Koo’s Coup: Larry Koo, founder of KOODESIGN, on what shapes his design ethos

Larry Koo, (Lawrence Chuen Tak Koo), founder of KOODESIGN Studio, Black on White Ltd, has over 20 years of experience as an industrial designer, but his passion for design has only sharpened with time. We sit down to talk with one of Hong Kong’s leading design authorities on what shaped his journey…

You were drawn to design even as a child, we hear…

Yes, from very early on, my interests tended towards the creative side of things. In Hong Kong, though, it can be quite difficult to carve out a niche for yourself in the artistic sector. The schools here try to send you along a certain tried and tested path and don’t really allow children to explore their own creativity – at least, that’s how it was when I was growing up and I am sceptical as to whether it has really changed.

I still remember one time when I was a child and I was asked to draw a flower, so I used a black pencil on a white paper. Though the sketch was accurate in terms of likeness and proportions, I still didn’t get a good grade as I had used black pen to draw a flower and it was thought to be a poor drawing because flowers are not black in real life. In fact, it was that experience that led me to name my company Black on White Ltd.

You chose to complete your education in the US…

Fortunately, yes, I went to a boarding school in the US for several years and that really changed my life. I was allowed to express myself as an artist and designer and that gave me the courage to explore, develop and refine my own style and technique. It’s safe to say that my stint in the US made me who I am today.

You’ve worked both as a fine artist and an industrial designer, surely that required two very different skill sets?

Fine art and design are actually two sides of the same coin. While art can exist for its own sake, however, in product design, everything is commercialised, with a huge number of business considerations that have to be factored in. In industrial design, it’s always important to try to strike the right balance between aesthetically pleasing and commercially viable. My initial education as an artist and my later experience as a designer allowed me to strike that balance.

You’ve also shifted from making gaming accessories and sporting goods to designing a wider range of consumer items…

That was quite a significant change. At first, it was a tad difficult to adjust, as the work culture was totally different. Also, as I loved sporting goods myself, designing them had been quite an exhilarating experience for me. Then, when I started designing speakers – an important part of the interior decor of many stylish homes – it was initially difficult to switch gears. I still remember struggling to design my first speaker system, thinking it’s enough to just to dress up a simple box somehow. Over time, I have come to understand the consumer requirements and expectations when it comes to speaker systems, a development that has really helped me hone my skills.

How has your design philosophy changed as your career has progressed?

While I really believe my approach to design has evolved over the years, at its core it has always been about refinement. It is vital to understand the value of a proposition and to be able to execute it properly.

How do balance the aesthetics with the more functional requirements of your design briefs?

“Form follows function”, that’s the first thing I learnt in design school. For many contemporary consumer products, however, the form itself has become a function. When you first look at a beautiful product in a display window, its proportions, sleek design, colours, etc. may very well be the key factors in your ultimate decision to buy that product.

How difficult is it to come up with innovative designs in an industry that’s so competitive and always on the lookout for the Next Big Thing?

Every consumer product has a limited shelf life, with companies now launching new gadgets not just every year, but every season. It is, indeed, a challenge for the entire consumer products market. As a designer, it’s most important to me to define the purpose of each product – why it needs to exist in the first place. It is in identifying and defining that core essence that we can come up with innovations that justify its purpose and refine its offer.

What keeps you going amid such a heavy workload?

That’d be my son, who’s five-years-old now. He’s the first person I think of every day. He’s a bit naughty, but he’s the one who keeps me going. As I mentioned earlier, I am quite disillusioned with the local school system. It may be great for some people, but it’s not for everyone. As a result, I try not to put the kind of pressure on him that I felt while I was growing up.

Thank you.

Interview by: Suchetana Mukhopadhyay
Video: Kingsley Lau
Photos: Jack Law
Art direction: San Wong
Venue: Iron Fairies Hong Kong

Heritage Handwritten: Interview with Count Charles von Faber-Castell

Count Charles von Faber-Castell, Head of Premium at Graf von Faber-Castell, Faber-Castell’s premium brand, visited Hong Kong recently to launch the new Samurai-themed Pen of The Year. We sat down with him to talk about what makes Faber-Castell – the oldest family-run writing tool manufacturer in the world – so fabulous.

What was like growing up in family with a rich legacy of 250 years?

While growing up, of course, you don’t think about it daily. As a teenager, you have other things on your mind. But when I do reflect on it, I think it’s both a privilege and a burden. While it’s a privilege to be part of such a rich heritage, at the same time there’s the responsibility to continue certain traditions and to carry things forward in a way that matches our brand’s venerable legacy. Having said that, my father never forced me to join the family business. In fact, I joined it rather late, just five years ago.

Being a brand with such a rich legacy, how does Faber-Castell marry innovation with tradition?

It all depends on how you define innovation. For a company like ours, innovation may mean very different things, compared to, say, an electronics company. Innovation, for us, has been about paying attention to the little details, the so-called ‘small things’, that when implemented take the writing experience to the next level. For instance, in 2001, we introduced a range of pencils and colour pencils with grips. They are quite well-known now as the Grip Range. Although it’s a fairly simple innovation, it enhanced the writing tool and was quite well-received by consumers.

How did the idea of the premium range of writing instruments, Graf von Faber-Castell, germinate?

