumn-winter
2022 runway, the Italian maison
repurposes left-behind pieces of
fox fur from previous processes.
These are sewn together into a
patchwork using a technique that
results in imperceptible seams. This
initiative pays homage to Fendi’s
history of fur use, while offering a
solution as to how fur, controversial
in some circles, can be integrated
more mindfully into fashion.

Tatler

Style

77
 | First Things First |

Steven Stokey-Daley
Meet the latest LVMH Prize winner, the breakout star who found
a fan in Harry Styles and is queering school uniforms By Cherry Mui

Winning the prestigious LVMH

Prize for Young Fashion Designers
came with a bonus thrill for former
aspiring actor Steven Stokey-Daley:
Oscar-winner Cate Blanchett
presented it to him. The 25-year-
old designer behind the label SS
Daley was also in the presence of
design royalty, as the ceremony
was attended by seven artistic
directors of houses in the luxury
group: Jonathan Anderson, Maria
Grazia Chiuri, Nicolas Ghesquière,
Kim Jones, Stella McCartney, Nigo
and Silvia Venturini Fendi. As for
the prize itself? €300,000 in cash
and a year’s worth of mentoring
from designers in the luxury
conglomerate. “The sky’s the limit,”
Stokey-Daley says.
It didn’t take long for the
industry to sit up and take notice
when Stokey-Daley launched his
label back in 2020. Occupying collection, which was also its debut palette, something that has become
the studio next to musician Harry runway show at spring-summer his signature aesthetic.
Styles’s long-time stylist, Harry 2020 London Fashion Week. “Harry It was clear SS Daley was ready
Lambert, might have helped: Lambert is a really good friend; he for a bigger stage; the menswear
Lambert, who is responsible for works with me on everything I do line’s reflection of British heritage
curating Styles’s glam rock and and is super close to the brand and and its designer’s upbringing and
“soft boy” looks, looked at Stokey- completely involved in its DNA,” emotional narratives appealed to
Daley’s 2020 graduation collection. says Stokey-Daley. “When I take the LVMH judges. “The world that
Although there was no promise that an idea to Harry, he’ll add a layer I tend to explore is the world that
Styles would wear them, several of richness on top; we sort of pass was absent from my life growing up
pieces were featured in the music it back and forth like a baton. So as a child,” explains the Liverpool-
video for his hit Golden alongside that’s lovely!” The LFW show was born designer. “The elements I
items from Gucci and Bode. Styles is presented in the format of a three- like to incorporate are mixing and
seen running on a coastal road in an act drama exploring the tensions combining codes of the different
S.S. Daley white shirt and standing of class, masculinity, race, sexuality class structures in the UK.” With
topless on a rock in the brand’s and institutionalised violence in pieces such as beaten-up tracksuits,
pleated wide-leg floral trousers— British elite schools. Ten actors rose-bedecked boater hats, a paisley-
and in the promotional photo for from the National Youth Theatre patterned bomber jacket with bows
the video, sports the designer’s channelled Eton and Harrow on the pockets and hand-crocheted
IMAGE MATCHESFASHION

fabulous hat adorned with dried schoolboys in wide-legged shorts, knitwear featured ducks, this
flowers. rugby shirts and jacquard silk bath mixing is proving popular.
Tatler The relationship didn’t end robes—all references to the attire Behind the artistic concepts is an
Style there: Lambert went on to style of the privileged classes, and all intense focus on craft, localism and
78 SS Daley’s second post-graduation rendered in a dusty pastel colour sustainability. “From the start, my

SS Daley fall-winter
2022 collection.
Opposite page:
Designer Steven
Stokey-Daley
design processes have been to look
back in order to move forward, so
we reference vintage quite a lot—not
IMAGES CHRIS YATES (RUNWAY MODELS)
just vintage garments, but vintage
practices or lost, forgotten crafts
that were of an age or time,” says
Stokey-Daley, who has been using
deadstock fabrics donated from
London houses for his creations.
“We also [are making] a really steady
investigation into upcycling and
how we can regenerate old items
like English tea towels into wearable
shirts with tonnes of character,”
he adds. The one-off shirts made
from embroidered tablecloths, for
example, are bestsellers.
As a 14-year-old obsessed with
drama and literature, who spent
a summer at the National Youth
Theatre, Stokey-Daley never
imagined himself working in
fashion. He applied for the fashion
design degree programme at the
University of Westminster on a
whim, sharpening his skills at Tom
Ford and Alexander McQueen.
Now he undertakes the process of
designing clothes as in the same
way as someone writing plays. “The
way we used to approach theatre
was workshopping real-life ideas
into something you can repeat
again and again and have different
influences of different theatrical
practitioners,” he says. “We [at SS
Daley] do the same thing—we
approach design from a narrative
perspective and then incorporate
the ideas of different practised
crafts in a similar way.”
His latest collection, for autumn-
winter 2022, was inspired by English
stately homes and the class divide
of “upstairs” and “downstairs”
lives. Each look takes its cue from a
different period of English history.
There are trench coats cut with
exaggerated balloon sleeves and
printed 18th-century etchings of
birds; leather waistcoats
paired with briefs,
hinting at a half-dressed
houseguest; and striped
shirts printed with
17th-century drawings
of poppies. SS Daley also
introduced womenswear
this season, but bringing
queer possibilities to
the British wardrobe
has been the core of
the brand since the
beginning—another
contradiction found in
the house ideology. “My
whole thing is freedom of
expression and freedom
to actually wear whatever
you want to wear,” says Stokey-
Daley. “I don’t feel as though we are
trend-driven at all.”
As Stokey-Daley continues
bucking trends, his upcoming
show and collection will celebrate
his love of performance—he was
also a keen dancer as a child—as
well as folkloric references and “a Tatler
historically documented lesbian Style
love affair”. 79
 R e w il

di
ng
e a t
r

The G

Tatler

Style

80
 Tim Ryan Knit dress.
Opposite page: Dior
dress; Versace poncho

Reconnect to the natural world and introduce new dressing

rituals this season that ground you and promote spiritual
wellness—and freedom Photography By Noémi Ottilia Szabo. Styling By Arianna Pianca
Hermès top, shorts, jacket,
necklace; Sasala’s hat.
Opposite page: Dior outfit

Tatler

Style

83
Max Mara outfit.
Opposite page:
Missoni jumper, skirt
 Celine top. Opposite
page: Fendi top, skirt;
By Far boots

Tatler

Style

86
Zadig & Voltaire jacket;
Celine shoes; stylist’s own
trousers. Opposite page:
Jil Sander outfit
Tatler

Style

89
HAIR & MAKEUP HELVE LEAL; MODEL JULIE HOEKSTRA AT MONSTER MANAGEMENT

page: Miu Miu outfit

Agapornis dress. Opposite

91
Style
Tatler
 r k et ?
i l m a
n ret a Mui
f a s h io ty? By Ch er r y

A sia’s inabili
ap in g s u s t a
e re sh in f o r
resal u t w
c
like to find unique treasures at great

ow is lea r-
H is it a c
prices,” adding that the average basket
value of Hong Kong buyers is US$617,

An d to more than US$200 billion by

almost double the global average.
Tokyo has developed the strongest
2026. While the pandemic crippled second-hand luxury market among
physical retail, the growth of the Asian cities, and supplies much of the
“I had so many clothes and I was second-hand market in Asia and world with vintage goods. According
doing a lot of shopping. Then my Australia is more than three times to global marketplace Farfetch’s 2022
mom was like, ‘Jaime, the clothes faster than that of the new apparel Conscious Luxury Trends report,
that you don’t wear anymore, they market. “Consumers in the Apac South Korea demonstrated the biggest
are just sitting there, right?’” says market have a huge appetite for increase in pre-owned spend per
Jaime Xie, Bling Empire star and luxury,” says Sophie Hersan, the item at 116 per cent, while Hersan
fashion influencer. “I was selling fashion director and co-founder adds that Singapore and Australia
things on eBay and I discovered of Vestiaire Collective, the leading are fast-growing markets too.
vintage.” The 24-year-old Chinese online fashion resale platform. China’s University of International
American reality TV star started “Women in Asia invest in luxury Business and Economics revealed in
shopping vintage about four years fashion, accessories and jewellery, a joint report with Chinese luxury
ago and now keeps a growing and are very smart shoppers. They resale platform Isheyipai that sales
collection of more than 200 second-
hand pieces. Over the past year, she
has brought vintage looks—from
John Galliano’s Dior to archival
Versace—to runway front rows and
red carpets. A couple of days before
speaking to Tatler by phone from
Los Angeles, Xie was in London,
where she spent five hours in a
vintage boutique and introduced
another fashionista to the concept.
“I took my mom vintage shopping
for the first time. She loved it too.”
Xie is one of millions driving
momentum in the resale market.
According to the 2022 resale report
by ThredUp, the largest online thrift
Tatler and consignment store, the global
Style second-hand market is expected to
92 grow to US$36 billion by 2024 and
 Clockwise from top left:
Jaime Xie in a Versace
spring 2005 dress;
Vestiaire Collective’s
fashion director and
co-founder Sophie
Hersan; Hula’s store
on Hollywood Road in
Central, Hong Kong.
Opposite page: A
Vestiaire Collective
authenticator

of pre-owned luxury items in

mainland China accounted for 5
per cent of the total global luxury
market in 2020.
Fashion brands are realising the
potential value of resale, too: Eileen
Fisher and Patagonia are among the
names that have offered resale for
years; 2021 saw Oscar de la Renta,
among others, launch resale shops,
IMAGES NICOLAI CHRISTIANSEN (XIE); MICHELLE PROCTOR (FUNG); NATALIE WONG (HULA)

while brands including Lululemon

and Hugo Boss rolled out resale
programmes this year. “It allows
them to build brand loyalty and
customer relations, and attract new
consumers looking for circularity”
from brands, says Hersan.
Collaboration is proving a key
element of this industry: Vestiaire
extends its expertise to partnerships
with brands such as Alexander
McQueen and e-retailers such as
Mytheresa and LuisaViaRoma. “To
launch a resale programme requires
tech and operational skills and
abilities; we were happy to see more Tatler

and more brands coming to us as Style

this is our core business,” Hersan 93

 Jamie Xie attends British
Fashion Awards 2021 in a
Roberto Cavalli gown from the
autumn-winter 2005 collection.
Opposite page, clockwise from
top left: A consignment Louis
Vuitton bag from Hula; Fashion
Revolution in Switzerland; Hula
founder Sarah Fung
says. Another popular pre-owned
fashion site, The RealReal, has
partnered with Stella McCartney,
Burberry and Gucci. Over the past
two years, ThredUp reported a 275
per cent annual growth in brands
adopting resale, and the acceleration
shows no sign of stopping.
Tatler THE RESALE BOOM
Style “In 2017, the business model [of
94 consignment] was quite new and
still not accepted by the public.
Although I was collecting [pre-loved]
products, it was difficult for me to
sell them,” recalls Sarah Fung, who
founded Hula, a consignment site
and store for designer fashion and
accessories in Hong Kong. After
almost a decade’s experience retail,
Fung wanted to prove that Hong
Kong was ready for pre-owned.
When Vestiaire, a far bigger player,
came to Hong Kong, “I just thought
we were going to drown and die, but
actually, it boosted our business,”
says Fung. “Because we had
somebody else—somebody as big as
them—saying it’s ok to shop second-
hand and it’s cool. It just confirms
that resale is here to stay.
“What I wanted to do is to dispel
the notion that it was in any way
IMAGES JOLIE ZOCCHI (SWITZERLAND); GERMAN LARKIN (XIE)
embarrassing to [buy second-hand],”
Fung adds. The first roadblock to
overcome was mindset: in Asia,
many consumers, particularly of
Chinese heritage, traditionally
regard second-hand items as
unlucky, as they may have been
worn by someone who has died.
This attitude towards pre-worn
pieces also means that people don’t
consider selling or donating. To
start Hula, Fung first had to rely on
contributions from industry friends

until she could convince others to
open their wardrobes. “We collected
about 80 Chanel pieces from one
wardrobe once. … [The owner] had
never thought about selling them
before,” Fung says.
The second-hand stigma goes
beyond superstition—there’s a lack
of trust in the resale businesses
themselves. “I think people in
Hong Kong are still very wary
about e-commerce. If you’re going
to buy a Chanel bag on a platform,
do you trust [the retailer]?” says
Fung. Building a reputation helps:
currently, Hula sellers are “by invite
only” industry insiders and referrals,
each consigned product goes
through an in-house authentication
process, and customers are
encouraged to go to its warehouse
and physical boutique. Vestiaire
Collective, meanwhile, employs
a team of about 60 authenticators
who are experts in fashion, luxury,
streetwear or jewellery.
StockX, the renowned
marketplace for sneakers, streetwear
and collectibles, is another good
example of how to build trust. It
only accepts brand-new items from
sellers, and penetrated the secondary
market by creating a platform where
pricing is set by supply and demand.
“StockX has invested millions of
dollars to fight the proliferation of
counterfeit products and ensure
a seamless end-to-end customer
experience,” says Audrey Ma,
StockX’s director in Hong Kong and
Macau. “Every single item that is
sold on our platform goes through
our in-house authentication process
before it is sent to a buyer.”
ThredUp’s findings showed
that consumers choose to buy
second-hand to save money while
levelling up their wardrobes. It also
showed that younger consumers
search for unique pieces that
balance authenticity, relevance
and sustainable practices. By their
very nature, pre-owned luxury
products are highly individual, and
that is exactly what appeals to Gen
Z, the demographic identified by
ThredUp as particularly enthusiastic
about vintage. “I started to shop
vintage purely because I was finding
some really cool pieces—some
were even cooler, or more my
style, than current collections. Tatler
It was like a treasure hunt,” says Style
Xie, who recently acquired a 95
 StockX launched an authentication
centre in Hong Kong in 2020.
Right: A consignment Dior
bag from Farfetch
Roberto Cavalli evening dress
which once was displayed in New
York’s Metropolitan Museum of
Art exhibition China: Through the
Looking Glass. “Now when I look at
vintage, it’s not only that you find
really cool and interesting things,
but it’s also sustainable because
it’s like you are recycling.” Xie also
believes in the power of influencing
other people to do the same.
With eco-conscious Gen Z
consumers’ growing purchasing
power, the environmental impact of
style choices becomes an ever-more
important consideration for both
buyers and retailers. Today, 70 per
cent of buyers of pre-owned goods
worldwide “like the sustainable
aspect” of second-hand shopping,
according to the ThredUp report,
compared to 62 per cent in 2018.
There have been several reports
that suggest a ten per cent increase
in second-hand clothing sales
could deliver major environmental
benefits, cutting carbon emissions
per tonne of clothing by three per
cent and water use by four per cent.
MAKE LESS NEW
It is important to understand that
when people talk about “pre-
owned”, it’s not always in relation
to luxury items. According to
ThredUp, nearly three-quarters
of consumers who shopped
Tatler second-hand in 2021 consider
Style themselves to be a thrifter and half
96 of them bought ten or more items.
Fashion Revolution, a non-profit
organisation and global movement
campaigning for a greener and more
ethical fashion industry, has pointed
to the substantial potential hazards
of resale. For many developing
countries in Southeast Asia, second-
hand clothing sales rely heavily on
import—the US is one of the biggest
exporters of textiles, for example.
“What they are doing is shifting all
these resources, moving here and
there, across countries,” Melissa
Tan, the country coordinator of
the Malaysian office of Fashion
Revolution, tells Tatler. “It possibly
extends the life [of apparel]. But it’s
by no means circular.”
The frequent low cost of inferior-
quality second-hand clothing “leads
to another form of overconsumption
where we don’t really appreciate the
material or product. It is still viewed
as disposable,” Tan continues. “It
also displaces local designers.”
However, resale platforms becoming
more accessible and affordable may
encourage more people to move
away from fast fashion and buy
higher-quality items at a lower price.
Boston Consulting Group’s study on
Vestiaire Collective’s 2022 impact
backed this up: it showed 85 per
cent of buyers of pre-owned goods
actively reduce overconsumption
by trading up from fast fashion to
fewer, higher-quality, longer-lasting
items. “The broader shift we’re
seeing in the industry—which
is a movement away from fast
fashion and an increased interest
in investment pieces—is a positive
change for sustainability,” says Ma.
Resale offers a clear way to
extend the life of used clothing and
accessories, but doesn’t help with
their afterlife—and how to keep
them out of landfill. The challenge
is hidden behind the scenes:
according to Fashion Revolution’s
Fashion Transparency Index 2022,
85 per cent of brands do not disclose
their annual production volumes,
making it impossible to track
the amount of fashion waste and
whether it’s being resold, recycled
or dumped. In response, some
companies have taken the lead
in offering alternatives to buying
new. Farfetch, for example, aims to
become more circular than linear by
2030, “with more than 50 per cent
of all the products sold or serviced
to be recycled, upcycled, pre-owned,
re-sold, donated or repaired”, says
Thomas Berry, senior director of
sustainable business at the platform.
While there are both style and
environmental benefits to shopping
for good-quality second-hand
pieces, most consumers are still
a long way from a truly circular
wardrobe. Some opt for a capsule
wardrobe: a collection of a few
staples for each season. Investing
in high-quality classics extends the
longevity of the wardrobe, and
donating, swapping or upcycling
gives pieces a second life. But, the
only way to reduce the fashion
industry’s total impact and truly
manifest the resale boom is to
reduce production in the first place.
In the words of Tan: “We have
to stop: stop the speed that we’re
producing and consuming.”
Second-hand First!
With resale platforms picking up momentum in Asia, it’s never too late to reconsider your
shopping habits. Check out some of our favourite local vintage boutiques around Asia (for
the complete guide, visit the Tatler website) By Nicholas Shu
MAGGIE &
CO VINTAGE SHOP
Hong Kong
Maggie & Co Vintage Shop
has more than 15 years of
experience trading luxury
goods and a reputation for
excellent customer service.
With second-hand items
stacked to the ceiling, this
tiny vintage boutique is
a paradise for treasure
hunters looking to make
pre-owned items glamorous
again. The physical store
has been closed for two
years; customers can shop
via its Facebook page or
Instagram Live.
GLORIOUS DIAS
Manila
Known for proudly selling
vintage Filipiniana, Glorious
Dias is a treasure trove for
vintage-lovers looking for
unique pieces. It is also a
celebration of eco-friendly
fashion: as well as collecting
and selling traditional
costumes, the store also
upcycles vintage textiles into
dresses, earrings, scrunchies
and more.
ALOOOOOHA VINTAGE
Shanghai
“Aloha with five Os”
vintage boutique is heaven
for serious collectors and
fashionistas. It has been
sitting in a warehouse office
under the Nanpu Bridge
in Shanghai for more than
ten years, a treasure trove
waiting to be unearthed.
While there is a wide range
of vintage and second-
hand items from luxury
brand handbags to designer
clothing, it’s the entire
wall of Chanel bags and
jewellery many shoppers
flock to first. A second
outlet opened in Beijing
last December.
SENEN MARKET
Jakarta
If you are a vintage fan,
make a day of it at Senen
Market, Jakarta’s best spot
for excellent pre-loved
pieces. There are more than
100 tiny businesses at the
market and while, yes, you
will have to sift through
piles of items you’re not
interested in, and no, there’s
no air-conditioning, the
tales we’ve heard of finding
unique pieces at incredible
bargain prices should make
any short-term discomfort
well worth it.
VINTAGE TRADE
Taipei
The proprietor of Vintage
Trade has apparently been
obsessed with buying
antique jewellery since her
teenage years. She turned
that passion into a job when
she opened this tiny vintage
shop on Da’an Rd. A vast
array of jewellery dating
from the 1920s to the
1980s entices both tourists
and vintage jewellery
enthusiasts in through the
entrance to browse and buy.
THE NÉE
VINTAGE STORE
Singapore
Tucked away in Chinatown,
this is the spot for
fashionistas hunting for
vintage arm candy. Sitting
on the second and third
floors of a shophouse, the
boutique has an ambience
that is comparable to that of
a museum—peaceful, well-
ordered and loaded with
treasures—albeit one with
racks of carefully balanced
luxury bags lining the
walls. Feast your eyes upon
vintage Hermès, Fendi,
Celine, Prada, Loewe, Louis
Vuitton, Cartier, more
than ten variations of the
Dior Saddle and a variety
of the Gucci Bamboo,
arranged like masterpieces
everywhere you look.
OKGO STORE
Subang Jaya
Okgo Store has been
making thrifting in
Malaysia cool since 2017. A
stylish couple founded the
indie boutique, taking cues
from the Japanese thrift
shop scene and curating a
mindful selection of good-
quality, sustainably sourced,
pre-loved streetwear. Think
varsity jackets, made-in-the-
USA T-shirts emblazoned
with political jokes, and
caps that would look right
at home on the streets of
Shibuya.
Tatler
Style
97
 A New
Chapter
Van Cleef & Arpels presents the
Legend of Diamonds’ 25 Mystery Set
Jewels, adorned with flawless gems
cut from the same rough stone
Tatler

98
Chevron Mystérieux
necklace and earrings
and Liseré Mystérieux
ring. Opposite page:
Collerette Mystérieuse
transformable necklace
 The Legend of
Diamonds—25
Mystery Set
Jewels Collection
S
ince 1906, diamonds have lit up Van Cleef & Arpels’s
pieces, and the quest to discover the world’s rarest and
most stunning gemstones has long defined
the house’s distinguished name. The Legend of
Diamonds—25 Mystery Set Jewels is a collection
that reveals these limpid stones in all their facets.
The story began in 2018, when Van Cleef & Arpels was
presented with a rough diamond known as the Lesotho
Legend. A stone of 910 carats, with type 2A chemical
composition and a rare perfect D colour, it was the fifth
Tatler largest rough diamond ever mined. For a maison that
100 traditionally works with primed, cut and faceted stones,
the discovery presented a unique opportunity for the
luxury jeweller to oversee the process, starting from
initial stone extraction.
To yield the stone’s maximum potential, Van Cleef
& Arpels worked with various experts to produce 67
flawless diamond expressions, each precisely cut and
polished to emanate the natural beauty and impeccable
quality of the Lesotho Legend.
For the very first time, the brand’s design studio
used diamonds entirely from a single rough to create
an exquisite 25-piece collection. The meticulous
process involved the use of cutting-edge 3D software,
as gemmologists perfected every shape, enhancing the
gems’ ideal proportions and creating matches with
identical size and weight.
At the heart of the collection is the maison’s mystery
setting technique, patented in 1933, which allows
precious stones to be set with no visible metal links,
prongs or fasteners. Van Cleef & Arpels is also first to use
the complex signature setting on an entire collection, in
a testament to the maison’s craftsmanship, putting the
gemstones themselves at the forefront to showcase the
vibrant colours and give a velvety radiance to the design.
Representing more than 30,000 hours of work, the
final pieces convey a majestic dialogue between expert
craftmanship and remarkable design. Made to be worn
in up to six different ways, the collection embodies
another Van Cleef & Arpels hallmark; technical
ingenuity, reflected in transformable pieces like the
pendants of the Chevron Mystérieux earrings, which
can be added to the necklace of the same name, whose
central diamond can also be worn alone.
From rings and pendants to necklaces and earrings,
the collection features the 67 Lesotho Legend diamonds
and more than 3,000 rubies, sapphires and emeralds. Tatler
Reflecting the couture inspiration that Van Cleef & 101
 Arpels has cherished since its beginning, the Double
Ruban Mystérieux clip and Passementerie Mystérieuse
ring appear as supple as fabric, with several layers of
white and rose gold and precious stones set in rippling
displays. Two emerald-cut diamonds—of 3.08 carats
within the clip and 5.23 carats crowning the ring—stand
out among the striking buff-topped rubies and pink
sapphires.
Also pictured, two DFL type 2A emerald-cut
diamonds, Individual Mystery Set rubies, Traditional
Mystery Set buff-topped rubies, pink sapphires
and diamonds make up the Collerette Mystérieuse
transformable necklace and ring. Discreet links are
hidden under the structure, making it comfortable to
wear, while a diamond-set three-dimensional bow hides
the clasp on the back of the piece. The two remarkable
diamonds at the heart of the necklace boast over 60
carats combined: the largest is detachable to adorn a ring
IMAGE BERTRAND MOULIN (RUBIES)

of similar design.
The second chapter of the Legend of Diamonds features
White Diamond Variations. Together with 25 Mystery Set
Jewels, the high jewellery collection includes more than
100 pieces that retrace the maison’s history and style.
Tatler

102
Double Ruban
Mystérieux clip
and Passementerie
Mystérieuse ring
Opposite page,
clockwise from
top left: Van Cleef
& Arpels’ 1922
catalogue; individual
Mystery Set rubies;
the 1953 Blue Heart
diamond set
 J EW E L L E RY

Amrita Katara
Watch & Jewellery Editor
of Tatler Hong Kong

It is impossible to
capture the bewitching
nature of the ocean in
its entirety, but Harry
Winston has at least
managed to express
its essence with the
Island Waters necklace,
a standout piece from
the US jeweller’s new
Majestic Escapes
collection. This one-of-a-
kind high jewellery piece
is inspired by St Barts,
a picturesque island in
the eastern Caribbean
Sea. It features a carefully
selected ombre gradation
of pear-shaped indicolite
tourmalines, blue
paraibas, green paraibas,
mint tourmalines, green
tourmalines and round
brilliant-cut diamonds
that give the piece a
delicate fluidity and
sophisticated symmetry,
mimicking the sunlit
shores of the volcanic,
reef-ringed paradise.
Jewellery has never
been so transportive.
Harry Winston Majestic
Escapes—Island Waters
necklace in platinum, set
with indicolite tourmaline,
paraiba tourmaline, yellow-
green tourmaline, blue-green
tourmaline and 289 round
brilliant diamonds

her astrological symbol, Leo—the fifth
sign in the zodiac—and was her favourite
day to present her couture collections.
Chanel’s Eternal No5 fine jewellery line
has been expanded this year, including
these 18-karat beige gold and diamond
earrings, which are designed to be
transformable. The length of one earring
is adjustable, with the long version worn
attached behind the lobe or as a simple
ear-stud.
Chanel Eternal No5 transformable earrings in
18-karat beige gold and diamonds
PRICKLY THORN,
SWEETLY WORN
For the first time, La Rose
Dior features bangles in
its Bois de Rose range,
inspired by the stem of
Christian Dior’s favourite
flower and a nod to when
he learnt to prune roses
with his mother in their
Normandy garden. These
delicately sculptured
pieces come in either
white, yellow or pink gold,
with or without a frosting
of diamonds. They are
designed be worn by both
women and men.
Dior Bois de Rose bracelets in
18-karat pink gold, white gold
and yellow gold

WILD BLUE YONDER

Graff’s Graffabulous
Chapter II takes inspiration
from the intoxicating
beauty of the deep
blue sea. The star of
the show is this high
jewellery necklace with
a rare unheated antique
sapphire—impressive in
terms of both size and
quality—at its heart. The
magnificent 109-carat,
cushion-cut Sri Lankan
sapphire is counterbalanced
by the elegant, emerald-cut
diamond surround.

Graff Tribal Collection multishape

diamond necklace, set with
a 109.35-carat cushion-cut
sapphire and diamonds totalling
72.50 carats

Tatler

Style

105

Small Talk
ELSA ZHAO
The founder and
designer behind
Richandrare, named
for its rich variety
of designs featuring
rare gemstones and
skilled craftsmanship,
shares her inspirations
and advice on
jewellery collecting
You studied science at
university in Hong Kong: how
did your transition to jewellery
design come about, and are
there any similarities between
your artistic profession and
your studies?
I grew up in an artistic family
in Shanghai and have always
been passionate about the
arts. While I was studying
environmental and civil
engineering, I developed an
interest in geology and was
determined to start my career
focusing on gemstones,
sediments of the Earth grown
over millions of years.
These studies were crucial
to my later jewellery designs.
My aim is to create unique
Tatler and iconic pieces that obey
the rules of nature and are
Style
always in balance. I am also a
106 big fan of geometric lines and
PIECE
symmetry. I think you
can see both these
characteristics in my
jewellery pieces.
Why did you choose Alice in
Wonderland as the design
theme for your new Hong
Kong flagship store in
Wyndham Street?
Our previous boutique [on
Lyndhurst Terrace] was a
pioneer in floral decoration so
we wanted to develop this. All
of a sudden, the concept of
Alice in Wonderland jumped
into my mind. The flowers
in myriad vivid colours; the
strange plants; the huge
mushrooms; I could instantly
imagine how the new
boutique would look.
I feel a connection
between the book and our
new store. Not only do you
see the jewellery, you also see
the fantasy and the dreams
behind them.
What advice would you give
to a jewellery customer
just starting to build their SENSE OF LACE
collection? Lace by Jenny Wu is a trailblazing fine jewellery brand
The concept of RichandRare
is that jewellery is wearable specialising in 3D printing. Necklaces, earrings, bracelets
art. It can also be part of one’s and rings are offered in 3D-printed stainless steel, carbon
assets. Always trust your
taste, and choose the items fibre and precious metals. The collection reflects Wu’s
that you would love to wear, architectural training and aesthetic, combining geometric
no matter how valuable the lines with organic movement, and high-level 3D printing
gemstones are, no matter
how much you would like to technology with artisanal craft finishing. The result is
treasure it. Don’t think too stackable pieces with intricate, modern designs.
much; choose the piece you
fall in love with at first sight
and wear it. Lace by Jenny Wu Rhea diamond ring and Hera ring, both in platinum
Pirate’s Booty
| Trend |

Set sail for sparkles and deck

yourself out in nautically inspired
treasures this month

Clockwise from above: Boucheron

Coquillage diamant pendants
earrings in natural shell and mother-
of-pearl, paved with diamonds in
white gold; Chopard Red Carpet
Collection Earrings in titanium set with
emeralds, tsavorites, jadeites, Paraiba
tourmalines and orange sapphires;
Chaumet Encres transformable brooch Tatler
in white, rose and yellow gold, set with Style
turquoise, onyx, Grand Feu enamel and
brilliant-cut diamonds 107
 BIG CAT ON TOP
The latest Panthère de Cartier
collection evokes the heritage of
legendary director of fine jewellery
Jeanne Toussaint—Louis Cartier
is said to have dedicated the
house’s iconic panther motif to
her. Necklaces, rings, earrings and
bracelets in white or yellow gold
feature the pompom detail beloved
by the maison. The eight new
creations include this white gold
necklace featuring onyx, set with 353
brilliant cut diamonds in a classic
black and white combination.
Cartier Panthère de Cartier necklace in
white gold and onyx, set with 353
brilliant-cut diamonds

TIME FOR T RAINBOW ROCKS

The graphic T motif of Buccellati is known for
the Tiffany & Co’s T its use of extraordinary
Collection derives from coloured rare stones
the brand’s instantly mixed with white and
recognisable logo, and yellow gold exquisitely
each piece in the modern, carved like lace; the Italian
bold collection celebrates house’s hand-engraving
the house’s name. The technique borrows from
range continues to evolve Renaissance goldsmithing
with new pieces including traditions. The shapes
oversized circle pendants featured are all inspired
and hoop earrings, with or by archive drawings
without diamonds, perfect from the founder, Mario
for stacking and layering. Buccellati. A standout for
A standout piece launching this season is the Cocktail
this month is this striking Rings collection: each is set
ear cuff in 18-karat rose with a stunning coloured
IMAGE ANTOINE PIVIDORI (CARTIER)

gold and pavé diamonds. gemstone at the centre.

Buccellati Cocktail Ring in yellow
Tiffany & Co Tiffany T1 ear cuff in
and white gold set with turquoise,
18-karat rose gold with diamonds
76 pink sapphires and 98 round
brilliant-cut diamonds
Tatler

Style

108

Small Talk
VINCENT
MEYLAN
French journalist and
historian Vincent
Meylan specialises in
writing about jewels
and has written books
on many prestigious
jewellery houses,
including two titles
about Van Cleef &
Arpels’ new Legends
of Diamonds high
jewellery collection:
25 Mystery Set Jewels
and White Diamond
Variations, both released
this year. In an exclusive
interview, he reveals
which pieces from
the past captivate him
most, and the changing
role of precious
adornment in our lives
You’ve come across so
many stories and anecdotes
throughout your career,
from Queen Marie Amélie’s
missing emeralds to the theft
of the Duchess of Windsor’s
Jewels. Which is your favourite
and why?
The ones I like best are the
ones still clouded in mystery.
For example, the Prince
Edward of York diamond
has not been seen for 100
years, since Van Cleef &
Arpels exhibited it in New
York. I would love to see that
stone. But I think my biggest
question ever is: where is
Grand Duchess Vladimir of
Russia’s enormous emerald?
US billionaire Barbara Hutton
owned a spectacular emerald
and diamond necklace.
The stones used to belong
to the Grand Duchess, the
aunt of the last emperor of
Russia. Barbara Hutton sold
that necklace to Van Cleef
& Arpels at the end of the
1960s. The central stone was
IMAGE BERTRAND MOULIN (VAN CLEEF & ARPELS)
enormous—more than 100
carats—but it had a strange
shape. We found that it
had been recut to a smaller
cushion-cut stone, mounted
on a pendant and sold to a
private collector. I have no
idea where it is now.
As a historian, what can you
tell us about jewellery over the
ages? How has the concept
of jewellery evolved? Has the
way people wear it changed?
This is a very big question; I
would need a book to answer
it. But if I stick to France,
which I know best, I would say
that I am always puzzled by
the way jewellery used to be
worn by men and women a few
centuries ago. Until recently,
only women would wear
jewellery in France. This has
changed during the last ten
years. Now men are starting
to wear jewellery again. Many
French customs, laws and
habits changed since [the time
of] Emperor Napoléon at the
beginning of the 19th century.
He was a warrior and didn’t
wear jewellery. Consequently,
jewellery fell out of fashion for
most men.
In today’s context, how would
you characterise jewellery’s
role in our lives? How does
it impact status, gender,
sexuality and style?
I don’t think jewellery
really impacts gender
or sexuality. Of course,
it impacts style; it is
like punctuation
in a sentence, or
salt in cooking,
especially
nowadays,
when you can
change your
style every day.
I also think
jewellery has
a lot to do with
symbolism,
especially for
love. It can be a
secret link between
two people. It can
mark a special occasion. For
me, it has a lot to do with
feeling good. Diamonds are
very special; I am convinced
that the light getting into a
diamond gets out into your
eye and tickles your mind in a
very feel-good way. Diamonds
put me in a good mood.
Of all the fabulous objects
you’ve mentioned in your two
Legends of Diamonds books
for Van Cleef & Arpels, which
jewellery creation moves you
the most, and why?
Clockwise, from left:
Corolle Mystérieuse
earrings in white
gold and rose gold
set with rubies and
diamonds, and Couture
Mystérieuse ring in
white gold and rose
gold, set with rubies
and one oval diamond;
Entrelacs Mystérieux
bracelet in white gold
and red gold, set
with sapphires and
diamonds; journalist
and jewellery historian
Vincent Meylan
Definitely Princess Fawzia of
Egypt’s diamond necklace.
The Van Cleef & Arpels
jewels for the
Egyptian royal
family were
extraordinary.
When I
published
my first book
about Van
Cleef & Arpels,
Treasures
and Legends, I
mentioned those
jewels; we had
no information
about any of them
apart from Princess
Faiza’s [Fawzia’s sister]
ruby and diamond
peony brooch. Since the
publication of the book,
we have seen Princess
Faiza’s emerald and diamond
necklace, Queen Nazli’s [the
sisters’ mother] diamond
necklace, and Princess
Fawzia’s diamond earrings
all coming up for auction. We
need to find that diamond
necklace—it such a wonderful
piece of jewellery. It has not
been seen in public for 70
years, but I am sure it still
exists somewhere in a safe.
What do you hope people Tatler
derive from this book?
Style
A dream, a moment out of
time or, simply, pleasure. 109
 WAT C H E S

Jacqueline Tsang
Editor-in-Chief of Tatler
Hong Kong

We just wrote about

the world’s thinnest
watch back in March,
then, in July, a new
contender claimed the
title with a watch that’s
just 0.05mm thinner.
Richard Mille’s RM
UP-01 Ferrari slides into
top place with a 1.75mm
case, the movement itself
measuring 1.18mm. A
watch’s winding stem
measures at least 1.5mm,
so the brand had to
rethink the winding
mechanism altogether.
In short, it nixed it and
replaced it with two
crowns. It also did away
with the balance and
dart in the patented
escapement. The dial
is on the broad side
but it does resemble
a Ferrari dashboard
so we’re all for it.
Tatler
RM UP-01 Ferrari by
Style
Richard Mille
110
 SHIP AHOY!
Paying homage to the
magnificent three-mast
training ship Amerigo
Vespucci, named after the
Italian adventurer, is this
new wristwatch by Bulgari.
Comprised of aluminium,
titanium and rubber, the
Bulgari Aluminium GMT
Amerigo Vespucci Special
Edition bears the ship’s
colours. Each of the 1,000
limited-edition timepieces
comes in a mahogany
presentation box engraved
with the ship’s motto
Non chi comincia ma quel
che persevere, meaning
“Not he who begins, but
he who perseveres”.
Bulgari Amerigo Vespucci
Special Edition

RUGGED GLAM glows in the dark and is

The latest avatar of Corum’s
distinguished Bubble 47
Skull X-Ray is here. In the
watch’s second edition, the
Swiss watchmaker further
defines its distinguished
feature—the luminescent
skull on the dial. The hour
and minute markers are
formed with a railway-
style chapter ring that
accompanied with a green
second hand. The timepiece
is run by the automatic
CO 082 movement and is
limited to 666 pieces. It sits
snugly on the wrist with a
rubber-lined, faux alligator
leather strap detailed by
florescent green stitches.
Corum second edition Bubble 47
Skull X-Ray

Diver X Skeleton in
 DIZZY HEIGHTS
Legend has it that a
dangerous mythical
creature once inhabited the
high passes of Mont Blanc
mountain, preventing
access to the peak. It
wasn’t until a substantial
prize was offered to the
first person to find a
way to the summit that
interest grew. Montblanc
is commemorating that
first ascent in 1786 with the
Star Legacy Exo Tourbillon
Skeleton timepiece, a
limited edition of eight,
featuring handmade
decorative work.
Montblanc Star Legacy
Suspended Exo Tourbillon
Skeleton The Ascent

SETTING SAILS white gold and the bezel

Rolex’s new Yacht is set with trapeze-cut
Master 40, specifically pink, light blue, purple
designed for navigators and dark blue sapphires as
and skippers, now comes well as diamonds. The case
set with diamonds and also features 46 brilliant-
sapphires that encapsulate cut diamonds, adding to
the shimmering look of the glistening effect.
the ocean at sunrise. The
Rolex Oyster Perpetual Yacht
new model is available for Master 40 in 18-karat white gold
the first time in 18-karat with diamonds and sapphires

A TALE OF TIME
Heure H is more than a
watch: it’s a symbol.
Hermès’s signature
letter H, created by
designer Philippe
Mouquet in 1996, acts as a
frame on the large square
titanium case for the dial
IMAGES JVA STUDIOS (ROLEX); JOEL VON ALLMEN (HERMES)

within. And for the first

time, the light but sturdy
Heure H comes with a
mechanical Manufacture
Hermès movement. The
wristwatch is available
in deep black and
grey tones with an
interchangeable strap
Tatler in Barenia calfskin.
Style
Hermès Heure H
112

| Up Close |
Serena Williams
An up-close-and-personal
chat with Serena Williams,
as she opens up about
mental health and how
she found her match in
Audemars Piguet.
Could you share with us
your take on mental well-
being for today’s athletes?
Do you have any pointers for
aspiring athletes entering the
competitive sporting world?
Sport is not easy—nothing
is easy, if you want to be the
best. But it’s important to
know that working hard,
not giving up, speaking up
and taking care of yourself
are super important. We are
living in a world where we
must love ourselves more
than anyone else. And we
must understand that no
one will [fully understand
us]. So, it’s important that
experienced and upcoming
athletes really take care of
their physical and, more
importantly, their mental
well-being.
What words of advice would
you give people who need to
stay positive and healthy in
a high-pressure environment
or situation?
Staying positive is easier
said than done. I know I
have faced many challenges,
and staying positive
through them all is not
Williams wears
the 18 karat pink
gold Royal Oak
Selfwinding in
37mm adorning a
khaki green Grande
Tapisserie dial by
Audemars Piguet
always possible. But it’s
important to channel
anything negative and look
at the bigger picture. I think
today we live in a world
where most situations can
always be worse. I just think
having perspective is very
important.
What or who empowers you?
This may sound like a cliché
but it’s important to inspire
and empower yourself. You
can feel empowered by so
many people, but if you can
look into your own soul
and empower yourself, that
becomes a game changer.
So, a lot of things actually
empower me, but I try to
empower myself and that’s
the only way to get through
harder situations or those
that we don’t expect.
If there’s one thing about you
or your platform that can
empower or inspire others,
what would it be?
I am so grateful to know
that people can feel that I
am powered down. One
thing that I would say as
always—be yourself, be
respectful and always look
out for your neighbour
and the person next to you,
and be humble. That’s the
only way that we should
all live our lives—by being
respectful to each other.
And that is the most
empowering [thing]; that’s
true empowerment.
Of all the watch brands in
the luxury industry, why
did you choose to work with
Audemars Piguet, and what
was it about the brand that
spoke to you?
I have never met a brand
that is so in touch with its
beliefs—one that is always
striving for equality. It’s
very difficult to find that
in the luxury industry. But
this is the true meaning of
equality.
Quite frankly, when I first
met with Audemars Piguet,
I was blown away by their
message and how I was
treated—not for all I am
or for what I have done in
my industry, but just from
a super honest place. I’ve Tatler
never met a more authentic Style
brand, and I fell in love. 113
 | |

Viva
Trend

A round-up of the

Verde
hottest timepieces that
will make you want to
go green this summer

Clockwise, from above:

IWC Big Pilot’s Watch
Perpetual Calendar
Tatler Edition Racing Green;
Style
Jaeger-LeCoultre Polaris
Date; Roger Dubuis
114 Excalibur Spider Huracán
BOLD TYPE
Following nearly two is a sport-inspired model
centuries of watchmaking with fluid lines and
tradition, H Moser & Cie minimalist design. The
has launched a bold and timepiece comes in dark
surprising collaboration grey DLC-treated steel
with global street culture with a Black Tiger Camo
and sportswear brand fumé dial and dark
Undefeated. Produced grey DLC-treated steel
as a limited edition of 76 integrated bracelet.
pieces, the Streamliner
Chronograph Undefeated H Moser & Cie x Undefeated

PRETTY IN PINK
Vacheron Constantin has
a long history of designing
watches for women and is
adding to its legacy with
the new Patrimony model.
With a case and hour
markers in 18-karat pink
pink gradient effect dial, the
timepiece is as pretty as it
is technical. The rose-beige
alligator leather strap has a
satin effect and is finished
with a pink gold buckle.
Vacheron Constantin Patrimony

Baume & Mercier is

timepieces. The 42mm

with their sophisticated

within its distinguished

12-sided steel case is a
Swiss-made automatic
movement, while the
lacquered blue satin-
finish dial displays the
date between the four-
and five-hour markers.
What’s more, its rubber
strap is enhanced with

can be easily interchanged

to suit your ensemble.
Baume & Mercier The 42mm Riviera Tatler
Automatic with bicolour detailing
Style

115
Everything
you need
to look
your best
this month
By Cherry Mui
IN A BARBIE WORLD
Pierpaolo Piccioli at Valentino might have reminded us
that pink is a colour for every gender, 365 days a year,
but he is not the only one who is loving the saturated
shade. On the fall-winter 2022 runways, red carpets
and the ’Gram, everyone who’s anyone is all about that
hot pink. Be it a blazer, dress, handbag or a top-to-toe
ensemble, dare to step away from monochrome; this
dopamine dressing trend is here to stay. Clockwise from
top left: Christian Louboutin bag; Louis Vuitton men's
jacket; Versace men’s sneaker; Celine skateboard;
Salvatore Ferragmo earrings; Mach & Mach sandal.
Opposite page: Valentino outfit Tatler

Style

117
MAXIMUM
DRAMA
Fashion is often a celebration
of polar opposites, and after a
summer of micro minis, hemlines
have dropped to the floor.
Maxidresses are a wardrobe
essential that work for elegant
soirées, casual lunches and
everything in between. Coming
in colours, cuts and fabrics
to suit every taste, this is the
ultimate piece to bridge summer
and fall: just add cosy layers.
Clockwise from far left: Gucci
necklace; Stella McCartney
dress; Saint Laurent outfits;
Magda Butrym earrings; Oscar de
la Renta dress, available at Moda
Operandi; Jimmy Choo heel;
Givenchy heel

Tatler

Style

119
LUCKY STRIKE
Bowling bags, but make them fashion! The
early-aughts aesthetic is showing no signs
of slowing down, including when it comes to
handbags. Following the recent resurgence
of hobo bags, brands including Dior, Karl
Lagerfeld and Loro Piana have reinterpreted
the practical bowling model—with double
handles, flat bottom and cylinder shape.
Alternatively, look for vintage models such as
Hermès’ Bolide on resale sites. Clockwise from
below: Enfants Riches Déprimés bag; Dior bag;
Tod’s bag; Adidas x Gucci bag. Opposite page:
Karl Lagerfeld outfit

Tatler

Style

121
122
Style
Tatler
IMAGE JACKIE NICKERSON (DIOR)
ON THE DOWNLOW
Practical clogs have proven
themselves worthy of every
fashionista’s shoe closet: from
the floral Dior and Birkenstock
crossover clogs to the futuristic
Crocs-esque rubber slippers seen
at Bottega Veneta and Marni,
the versatile low-cut hitters are
establishing undeniable luxury
credentials. Dior Men outfit.
Opposite page, clockwise from top
left: Balenciaga mule; JW Anderson
slipper; Bottega Veneta sandal; Jil
Sander loafer; Marni slipper
Tatler

Style

123
 What sets the truly stylish apart from those who
IMAGE LEUNGMO (YOSHI) WARDROBE JEREMY SCOTT (YOSHI)

leap on the latest trends? The individuals featured

on the third AMS list have each made ripples
in the fashion world this year—from a fiercely
independent hip-hop rising star to a shape- Tatler

shifting media host who defies gender binaries Features

125
SURFACE
BENEATH THE

Dior outfit; Dior Rose Des

Vents necklace, bracelets,
Rose Couture ring
 Beatrice Ho on owning her body, learning from
strong female role models, and why fashion is so much
more than just window dressing By Jacqueline Tsang
Photography by Affa Chan. Styling by Cherry Mui
M
ost Hongkongers do their
power walks in exercise
gear—a Lululemon outfit,
perhaps, with trainers in
varying shades of neon.
Beatrice Ho has just returned
ON HO’S SPECIAL-EDITION COVER NICOLE + FELICIA GOWN FROM THE WEDDING GOWN; DE BEERS ELLESMERE TREASURE HIGH JEWELLERY NECKLACE IN WHITE
from a brisk stride around
Deep Water Bay dressed
GOLD WITH DIAMONDS, EARRINGS IN WHITE GOLD WITH DIAMONDS, JACKET RING IN PLATINUM WITH ONE EMERALD-CUT DIAMOND AND PAVÉ DIAMONDS
in a black crop top and
long ruffled skirt, as well
as a pair of three-inch-high
Stella McCartney Sneak
Elyse incline trainers.
This is unsurprising
given that Ho doesn’t own a
single pair of flats (nor, for that matter, jeans). “I own
these Stella McCartney trainers and a pair of workout
trainers—because honestly, what else can you wear to
play tennis?” she says, laughing. “But everything else
in my wardrobe consists of varying styles and heights
of heels.”
Ho is the daughter of prominent businesswoman
Daisy Ho, and she attributes much of her style to the
powerful women of the Ho family, starting with her
maternal grandmother, Lucina Laam.
“My late grandmother told me: you don’t know who
you’re going to meet when you walk out of the house
every morning,” she says. “Normally—when I don’t go
on a walk—I try to have my hair and make-up done
[before leaving home]. Every single day, you should
look presentable at the bare minimum, and [preferably]
have a dimension of flair in some way, so people will
remember you. You want to stand out in a positive way.”
One gets the sense that the balance between public
perception and self-expression through personal style
is something that Ho has honed over the years. The
27-year-old Princeton and Penn graduate has had her
share of the limelight as the granddaughter of gambling
tycoon Stanley Ho, not to mention growing up with
her mother and her aunt, Pansy, both prominent
businesswomen in Hong Kong. She’s also planning
her wedding, a stressful process even for those who
don’t have to worry about a high-profile event and
guest list. Ho nevertheless seems remarkably composed
about it all, with a dignity and self-awareness that belie
her youth.
She refers to how the late fashion icon Karl Lagerfeld
once said that his greatest luxury was not having to
justify himself to anyone. “I agree with this sentiment
completely. I believe that one’s body is not beholden to
anyone because an individual should have confidence
and complete autonomy over their own body,” she
explains. “My style stems from what I think would
best flatter my body, while accurately reflecting my
personality and respecting the occasion I’m at.”
She adds that her personal style is all about timeless
elegance. “I view myself as more of a Grace Kelly than
a Marilyn or a Jacqueline. I’m more a classic kind of
girl,” she muses. “I want to look back in 50 years and be
proud of my choices, because while I want to be stylish
and fashion-forward, ultimately I would pick what
looks good on me as opposed to what everyone else is
wearing; to me, that is what a stylish woman is.”
Ho’s style has certainly evolved over the years.
She remembers how, during her formative years, her
aesthetic was “relatively predictable”. Inspired by her
mother, whose favourite colour was pink, Ho embraced
the hue with youthful enthusiasm.
“My mum recently reminded me that my old
wardrobe had actually consisted of 90 per cent pink
clothes,” she says. “As I entered my later teenage years,
my style began to emulate the trends and outfits that I
observed around me.”
Ho remembered how she fell in love with the
“preppy, polished Ivy League aesthetic” when she went
to university in the US, a style that she also loved on the Tatler
character Blair Waldorf in the US drama series Gossip Features
Girl. This aesthetic took the form of silk and chiffon 127
 “Every single day, you
should look presentable
at the bare minimum,
and preferably have a
dimension of flair so
people will remember you”
collared blouses, sweaters and a healthy dose of tweed,
which she would accessorise with a cape, poncho or
gilet, and wear platform booties and pumps “to add
character and charm”.
The ease with which she styles her outfits comes
from an early understanding of the fashion scene. “I was
blessed to be exposed to international luxury designers …
and was able to identify what I liked and disliked from
a young age,” she says. She adds that while her scope has
widened over the years, some things don’t change: “I have
always loved bows, tulle, sequins, feathers and crystals,
and I’ve stayed very loyal to that style.”
Ho points out that while she has a distinct
fondness for “all these different types of feminine
embellishments”, she would also receive helpful and
constructive advice from her Aunt Pansy, whose taste
she has every confidence in.
“I trust [her] style, which is refined, sophisticated
Tatler and timeless. She would tell me if something is a little
Features too much. From a very young age, she really taught me
128 what ‘beautiful’ really means,” Ho says. “They [Pansy
and Daisy] also grew up in the limelight and they know
what society deems beautiful and appropriate, but
they’ll also be able to put a spin on it.”
Ho has come a long way from her predominantly
pink wardrobe, a sartorial evolution that mirrors her
personal growth; she believes the two are intricately tied.
“Deeming personal style and clothing as simply
window dressing is reductive: creative and artistic
visions can be manifested through various ways, and
HAIR AND MAKE-UP WENDY LEE AT WENDY’S WORKSHOP
fashion-conscious individuals express their artistic
expression through style,” she says. “Personal style,
similar to one’s identity, is composed, constructed
and honed by the society and culture that people are
immersed in.”
Most importantly, she emphasises how her style—
her personal expression—is what brings meaning
and happiness to her every day: “Fashion is my creative
outlet,” she says. “[It allows me] to inject joy into
otherwise mundane moments in life.” Perhaps it’s
time we all tried a bit of power walking in her three-
inch soles.
Nicole + Felicia gown, from
The Wedding Gown; De
Beers Adonis Rose high
jewellery seven-row bracelet
in white gold with diamonds,
Enchanted Lotus high
jewellery ring in white gold
with diamonds

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129
 “Since starting Allegory, my research
into slow fashion has made me far more

PHOTOGRAPHY AFFA CHAN STYLING CHERRY MUI HAIR GLOOMY KWOK AT MAKEUPBEES MAKE-UP KAREN YIU AT MAKEUPBEES
conscious about my sartorial choices. I
hope to reflect this in my personal style
by proudly wearing my same pieces on
repeat—albeit styled differently”

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130
FIONA FANG
Fiona Fang is the co-founder
of Hong Kong fashion brand
Allegory. The label’s garments
are made using excess material
left over by fabric suppliers who
have overestimated their needs.
The mini dresses, midi shirt
dresses and unstructured blazers
in the collection have one thing
in common: the colour black.
The label’s sophisticated and
sustainable approach to design is
in no small part thanks to Fang’s
background in marketing and
international business, including
an 11-year career working in
product and marketing for
Ralph Lauren in Hong Kong
and Shanghai.
16Arlington dress, available at Net-A-
Porter; Mach & Mach heels, available at
Joyce; Messika bangles (left), bracelet
(right); Fang’s own bangles, ring (right).
Opposite page: Off-White top, available
at Farfetch; Allegory trousers; Apm
Monaco necklace, rings (left); Fang’s
own bangles, ring (right)
 PHOTOGRAPHY AFFA CHAN STYLING CHERRY MUI HAIR GLOOMY KWOK AT MAKEUPBEES MAKE-UP KAREN YIU AT MAKEUPBEES
ARTEM ANSHELES
Actor, singer and TV host Artem
Ansheles channels a fashion-forward
and gender-fluid style that defies
convention and demands attention.
The Russian-born star, who moved to
Hong Kong when he was 17, made his
name through appearances in adverts,
as a TV host, YouTuber and, lately, an
influencer. Defying the misconceptions
surrounding the work ethic of the latter
group, Ansheles constantly reinvents
himself and diversifies his CV: he is the
founder of accessories brand Earon, and
this year made his debut as a musical
artist with the self-produced album I’m
Shell-Less. His persona is a lesson to his
100,000-plus followers to be proudly
themselves instead of following trends.
Givenchy top; Christian Stone trousers; Earon ear
cuff. Opposite page: 1017 Alyx 9sm vest, available
at Farfetch; Moncler trousers; Givenchy sneakers;
Messika bangle
“Through my personal
style, I hope to convey
the message that it’s OK
to express yourself in
any way you like, even if
you are a boy or man in a
conservative city. There’s
a reason male peacocks
are the ones with the
prettiest plumage”
 KEEP
IT
COOLJenny Tsang
wants to
influence and
If Jenny Tsang’s Instagram account
is anything to go by, the Hong
Kong-born, California-raised
content creator knows how to serve
good style all year long. Creating
effortless ensembles is her forte;
outfits she wore. This was around
the time that the “OOTD”, or “outfit
of the day”, hashtag started blowing
up on Instagram, “so I did the same
with the looks I wore to work,” she
told Tatler. “I never thought this
inspire her social by pairing oversized coats and would change my life.”
ON TSANG’S SPECIAL-EDITION COVER PRADA DRESS

combat boots, or flowy dresses That blog would lead to a nearly

media followers, and sneakers, she strikes the right 300,000-strong following on

but ultimately
balance between hard and soft Instagram, where she continues to
elements each time. post regular outfit inspo under the

her goal is to A graduate of the Academy of Art

University in San Francisco, Tsang
handle @tsangtastic, and uses her
own style to “inspire others to build
forge friendships started a fashion blog in 2014 while
working as a full-time art director
confidence” in their own looks.
She adds that she hopes to make
Tatler Photography by for an advertising agency in Los people “feel good about themselves
Features Angeles, using it as a place to write every day through expressing my
134
Williams and Hirakawa about trends she was exploring and confidence with the clothes I wear”.
Prada dress

Valentino dress. Opposite
page: Miu Miu lingerie, dress,
boots; Khaite cardigan
“My ultimate style
icon is Victoria
Beckham. I love
how her look is
feminine, clean
and sharp. It’s so
timeless”
In December 2016, Tsang launched
her clothing line byTsang, offering
minimal, elegant essentials such
as coats and knitwear. “I wanted
to be able to relate to my audience
and provide them with quality and
classic pieces that I knew they would
cherish,” she says. The clean, simple
lines serve as something of a tribute
to the woman Tsang names as her
ultimate style icon: Victoria Beckham.
“I have always loved her sleek looks.
She gives off a modern woman vibe
and is a strong woman with a singular
vision,” she said. “Her collections have
got better and better, and I love how
her look is feminine, clean and sharp.
It’s so timeless.”
Her own style also errs on the side
of timeless and classic; while she can
be seen wearing items from the latest
collections by major maisons such
as Gucci and Dior, the palettes tend
to the neutral and understated, but
never dull. After all, Tsang sees her
STYLING SANTA BEVACQUA HAIR AMBER DUARTE MAKE-UP GIA HARRIS
sartorial choices as an important part
of her personality.
“Style is a form of self-expression
and a way to connect with people,”
she says. “There is no right or wrong
because style is very individual and it’s
how we represent ourselves.”
Ultimately, Tsang hopes that her
followers see her as approachable and
accessible; she goes as far as saying she
wants to be perceived “as a friend”.
“Instead of being called a ‘fashion
influencer’, I want to be known as a
creator friend who [people] can go to
for day-to-day inspiration.”
Tatler

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137
 “Justin Bieber [is my
biggest fashion influence].
Sometimes I wonder if
an item he’s wearing is
actually well designed,
or if it’s because he’s
famous and makes
it look cool”
IMAGE LEUNGMO STYLING CHRIS WONG HAIR JIM TSE MAKE-UP CARMEN CHUNG SET DESIGN KARSON LIU

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138
TYSON YOSHI
Tyson Yoshi is one of Hong
Kong’s best-known artists. His
songs have amassed more than
37 million views on YouTube;
he has 245,000 listeners on
Spotify each month, with
streams from more than 100
countries; and he has toured
internationally, a feat for
any Hong Kong musician.
Collaborations with Valentino
Beauty, Prada, Gucci and Nars
have cemented his star status
with luxury brands all over
the world. Yoshi names Stüssy
Hong Kong and Chrome
Hearts as among his favourite
brands, and looks to Justin
Bieber and singer Paul Jason
Klein for style inspiration. Tatler

Features
Moschino outfit
139
 PHOTOGRAPHY BORAM YUN STYLING JEONGAH LEE HAIR SEUNGJIN KIM MAKE-UP SUYEON PARK

“I express myself and my values through my

personal style: classic yet modern, trendy and
positive. I do my part, little by little, to make
the world a better place and to empower others
through the infinite potential of youth. I hope
Tatler
that people see me as myself: someone who
Features

140 spreads love and light”

AYLA SHAM
It’s one thing being born
into style royalty; it’s another
having the sense of direction
and independence to carve
out your own path within the
fashion world. Ayla Sham, the
daughter of actor Chingmy
Yau and fashion tycoon Sham
Kar Wai, began turning heads
in 2019, first as a debutante
at the prestigious Le Bal in
Paris, then as a runway model
at London Fashion Week.
She grew up surrounded by
clothing, and, though she
loved experimenting as a child,
she is now more likely to be
found in comfortable basics
in her day-to-day life. With
dozens of campaigns and
covers under her exceptionally
chic belt, she is pursuing her
career under the mononym
“Ayla”.
Valentino dress, boots; Cindy Chao
yellow rose ring. Opposite page:
Valentino dress; Cindy Chao yellow
diamond architectural ring

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141
 PHOTOGRAPHY SJ WANG STYLING CHERRY MUI MAKE-UP JUN PRODUCTION YU LI ART DIRECTION SEVEN QI POST PRODUCTION XIAO BO PHOTO ASSISTANT GF WANG

“Style is the incarnation of

our own identity. It is personal,
it represents character, it’s
unique, it changes over time
and is inspired by our roots and
Tatler experience throughout life. It is
Features

142 an extension of our aura”

ANISHA THAI
Since moving to Hong Kong in
2018 to pursue a career in civil
engineering, Anisha Thai has also
made waves in the creative scene.
She has grown a large following
on social media for her high-
octane dance routines, which span
the genres of Afrobeat, hip-hop
and street jazz. Born and raised
in Paris, Thai is of Comoran and
Vietnamese heritage, and is an
advocate for diversity and the
promotion of African culture in
Hong Kong. “I want to be seen
as a 360-degree artist who uses
all forms of art—dance, music,
fashion—to uplift and inspire
people to become their true
selves,” says Thai. “Through my
styling choices, I want people to
feel liberated and bold, but also
comfortable in their own skin.
Style should be a way to reinforce
your self-confidence, open
possibilities—and reconnect
with your true self.”
Ponder.er dress; Versace
heels. Opposite page: Stella
McCartney top, trousers;
stylist’s own earrings
 A
DIAMOND
IN THE
DARK
From a high- The shush of a smoke-toned
satin gown, cinched at the waist.
powered financier Shoulders illuminated by glittering
earrings. An inky silhouette
to a passionate punctuated by a carmine lip.
humanitarian,
Jet-black hair swept back into an
unadorned bun. A Chinese silk
Irene Chu jacket cuffed by florals. The flash
of a chunky ring. The soothing
has honed an embrace of a pearlescent pashmina.
Irene Chu dresses with all the grace
idiosyncratic of an empress—and inspires similar
intrigue—yet adds a twist that is
dress-sense uniquely her own.
When society manages to
grounded in steal a glimpse of this demure
sophistication
philanthropist, who built her
career in finance before retiring
to focus on the act of giving, it
By Lauren James spies a woman whose style nous is
Photography by Amanda Fordyce exemplified by classic, flattering
staples embellished with more
daring touches, from playfully
ostentatious baubles that swing
from her earlobes to delightful
sprays of feathers and gemstones.
“Style is a mirror—a reflection
of one’s personality,” she tells Tatler.
Black dresses and robes form the
ON CHU’S SPECIAL-EDITION COVER ALEXANDER MCQUEEN TOP, TROUSERS; CHRISTIAN LOUBOUTIN HEELS; LULU GUINNESS BAG; IRENE’S OWN EARRINGS
foundation of her wardrobe, and
she names Yohji Yamamoto and
Rick Owens, both famed for their
inclination for all-black, utilitarian
looks, as some of her favourite
designers.
During her time on Wall Street,
her uniform was the assertive
combination of a black suit, crisp
white Brooks Brothers shirt and
Ferragamo flats. Now, she cites
practicality for her draw towards
darker hues. “I cannot say I’m
a colourful person. I love black
because it doesn’t show dirt,” she
says. “I’m so messy, that any other
colour, I’d just have to throw it away
after one wear.”
However, the clearest window
to her personality is the offbeat
adornments about her person:
she says her eye is drawn to
jewellery, “for its design, not its
material value”, and loves the
carefree whimsy of designs by Lulu
Guinness. “She has the view of a
child with a kind of playfulness,
but is enough to have a permanent
collection at the Victoria and Albert
Museum.”
Like a wry smile or a knowing
wink, Chu’s sensibility is defined
Richard Tsao overcoat;
Lulu Guinness clutch;
Christian Louboutin heels;
Chu’s own earrings
 Alexander McQueen shirt;
Chu’s own necklace.
Opposite page: Rui Xu top;
Chu’s own tapestry tunic,
earrings

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146
 “I am
inspired
by others’
style but the
other way
around?
That hasn’t
occurred
to me”
by giving just enough away that it
softens those around her and invites
STYLING HANNAH BECK HAIR AND MAKE-UP CALLIE FOULSHAM PRODUCTION DMB REPRESENTS PHOTOGRAPHY ASSISTANT OLLIE PATTERSON

them towards her. When asked

what message she wants to express
through her personal style, she
replies: “Humour”.
“I’m a little bit different and
have a quirky sense of humour. I
like to be creative with the clothes
I have, and I try to make myself
be less serious towards myself and
the world,” she says. “Humour is
so important, and so is not taking
ourselves too seriously.”
She fondly recalls anecdotes
such as the time, while living in
New York, she took an assortment
of her husband’s Hermès ties and
made them into a skirt. “I’ve never
been forgiven for that. My sister and
daughter would not walk alongside
me when I wore that,” she says. She
also loves subverting convention,
such as by wearing clothes upside
down or wearing a pair of trousers
as a top.
Born in Korea, Chu, who is
half-Korean, half-Chinese, was
sent to study in the US as a child.
After graduating from university,
in New York, first at Citibank then
Barclays, before she relocated to
join financial corporations in Hong
Kong. Now, her roles include board
member of the World Economic
Forum’s World Arts Forum, a
member of Habitat for Humanity’s
Asia-Pacific Development Council,
and the chairman of the Asia Pacific
Development Council of Oxford
University’s China Centre. She is
also involved with the Brain Health
Initiative in Hong Kong, which
supports people with dementia and
Alzheimer’s disease.
As a result, Chu understands
the power of dressing to convey
purpose and sincerity: she cites
“His white robe symbolised purity,
simplicity and solidarity with the
poor and [was part of the way] he
identified with the masses,” she
explains. “We adorn ourselves with
all these things. But if we put as
much emphasis on educating our
children about compassion, I think
that’d be fantastic.”
Chu’s eyes are open to the world
around her, not least in the way
other people dress, yet she does
not consider herself to be part of
the fashion crowd and graciously
disagrees with the suggestion that
her style deserves to be emulated.
“I am inspired by others’ style,” she
says. “But the other way around? Tatler

she swiftly established her profile Mahatma Gandhi, another noted That hasn’t occurred to me.” We Features

within the private banking world humanitarian, as her style icon. beg to differ.” 147
 ARTHUR BRAY
Hong Kong-born and -raised
Arthur Bray’s irreverent and
carefree sartorial sensibility
extends to his role as co-founder
of music collective and clothing
brand Yeti Out. Part of the
new guard of young Hong
Kong entrepreneurs who are
moving the culture needle,
Bray additionally is the music
director of the alternative radio

PHOTOGRAPHY AMANDA FORDYCE STYLING HANNAH BECK HAIR SIMONE MASON MAKE-UP PHOEBE TAYLOR PRODUCTION DMB REPRESENTS PHOTOGRAPHY ASSISTANTS JIMMY CRIPPEN, ROSIE WILSON
station FM Belowground and
co-founded independent record
label Silk Road Sounds.
Helly Hansen jacket; Raey T-shirt; Bray’s
own cap. Opposite page: Namesake shirt;
Raey T-shirt; Victoria trousers; Converse
sneakers; Yeti Out necklace

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148
“Style
means
looking
like a
million
bucks when
you’ve got
a million
baht”
RINA
WADHWANI
Woman-about-town Rina
Wadhwani is the director at
supply chain and logistics firm
Wadhsons Hong Kong. Not
one to let her clothes wear
her, she indulges her creative
side by blending elements of
old Hollywood with current
trends. Opting for soft
silhouettes, bold accessories
and a sprinkle of drama,
Wadhwani is a firm believer
that the simplest of ensembles
can be elevated with the right
mix of accessories. Through
the use of colours and prints,
she hopes to spread positivity
with her sartorial choices,
encouraging others to live out
their fantasies through fashion.
Taller Marmo dress; Amina Muaddi
heels. Opposite page: Valentino blouse;
Chanel necklace
PHOTOGRAPHY AMANDA FORDYCE STYLING HANNAH BECK HAIR SIMONE MASON MAKE-UP PHOEBE TAYLOR PRODUCTION DMB REPRESENTS PHOTOGRAPHY ASSISTANTS JIMMY CRIPPEN, ROSIE WILSON

“Style is a medium to express the many facets of my

personality. It doesn’t necessarily relate to clothing
but rather as an extension of my lifestyle. I indulge my
creative side by incorporating elements of timeless
Hollywood glitz and glamour as well as current trends” Tatler

Features

151
 Moving
Mountains
After years spent picking off climbing records,
Nirmal “Nims” Purja sets his sights on his
toughest conquest yet By Lauren James
Above: Purja during his time
in the British military.
Opposite page: Purja leads a
team to the first winter summit
of K2 in January 2021
Tatler
Features
152
When it comes to mountains, Nims Purja has seen
and done it all: his record-setting climb of all 14 of the
world’s highest was immortalised in a hit documentary;
he holds several speed records for multiple ascents back
to back, and led the first team to summit K2 in winter—
without supplemental oxygen; and he has summited
Mount Everest seven times and founded a guiding
company. Through planning, dedication and faith in
his own abilities, he has built a reputation for achieving
anything he sets his mind to. However, this year, when
he set out on a new challenge—an extreme litter-picking
mission on the world’s tallest mountain—it didn’t quite
go as planned.
“To be honest, I didn’t expect it to be that tough, and
I’m a very strong climber; the strongest climber in the
world. My team was with me trying to pull the rubbish
out of the snow at 8,000m, which was very hard,” he
tells Tatler after returning from a two-and-a-half month
expedition during which 500kg of rubbish was removed
from the highest parts of Everest. The trip marked the
expansion of The Big Mountain Cleanup a year after
his foundation launched the project on Manaslu, the
world’s eighth-highest peak, to address the mounting
IMAGES SUMAN (MOUNTAIN); BOTH COURTESY OF ELITE EXPED
issue of human-made rubbish in the Himalayas. Purja
and a team of Nepali climbers headed to Everest’s
“death zone”—the section of the mountain above
8,000m where low oxygen causes the human body to
deteriorate—to remove as much rubbish as they could
carry. Altitude, coupled with logistics and each climber
only being able to carry about 30kg down per trip, made
both trips arduous, yet galvanised Purja for further
attempts. “We’re gonna have to go again next year;
maybe it’ll take another three or four years, but we are
determined to do it.”
Now back at sea level, Purja says it’s up to climbers to
promote better management of waste in the mountains,
 Clockwise, from top left:
Climbing in the Himalayas
using fixed lines; the
Elite Exped Everest base
camp setup for the 2022
spring season, featuring
16 solar panels; Purja
attends a traditional puja
ceremony (paying his
respect to the mountain)
before undertaking the K2
winter expedition; Purja
leads groups of clients up
mountains all over the world;
Nimsdai acquired a tattoo
of the 14 peaks on his back
before undertaking Project
Possible

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154
IMAGES SUMAN (CLIMB); BRODIE HOOD MEDIA (BASE CAMP, TREK); SANDRO GROMEN-HAYES (NIMS, TENT); ALL COURTESY OF ELITE EXPED

155
Tatler

Features
 “I see a lot of
people criticising
those who leave
trash on Everest,
but it can be a
matter of life and
death” — NIMS PURJA
and be willing to pay extra to subsidise its removal and
fund projects in the region, which relies on tourism.
Dedicated expeditions will increase the project’s
success, he explains, as when they are guiding clients
on an expedition, “There’s a limit to what we can carry
because we also have to bring the clients’ kit and all the
equipment down. So this has to be a completely separate
clean-up project; we’re going to do it next year with a
bigger budget and team. The awareness is out there now,
though. At least we have achieved something.”
What goes up Mount Everest doesn’t always come
down. Abandoned tents, empty oxygen canisters, food
wrappers, discarded equipment and excrement are
the most common waste found on the world’s tallest
mountain, where, due to temperatures as low as
minus-50 degrees Celsius, nothing biodegrades, meaning
more than half a century’s worth of detritus lies on
the mountainside, earning it the moniker “the world’s
highest garbage dump”. The immortal waste not only
serves as a reminder of humans’ impact on even the
remotest parts of the natural world, but also presents a
risk to climbers struggling up a cluttered mountain or
clipping onto old and rotten lines, and the communities
below who deal with the pollutants from effluence
washed into rivers by snowmelt.
As recreational climbing has increased in popularity,
Everest, in particular, has been beset by scandal: a
IMAGE TSHERING SHERPA, COURTESY ELITE EXPED

photograph posted by Purja showing hundreds of

climbers queuing for their moment on the summit in
2019 inadvertently ricocheted around the world; tales
of human waste (including bodies, which are near-
impossible to remove) and the challenge of extracting Purja believes that commercial
mountaineering and
it have left the climbing community asking whether responsible stewardship of
it’s advisable, or even ethical, to promote Everest as the Himalayan environment
can exist through cooperation
Tatler a destination. Critics argue that, as mountaineering between guides, clients, the
Features becomes increasingly commercialised, the barrier to authorities and the international
climbing community
156 entry falls, meaning that anyone with deep enough

pockets and a reasonable level of fitness can feasibly
add summiting Everest to their bucket list, potentially
putting both clients and their guides at risk. Although
Purja says his photo does not convey normal conditions
on the mountain, the ensuing sensationalised media
coverage depicted Everest as a cramped playground for
the wealthy, an expensive selfie location on the rooftop
of the world where Sherpas do the hard work, with
objects no one can be bothered to bring down scattered
everywhere. But, as those who have spent time at altitude
know, the solution is not as simple as filling a binbag
after a picnic.
“You get hit by a storm; you lose your tent; your tent’s
on the side of the mountain and your gear’s all scattered.
You get down and you try to save your life,” says
Malcolm Wood, owner of Hong Kong restaurant group
Maximal Concepts and a mountaineer, para-alpinist and
environmental advocate. “There are situations where
you’re not going to be able to bring rubbish down; but
on a nice day below the death zone, there should be extra
people who you are paying for—not trying to negotiate
the cheapest price—to climb this mountain. You’ve got
to be able to provide the right amount of income to do it
the right way.”
Purja wants people to keep things in perspective. “I
see a lot of people criticising those who leave trash on
Everest, but it can be a matter of life and death. We can
all talk from down here, but when people are struggling
to put one foot in front of another, carrying extra weight
down is a mammoth task.”
Rather than limit numbers on Everest or punish those
Tatler who pollute, he envisages a future where commercial
Features mountaineering and sustainability co-exist. His own
158 company, Elite Expeds, takes a “leave no trace” approach,
Part of the Big Mountain
Cleanup Team during
their first clean up on
Manaslu in Autumn
2021. Opposite page:
Purja collects his MBE
award from Windsor
Castle in June 2022
insists clients and guides adhere to environmental
regulations, recycles or repurposes equipment, and
predominantly uses solar panels to power its camps.
He hopes that publicity drummed up by previous
projects, including the first clean-up, brings more money
for future outings. The challenge is finding capable
climbers who are willing to take on an Everest project
that doesn’t involve summiting (“summit fees” can
run up to US$10,000) and can be more arduous than
most guided climbs. Rubbish at base camp has been
an issue since the 1970s, but Nepali authorities only
banned single-use plastics in the Everest region in 2020
in a bid to cut down on waste. Clean-up campaigns in
the region operate regularly—in 2021, the Nepali army
removed 28 tonnes of waste from six mountains—but
poor infrastructure and accessibility, and a lack of
education around environmental care compound
the problem. Nepali NGO The Sagarmatha Pollution
Control Committee asks climbers to bring down 1kg
of rubbish to be disposed of at Lukla airport, the entry
point to the Sagarmatha National Park for most people,
which will then be flown to Kathmandu for processing;
but the waste left by each climber is estimated to be
8kg. Even after removal, recycling is difficult, and open
landfills and burning sites dot the region. In every way,
conquering this challenge will be an uphill task.
Purja is accustomed to feats others would deem
IMAGES COURTESY OF ELITE EXPED
insurmountable. Speaking via video call, far from any
kind of vertiginous topography at his home on the
southern coast of England, he returned from Nepal
just days before and is preparing to collect an MBE in
recognition of his achievements in mountaineering,
including a rescue he carried out in 2016, from Windsor
Castle days later. Despite his exasperation in the face
“I have seen first- of frozen waste, he remains a staunch advocate for the
transformative power of mountaineering and its value to

hand the effect of

the Nepali economy.
The Nepal-born, British-based climber is famed for
a dauntless mindset honed through years in the armed

climate change
forces, first as a Gurkha, then as part of the Royal
Navy’s Special Boat Service, an elite unit in which he
served as a cold weather warfare specialist. Despite

and waste in the

his poor upbringing in Nepal, he attended boarding
school, funded by his three Gurkha brothers, and joined
them as a soldier in 2003, moving to the UK shortly

Himalayas. We
afterwards. He was recruited by the UK Special Forces
in 2009, before leaving in 2019 to become a full-time
mountaineer. The film 14 Peaks: Nothing is Impossible

want to protect
documents Purja and his team’s ascent of the world’s
tallest 14 mountains, dubbed Project Possible, in just over
six months, obliterating the previous record of more than

and restore these

seven years. It also highlights the lack of respect afforded
to Nepali climbers, epitomised by Purja’s struggle to
secure funding for his mission for which he ended up

sacred mountains remortgaging his house.

“If this was done by some western climber, the
news would have been ten times bigger than this,”

for all those who Purja states in the film. Even after the record had been
smashed, the climbing world piled on to pick holes

call them home”

in the achievement: he did it with oxygen, he had a
large team, he used fixed lines. But Purja’s true impact
lies beyond his world records, in showing that Nepali
climbers are overlooked as mere accoutrements to their
clients’ summiting successes and their stories are left in
— NIMS PURJA the shadows while foreigners are celebrated. On Purja’s
expeditions, he foregrounds his team members and
makes no secret of the fact he is accompanied by other
climbers, bringing them exposure and endorsements too.
Detractors might swoop in again to undermine his
latest project, but the Big Mountain Cleanup isn’t just
a publicity stunt to attract more clients, says Purja,
who was recently named a mountain advocate for the
United Nations Environment Programme and a Global
Goodwill Ambassador for Nepal Tourism; it is about
improving the environment for those whose livelihoods
depend on the mountains continuing to be a draw. “I
have seen first-hand the effect of climate change and
waste in the Himalayas. We want to protect and restore
these sacred mountains for all those who call them
home.”
Although he finally has the world’s attention, Purja
says neither money, fame nor accolades motivate him.
With no more mountains left to climb, his attention
is fixed not only on improving the prospects of his
countrymen, but also on lending his skill and platform
to a pernicious waste issue that won’t go away without
cooperation across borders and effort from the
international climbing community. His experience,
personal philosophy and love for the outdoors give him
confidence he can pull it off.
“Nature is my home; it brings joy, happiness and
peace. If I get stressed or worried, I go for the walk by Tatler

the river,” he says. “If we protect nature, we protect Features

ourselves. It’s very simple.” 159

 in
Artist Residence
Step inside the
Sheung Wan
home of jewellery
designer David
Peereboom and
art veteran Kirstin
Mearns—a place
transformed into an
eclectic haven filled
with cherished
masterpieces
By Andrea Lo
Photography by Steve Wong
Styling by Ruth Du Cann
Tatler

Features

160
Kirstin Mearns and
David Peereboom
W
hen David
Peereboom
spotted a
“for lease”
sign by this
Sheung Wan
apartment,
he was
immediately smitten. “I waited
at the entrance and requested an
impromptu showing,” says the
jewellery designer and founder of
the Hong Kong-based NFA (No
Fixed Address) jewellery brand.
“I remember David calling and
saying: ‘I think we’re moving’,” says
Peereboom’s wife, Kirstin Mearns,
the head of museum commerce and
visitor service at the M+ museum.
The 912 sq ft, one-bedroom, two-
bathroom apartment, which also has
an 85 sq ft balcony, is in a low-rise
building yet offers beautiful views
of a park. “You can see the koi in the
pond—it’s like the best ‘park suite’
in a luxury hotel,” says Mearns. The
building’s façade was also a draw for
the couple: described by Peereboom
as a “shiny black beacon”, it features
a metal doorway that is “almost
architecturally gothic”.
Dutch-born Peereboom and
South African Mearns met in an
airport in Las Vegas, and first
moved to Hong Kong together
on July 1, 1997. The couple spent
many years in and out of the
SAR, permanently relocating
here four years ago when Mearns,
who previously worked with the
Art Gallery of Ontario and on
exhibitions with the estate of
Jean-Michel Basquiat, accepted
an offer to work at M+, which was
then gearing up for its opening.
In 2021, Peereboom, who has
had a long career in jewellery Crawford, is a “nirvana of glass and Peereboom’s studio, which is
a display area for his designs,
design, established NFA. The open space”, says Peereboom. “I features a chandelier he
made, as well as a custom
couple had been living for two love it, because it leaves my mind piece created by Martin Riese.
years in an apartment that they open to creative expression—it is Opposite page, from top: The
living space offers sprawling
felt didn’t satisfy their “true home a canvas of opportunity.” During open views; Shinkukan Girls
sensibilities”, says Peereboom—and a six-week redesign period, the by John Hathway is next to a
custom bed
both felt the opportunity to move couple adapted and personalised
into this home was not to be the home to their tastes and needs.
missed, says Mearns. “I came in with my paintbrush and
The apartment, which features concepts, turned up the music— Tatler

details originally created by the and absolutely had a blast,” says Features

London-based interior designer Ilse Peereboom. 163


Above: Peereboom. Opposite
page, from top: The home
bar is anchored by Summer
Palace, a piece by Jacky
Tsai, in a living room
decorated with a sofa from
Tree and “lip” pillows by
Jimmie Martin, as well as
art including Tai Chi by Yu
Nancheng; Mearns relaxes
on a Timothy Oulton chair in
a space where she likes to
be stationed while working
from home
Tatler
Features
164
Peereboom designed floating
walls—which he says “give the space
a gallery attitude”—plus plinths
that support a series of sculptures
and bespoke lighting, all of which
highlight the display of an extensive
art collection. “Our art is an
expression of our personalities; we
collect art because we love the works
and want to live with them, not to
build a collection as an investment,”
says Mearns. Meanwhile, the walls
and ceilings were painted matt
black, a decision that the couple feels
brings drama, and which was one
of the biggest changes they made.
“Besides that, they are just damn
cool,” says Peereboom.
It is a gallery-like space where
the designer says he can immerse
himself in creativity, and where his
pieces—the inspiration for which
comes from “our subconscious
and inner rock star”—are arranged
on shelving made of wood and
glass. These include In Each of Us,
a collection that features a piece
dedicated to his brother, who
passed away from complications
due to Covid-19; and Hollywood
and Cross, which was inspired
by the apartment’s proximity to
Hollywood Road and the cross of
a nearby church that can be seen
from the windows. The displays are
a “daily creative and imaginative
engagement—not to mention my
wife’s personal jewellery boutique”,
the designer says.
A bar, positioned in the centre
of the living spaces, features glass
and wooden shelving and is home
to about 60 local and imported
tipples, including a variety of Hong
Kong gins. “I believe every home
should have a bar—it is a welcome
sight when I suffer from ‘designer’s
block’,” says Peereboom.
A number of pieces in the home
are custom-made, including the bed
and a bespoke coffee table created
to house a limited-edition book
published by Taschen about the
Rolling Stones, which is signed by
Mick Jagger, Keith Richards, Ronnie
Wood and Charlie Watts. The
bedroom leads to the private terrace,
where the couple has barbecues in
cooler weather. “Having outdoor
space is a luxury in Hong Kong,
and we are so appreciative to have
a balcony that affords the room to
create our little oasis—a Xanadu
with properly charred meats and
libations on tap,” says Peereboom.
The couple has now been living
in the revamped apartment for two
years. “The creativity of the works
in our home allows us moments for
reflection and provides inspiration,”
says Mearns. A reimagining of the
space was all that they wanted, adds
Peereboom. “It only needed a veneer
of the Rolling Stones—and Basquiat
swank—to make it home.”
 A Man, Aman

Vladislav Doronin, CEO of Aman Hotels and Resorts shares his

beliefs on respect, growth, and why building a hotel empire is
more than just a numbers game By Coco Marett
“We celebrate our destinations,
rather than commandeer them,” says
Vladislav Doronin, CEO of Aman
Hotels and Resorts. I’m speaking to
Doronin by video chat, just weeks
before the August opening of Aman
New York, the brand’s second
city property after Aman Tokyo,
which the Miami-based Russian
businessman promises will be “one
of the best hotels in the world”.
It’s something I hear a lot as an
editor who covers travel, and I’ve
learnt to take it with a grain of salt.
But in fairness, Aman has earned its
bragging rights.
For one, 15 of Aman’s properties
are built within or near Unesco
heritage sites: Amangalla sits within
the ramparts of the 17th-century
Galle Fort in the historic port
of Galle, Sri Lanka; Amanzoe
Tatler in Greece is surrounded by the
Features Unesco-protected ruins of the
166 Peloponnese; Aman Kyoto in Kyoto,
Japan is walking distance from the
Kinkaku-ji Temple; and Amansara
in Siem Reap, Cambodia, is nestled
within the haunting and historic
Angkor Archaeological Park.
Doronin believes the Aman
brand plays a role as a custodian of
the uniquities of each destination.
Amanjiwo in Central Java,
Indonesia, for example, has a resident
anthropologist to offer guests
in-depth insights on the customs,
history and spirituality of the region.
“It’s important to connect local
culture, surrounding nature and
design to each hotel,” he says. “We
take our cues from the environment,
working with natural materials and
visionary architects who know the
soul of the Aman brand.”
Such architects include the late
greats Ed Tuttle and Kerry Hill, and
Belgian architect-designer Jean-
Michel Gathy, who has become a
regular Aman collaborator, working
on various properties including
Aman New York.
Aman New York occupies the
storied Crown Building on the
corner of Fifth Avenue and 57th
Street, which was built in 1921 and
designed by architects Warren &
Wetmore—the same visionaries
behind New York landmarks such
as Grand Central Station and the
Helmsley Building. The laborious
and loving restoration of Crown
Building—which had been among
the most expensive retail and office
space locations in the US—cost
Aman a slick US$1.3 billion.
“This is a milestone not just for
the brand, but personally a very
important project,” says the 59-year-
old CEO. “It’s a piece of history. You
can always build new skyscrapers,
but an icon like Crown Building is
irreplaceable.”
Despite having 25 storeys to work
with, the hotel houses just 84 rooms
and suites, and 22 apartments under and working in Hong Kong as a and resorts in 20 countries, and
the Aman Residences brand—each commodities trader. He was an avid counting. Aman Nai Lert in
with its own working fireplace, traveller, and a friend suggested that Bangkok is slated to open in 2023,
which is quite the treat. he check out a new hotel in Phuket along with the launch of Aman’s
“For a place like New York called Amanpuri, the first Aman new sister brand, Janu, with
City, 84 guest rooms is considered resort. destinations in Tokyo, Montenegro
boutique,” says Doronin, “I had never experienced and Saudi Arabia’s AlUla. Plans have
emphasising that his goal in anything like that before. It was also been announced for Aman
growing Aman’s portfolio of city very private, with exceptional Beverly Hills in Los Angeles, which
properties was not about increasing space, design and personalised will be set among 3.25 hectares of
volume, but to “apply what we service,” says Doronin. “In Sanskrit, botanical gardens.
had in our resorts, but instead of it Amanpuri means ‘place of peace’, With such rapid expansion, one
existing horizontally, it’s vertically”. and this perfectly captures the has to wonder whether the integrity
“What is important—and what feeling when you visit this amazing of the Aman brand risks being
no one has done in major cities—is
that we are generous with space
and offer our guests beautiful
surroundings and large amenities.”
In New York, this includes a
25,000 sq ft Aman Spa spread
across three storeys, a private
members’ club, a library, a cigar
room and a jazz club. “I love jazz,”
says Doronin, who is keen to bring
back the culture of high-end jazz
supper clubs to New York—think
Café Carlyle and the like. He’s also
jazzed about Aman New York’s
7,000 sq ft wraparound terrace with
its dramatic landscaping, reflective
pools and firepits.
Aman’s generosity with space has
served it well. During the pandemic,
Aman New York
its properties in destinations that occupies the Crown
weren’t under lockdown performed Building on the corner
of Fifth Avenue and
better in the years 2020 and 2021 57th Street, which
than 2019. “It took us completely underwent a US$1.3
billion restoration
by surprise,” says Doronin, who
attributes this success to Aman’s
commitment to providing each
guest with ample room and privacy.
“During the pandemic, we had a lot
of guests staying with us long term,
some for months at a time, working
remotely and taking care of their
health and their families,” he says,
adding that the notoriously fierce
loyalty of Aman fans also helped.
“Aman has the highest repeat
rate for guests in the hotel industry,” property, which is still one of my compromised. But Doronin, ever
Doronin tells me. Indeed, the favourites in the Aman portfolio.” stoic and certain, isn’t worried about
brand’s cult-like following is the He was hooked, and began that.
envy of its peers. There’s even an planning his travels around “We have brand loyalists who,
unofficial title for these loyalists: destinations where there were now, we see their children come
Aman junkies, travellers who have Aman resorts, from Java, Indonesia and stay with us and, in some cases,
stayed in at least five or six Aman and Rajasthan, India to Bhutan. In even their grandchildren. People
properties. 2014, he bought the hotel group’s 26 continue to love connecting with
It does take one to know one, existing properties from Indonesian the brand. It doesn’t matter if it’s
however, and there is truly no bigger hotelier and Aman Resorts founder a resort or city; people who stay at
Aman junkie than Doronin himself. Adrian Zecha, for a reported Aman know they will always find Tatler

His history with the brand US$358 million. privacy, peace and unparalleled Features

began in 1990, while he was living Now, Aman has 34 hotels service.” 167
 From a world-renowned afternoon tea and Cantonese
cuisine to a holistic wellness sanctuary and the highest
infinity pool in the city, The Langham, Jakarta boasts
65 storeys of ultra-luxury hotel and lifestyle experiences

Excellence
under one roof.
Celebrating its first anniversary this September, the
brand’s first Southeast Asian location is now an integral
cornerstone of the Sudirman Central Business District,
bringing British heritage and timeless excellence to
Inside The Langham Indonesia’s capital.
The Langham Hotels and Resorts are globally
Hotels’ newest Southeast recognised for their intuitive service, urban
IMAGES THE LANGHAM, JAKARTA

sophistication and award-winning culinary expertise,

Asian opening and The Langham, Jakarta is no exception, with its 223
rooms, 13 suites and a 4,176 square foot presidential
suite, which is the height of luxury.
With smart-tech systems, private lift access, personal
Tatler butler service and panoramic city views, the 60th-floor,
168 highest tier suite is the epitome of refined luxury. The
 Clockwise, from
left: the entrance
lobby; Tom’s
by Tom Aikens;
Barberia. Opposite
page: one-
bedroom suite

opulent Italian marble bathroom comes complete with
an oversized bathtub, twin vanities and an overhead rain
shower. Guests enjoy spacious and contemporary living
areas with two separate bedrooms, walk-in wardrobes,
a fully equipped kitchen, an elegant dining room and a
writer’s corner. Other impressive highlights include an
in-suite gym with personal trainer on demand and access
to The Langham Club just one floor below.
For those seeking respite and relaxation for the body
and mind, Chuan Spa offers wellness experiences and
treatments guided by the five elements of Traditional
Chinese Medicine. The spa houses a serene, meditative
space with tranquil private treatment rooms, an indoor
heated infinity pool and the recently opened Barberia.
With the feel of a private gentlemen’s club, Barberia
offers traditional men’s grooming services alongside
signature treatments, overlooking breathtaking views of
the city skyline.
high-level business lunches and more, the hotel’s
myriad drinking and dining options include Tom’s,
in partnership with celebrity chef Tom Aikens; and a
rooftop bar. With three Michelin stars in Hong Kong,
T’ang Court is soon to make its Southeast Asian debut.
Imbued with classic Chinese glamour, with 154 seats and
six private dining rooms, the Cantonese restaurant is set
to open on the 61st floor.
The Langham is known as the first hotel to serve
afternoon tea in 1860s London, and its legacy continues
in Jakarta at Alice, a cafe inspired by Lewis Carroll’s
famous wonderland. Housed inside a picturesque dining
emporium, Alice serves up modern French food and
pastries throughout the day.
There’s no doubt that The Langham’s new and
exceptional experiences will continue to deliver the
brand’s modern sophistication and timeless glamour,
to locals and travellers alike, all within Jakarta’s most Tatler

The new must-visit venues for social events, weddings, vibrant district. 169
 The Hotels
that Style Built A SCENTS OF DISCOVERY

From a crystal-clad jewel in the heart of MAGNA PARS SUITES,

MILAN
Manhattan to a factory-turned-five-star-hotel in a Less well known but no
less legendary, Magna Pars
quiet corner of Milan, these hotels have deep roots has something of an “if you
in the fashion world By Coco Marett know, you know” status
among the jet-set crowd
who flock to secure one of
CRYSTAL CLEAR common spaces and 114 also boasts the only its 39 suites during Milan’s
BACCARAT HOTEL, rooms and suites. dedicated spa in the US by fashion events.
NEW YORK CITY The entire property is premium skincare brand The boutique hotel
A stay at Baccarat Hotel adorned with Baccarat La Mer. is housed in the former
IMAGES ERIC LAIGNEL (BAR); MURRAY FREDERICKS (SPA)

in New York is like
living inside a jewellery
box: impossibly elegant,
understatedly ornate
and, of course, filled with
fabulous shiny objects.
The whimsical interiors
were brought to life by
Paris-based design duo
Tatler Gilles & Boissier, who left
Features no crystal unturned when it
170 came to the hotel’s soaring
crystal in the form of
glassware and chandeliers,
complemented by pops
of fiery Baccarat red—
including in the form of
fresh red roses.
Its beauty offerings are
pretty sweet, too, going
all out with luxurious
bathroom amenities by
French perfumer Francis
Kurkdjian. The property
The hotel is in a prime
location in the heart of
Manhattan, just a block
away from MoMa, a short
walk from Eric Ripert’s
Le Bernardin restaurant
and a stone’s throw from
Fifth Avenue. If you’re
venturing further out, you
can cruise the city’s streets
in style thanks to the hotel’s
exclusive house car service.
ICR perfume factory,
owned and operated by
the Martone family, which
has been involved in
Italy’s perfume industry
for three generations.
Once upon a time, they
produced fragrances for
the likes of Gianni Versace,
Nazareno Gabrielle, Nicola
Trussardi and Romeo
Gigli, the Italian fashion
designer whom the Los
Angeles Times credited for
“singlehandedly changing
the course of fashion” in
the 1980s.
And since smelling good
is more or less religion at
Magna Pars, at the heart
of the hotel is a serene
courtyard filled with
fragrant trees and flowers
including magnolias,
azaleas and roses.
Magna Pars is tucked
away on Via Vincenzo
Forcella in Navigli, Milan’s
trendy canal district,
which is refreshingly free
of tourists compared to
other parts of the city, with
casual-chic restaurants, bars
and cafes, as well as Mudec,
a museum dedicated to art
and culture.
MAKE IT ARMANI
ARMANI HOTELS &
RESORTS
Clean lines, chic
minimalism and an
unwavering commitment to
quality—the Armani Hotel
properties in Dubai and
Milan embody everything
we know and love about the
Italian fashion house. Ever
the perfectionist, Giorgio
Armani himself has vetted
every aspect of the hotels’
design and facilities, from
the bespoke furnishings to
the restaurant menus.
Armani Hotel Milano
is located in the city’s
Quadrilatero della Moda,
or couture district, and
features sculptural interiors Clockwise, from left:
in shades of pearl and The Bar at Baccarat
Hotel in New York; The
stone. The hotel encourages minimalist Armani Hotel
guests to embrace la dolce Milano; Tropical meets
chic at Bulgari Resort
vita—the Armani way, of Bali; Lush green and
course. Enjoy an aperitivo at clean lines at Magna
Pars Suites, Milan
the impressive Bamboo Bar
before a Michelin-starred
Italian meal at Armani/
Ristorante.
The 160-room Armani
Hotel Dubai is housed in
the iconic Burj Khalifa,
where soaring floor-to-
ceiling windows frame
stunning vistas of the desert
city. Each guest is assigned
a personal “lifestyle
manager” who handles
everything from arranging

childcare to securing nearly 50 cinephiles.

bookings at the hottest
restaurants and clubs. Tatler
tip: we particularly love the
Ambassador Suite, which
offers views of the Dubai
Fountain from a private,
wooden-decked terrace.
LA DOLCE VITA
BULGARI HOTELS
Bulgari Hotels are experts at
creating a sense of place by
taking a location and giving
it the Bulgari touch.
Its London property in
the heart of Knightsbridge,
for example, features
plush city touches such
as a leather-bound travel-
trunk-turned-minibar in
every room and damask
silk curtains. There’s even
Bulgari Hotel Bali,
meanwhile, has 59 private
villas, each with a private
infinity pool and designed
in earthy tones, with
textures including hand-cut
volcanic stone, Indonesian
woods and marble walk-in
showers. It’s perched on a
cliffside in Uluwatu, and
its private beach and
beachside restaurant, La
Spiaggia, are only accessible
via the resort’s private
Inclinator lift.
Bulgari also has hotels
in Milan, Dubai, Beijing
and Shanghai, and has
announced that a property
in Rome—occupying a
magnificent building that
was constructed between Tatler

a private, state-of-the-art 1936 and 1938—will open Features

cinema with space for as soon as this year. 171

 Devil’s in the
Details
Having built
his original
restaurant into
a homage to
Hong Kong,
Alvin Leung is the personification
of sheer will. When Tatler meets
him for a coffee on a grey, humidity-
2019.
“I’m not that nostalgic, you
know. It’s been a very good run—
Bo Innovation’s drenched morning before he’s
due to fly out of Hong Kong, the
but we didn’t actually stop the run.
I just wanted to change. We’ve
Alvin Leung self-proclaimed “Demon Chef”
immediately demonstrates a
been there [Wan Chai] for almost
13 years; it’s time to move on to
ponders his remarkable ability to occupy space: something new,” he says.

rapidly changing
his voice booms as if amplified It’s not that Leung has been
by an invisible megaphone, and stagnating; over the past decade

home as he he gestures often and vigorously,

occasionally risking making contact
we’ve witnessed a constant churn
of invention and reinvention.

prepares to with customers sitting nearby.

“I think the best thing to say
reopen his about me is my control of the
unpredictable,” he says. “I think the
restaurant in main element is surprise, and my
unpredictability is an attraction.”
the midst of The surprise he’s referring to
in this case is the relocation of
societal upheaval his original claim to fame, Bo
Innovation, from its long-time
By Gavin Yeung Wan Chai location to a new home
in Central’s H Code building.
Perhaps it was time: despite being
predicated on an “X-treme Chinese”
culinary philosophy designed for
maximum shock value—the best
example being a dish called Sex on
the Beach that resembled a used
condom—Bo Innovation had been
quietly and dependably plying its
fusion molecular gastronomy for
years, serving “The Hong Kong
He’s opened a slew of restaurants:
Toronto’s R&D in 2015; Hong
Kong’s Bib N Hops in 2016, then
Plato 86 and Forbidden Duck
within three months of each other
in 2017; and a second location of
Forbidden Duck in Singapore the
following year. More recently, in
March this year, Leung expanded
his burgeoning restaurant empire to
the Middle East with the opening
of Demon Duck in Caesar’s Palace
Dubai. Plus, there’s been his role as
a judge on MasterChef Canada since
2014, cultivating a “tough love”
persona that has resonated with
audiences worldwide.
From a formally trained chef, this
output would be extraordinary—
but from Leung, a former engineer
who first entered the restaurant
business in 2003 at age 42, it’s
IMAGE COURTESY OF BO INNOVATION

Story” menu to a steady stream of phenomenal.

Opposite page: Alvin Leung
was one of the first chefs
Tatler of Cantonese descent to
Features
translate Hong Kong culinary
influences into the context of
172 molecular gastronomy
gastronomes, many visiting from
abroad. While the restaurant retains
an admirable two Michelin stars,
it’s nevertheless a conspicuous drop
from a golden four-year run of three
Michelin stars between 2016 and
But the freewheeling capital of
global finance in which he began
his culinary career hardly resembles
the post-protest, pandemic-era
Hong Kong of today: a city coming
to terms with the realities of the
 Clockwise from top: In its new
surroundings, Bo Innovation
brings its signature brand of
“X-treme Chinese” to a new
National Security Law and bound to generation of consumers; a
costly border regulations to control sculpture of a tiger prances
over the dining room; a
the spread of Covid-19, which have cannibalistic banana greets
diners at the lifts to the
resulted in an exodus of people and restaurant. Opposite page,
companies alike. from top: Soup by Andy
interprets Asian soups I’m
All of which begs the question: novel ways; Dogs Playing
what is “the Hong Kong story” Mahjong is inspired by
Cassius Marcellus Coolidge’s
today? In Leung’s case, as across most famous artwork
much of the local F&B industry,
finding the answer has required
introspection.
“This year, I just really wanted to
concentrate on recovering and getting
inspired,” he says. “I tell people the
best way to create is to rest and do
nothing. I had a lot of that.”
The result of his time-out is a
revamped Bo Innovation that is
more surreal—and, dare we say
it, more Instagram-worthy—than
ever before. The new space was
designed by Monique Lee of Mas
Studio to even more concisely
convey the essence of Hong Kong’s
visual culture than in the previous
location—this time, though, it’s
largely for the consumption of the
social media generation.
Walking into the restaurant is
like entering a glitch in reality: a
man-sized statue of a banana eating a
miniature banana greets diners at the
lift lobby, while a few paces away, in
a main dining room coloured in the
iconic palette of the red-white-blue
“amah” bag, a tiger with a steamer
of dumplings in the place of its
head leaps over the service station.
Flanking the counter of the open
kitchen are two Bearbrick statuettes:
one of the designer collectibles is
painted to resemble Alfonso Wong’s “If there’s one thing I’ll say, it’s carousel, smoked under a glass
cartoon hero Old Master Q, while the that I adapt very quickly.” dome, and stuck upright in, of
other, a Mickey Mouse, holds a scroll The opening ten-course tasting course, a soup can. The next course,
of Hong Kong’s controversial Article menu, titled The Masterpieces, is Dogs Playing Mahjong, riffs on
23 national security legislation in driven as much by visual impact as it Cassius Marcellus Coolidge’s Dogs
one hand and a yellow umbrella in is dedicated to famous works of art Playing Poker, and comprises tiny
IMAGES MARK CHUNG, COURTESY OF BO INNOVATION

the other, a symbol of the protest
movement in Hong Kong.
“I’m naughty, so I’ll always touch
on religion and politics, one of
which is illegal—but I don’t know
which one,” Leung says of the new
concept for Bo Innovation. “I do like
to take things to the limit, and this
Tatler is why I’m called extreme. Extreme
Features Chinese, extreme politics—just
174 extreme enough to get away with it.
throughout history. It’s also the first
time in years that a menu at a Leung
restaurant has been wholly designed
by the man himself.
This time, the Hong Kong
element serves as a supporting
character to the greats of art history.
The opener is inspired by Andy
Warhol’s Campbell’s Soup Cans and
involves bites inspired by various
Asian soups, placed on a rotating
tiles of geoduck, smoked abalone,
Indian lettuce stem and shiso plum;
while Fish Magic takes inspiration
from Paul Klee’s painting of the
same name, which deconstructs
the Cantonese tradition of a whole
steamed fish by serving meat (citrus
halibut), liver (monkfish ankimo),
scales and all on a polished bronze
fish skeleton.
Bread also appears on the menu

for the first time in the restaurant’s
history, with Leung offering his
take on the Covid-19 sourdough
trend with a steamed mantou
version. “What people don’t realise
is, Chinese mantou is made the
sourdough way. [The process
involves] a starter; it’s not even new
to Chinese culture, but it’s new
because we never tried to sell it.”
Indeed, this sentiment of seeing
Hong Kong in a way that is both
familiar and alien underpins a meal
at the new Bo Innovation—perhaps
echoing the way in which many of
us have been forced to reconcile the
reality of a rapidly and drastically
transformed city with our own
memories of what once was.
Just a five-minute walk away, in
what used to be the home of iconic
European-style restaurant Jimmy’s
Kitchen, another restaurant opening
affords Leung the space to fully lean
into nostalgia for the Hong Kong of
yore.
Demon Celebrity is a double
bill of Leung and Cheng Kam-Fu,
the executive chef of one-Michelin-
starred Celebrity Cuisine. Though
Cheng is known for his faithful
execution of Cantonese dishes, at
Demon Celebrity both chefs will
offer their elevated take on the
“soy-sauce Western” cuisine unique
to Hong Kong, which was no doubt
influenced by the colonial-era dishes
that were served at Jimmy’s Kitchen
over a nine-decade-long lifespan.
The likes of lobster à la king and
glutinous rice balls stuffed with
crab roe grace the menu, alongside
a roster of Cheng’s Cantonese dishes
such as stuffed chicken wings with
bird’s nest, fried pork maw with
black beans, and sweet and sour
pork fried in a soft batter—an
artefact of old Hong Kong cuisine
that is only found today at Chinese
takeaways overseas, says Leung.
“Don’t expect any foam, powders
or nitrogen. It’s more about comfort
and taste, while activating a bit of
excitement,” he says, describing
the menu of Demon Celebrity as
very much the product of a “happy
marriage” of ideas between himself
and Cheng.
“We’re very giving; we have a lot
of respect for each other. He always
puts me first and I try to put him
first.”
As the morning wears on and the
grey skies threaten to turn darker, I
ask Leung if the very act of opening
two new restaurants in Hong Kong
is a vote of confidence in the city.
“How do you feel?” he shoots back
without pause, to which I reply that
the old Hong Kong is undeniably
gone—and whether the new Hong
Kong is better or worse remains to
be seen.
“Well, I think you got the old
Hong Kong, and you’ve got what you
perceive as the new Hong Kong with
the new laws and the new people.
There are a lot of people that have
left, but we’ve always had that. It’s
the third exodus: the first one was
after the riots of ’67, and the second
one prior to the Handover. This
time, you’re going to have a lot of
people coming in as well, but it’s a
question of how much confidence
you have in them.
“Don’t have confidence in the
place; have confidence in yourself
first,” Leung concludes. If that isn’t a Tatler
pure declaration of willpower, then Features
I don’t know what is. 175
 Alphabet City

Z IS FOR:
ZONG ZI
Illustration by Eva Sze
Every year, as the Dragon Boat Festival approaches, Eva Sze would make zong zi, or rice dumplings,
with her mother and sisters. The ingredients vary between different families, regions in China and restaurants;
her family’s recipe includes glutinous rice, pork belly, mung beans, salted duck egg yolks, shiitake mushrooms and
dried scallops. “These zong zi have a taste of home that we can’t find in retail stores,” she says.
But making rice dumplings isn’t just about creating a delicious treat: the family activity reminds her of the first time
she and her sisters prepared the delicacy for their mother when they were little. Sze now enjoys this annual ritual
with her own daughter, sharing the finished product over a cup of Chinese tea.

Tatler This marks the last instalment of Alphabet City, a series in 26 parts,
176 each featuring an artist who celebrates the best of Hong Kong
 C H I N A . H O N G K O N G . I N D O N E S I A . P H I L I P P I N E S . S I N G A P O R E . TA I WA N

Check out the full list at

TATLERASIA.COM