Our line of line of fine writing instruments, Graf von Faber-Castell came into existence as a strategic realignment in the early ’90s. My father came up with the idea to take a premium approach in all our writing tool categories. Firstly, we wanted to create the best luxury pencils in the world. While there were luxury fountain pens, you didn’t really have luxury pencils. So we created this premium Graf von Faber-Castell pencil, made out of the highest-quality California cedarwood, with an lid and a clip – so that you can carry it elegantly in your pocket. It also had a built-in sharpener and eraser. That was the birth of Graf von Faber-Castell, which was an immediate success and led to a demand for additional products, like fountain pens, roller balls, and also even mechanical pencils.

Why did you choose the motif of the Samurai as the Pen of the Year?

The Samurai Pen of the Year features captivating elements reminiscent of the appearance of Japanese warriors. The barrel of the pen is made of dark-stained magnolia wood which imitates the samurai’s long sword, embellished with an engraving in 24-carat gold varnish that says in Japanese characters, “Today I win against myself of yesterday” quoted by great samurai warrior Miyamoto Musashi. The end-cap is engraved with the symbol tsuba (hand guard) created by Musashi which represents loyal soldiers who offer protection. Both the cap and hand-forged grip is coated with ruthenium and delicately decorated with artistic inlays inspired by Japanese sword covers.

Do you think that in the digital age, a luxury line like Graf von Faber-Castell can be perceived more as a status symbol than a practical writing tool?

I think the idea of luxury has shifted from owning statement accessories as status symbol to indulging in unique, exclusive experiences. In the digital world, a handwritten note means something special, both to the person writing it and to the person receiving it. That ‘something special’ is a luxury. Then handwriting, too, is such a personal, exclusive experience. More and more people are seeking that individuality and we, as a brand, stand for that very principle.

Perfect Pores: A closer look at Japanese skincare guru Ya-Man’s latest beauty technology

While the rise of house-hold electronic beauty equipment may be a new venture for many beauty companies, for Japanese-based YA-MAN, it’s been part of their larger picture for years. In fact, the brand has been helping the women of Japan experience ‘authentic salon devices’ in the comfort of their own homes over 40 years ago, ever since its founding in 1978, and is now available in Hong Kong.

We spoke to YA-MAN CEO Kimiyo Yamazaki about her vision of the brand, its inception, her favourite products and of course why she is so passionate about delivering salon-quality beauty products for on-the-go working woman to enjoy within the comforts of her home.

Perhaps the most exciting product from the brand, is the Medi Lift, Japan’s first medical silicon mask, which is equipped with high frequency EMS. Ideal for career women with little time to visit the spa, the mask only requires its wearer to place it on her face for 10 minutes for it to work its magic. The magic itself is the automatic workout it gives the wearer’s difficult-to-exercise cheek muscles, while simultaneously helping to relax the often-over-used jaw muscles.

Meanwhile, we also spoke to Heinisguli Simayi, YA-MAN‘s official Make-up Artist about the brand’s RF Beauté Photo PLUS – a product said to be able to treat all types of skin troubles – as well as her personal feelings about why incorporating home beauty technology into our daily lives is imperative to maintaining healthy skin.

To find out more about YA-MAN’s latest offerings in Hong Kong, interested parties can visit the brand’s store within Facesss Queensway Plaza, Lab Concept, Queensway Plaza, 93 Queensway, Admiralty.

Eyres and Graces: Alia Eyres CEO of the Mother’s Choice charity

Alia Eyres may be a mother of five, but it’s her role as the CEO of renowned local charity Mother’s Choice that sees her embrace the larger community as her family…

Having looked on as your parents masterminded Mother’s Choice, were you always destined for a career in charity?

Being around my parents and their friends – the co-founders of Mother’s Choice – definitely had a huge impact on me and my younger siblings. Growing up, I saw my parents and their friends pouring their hearts and souls into this charity, committed to helping children and young women who didn’t have any support system, while doing their level best to give back to a city they had come to call home. It showed me the true worth of generosity, the value of kindness and the importance of family.

You were a corporate lawyer before you joined Mother’s Choice – why the switch?

Well, I had been practicing corporate law for quite some time, but, alongside that, I had been volunteering at Mother’s Choice since I was nine years old. Despite that, I’d never contemplated working there full-time. Around the time that they started looking for a new chief executive, though, I remember sitting in a coffee shop near my then-office and I opened the newspaper and saw the ad for the role. It was as if a light bulb went off in my head. I suddenly realised that this was what I wanted to do with my life.

How has your experience as a lawyer helped you in your role as chief executive?

Having a background in justice and knowing how the law works have been incredibly helpful. Two of my other siblings are also lawyers in Hong Kong and experts in family law. We firmly believe that understanding the law and how the legal system works really help to make sense of how our society works overall. Many of the young women and children we work with have very real legal concerns and need someone to be their voice when it comes to seeking justice. My background means I can be that voice.

What are the key areas where Mother’s Choice can help out?

Mother’s Choice is a local charity and we work very closely with the wider community, partnering with hundreds of volunteers every week to change lives and bring hope. We do that by providing services for babies and children, and for young women who have no familial support. We also work with young people who are experiencing crisis pregnancies or youth in foster care, and operate foster programmes via local schools and community education services.

Since becoming chief executive in 2012, what has made you most proud?
After being in my post for seven years now, I can say I’m proudest of Project Bridge – an innovative programme designed to improve the traditional foster care system. Essentially, it connects nurturing volunteer families to children in need of temporary care. Our volunteer Bridge Families provide these children with a safe and loving family environment, giving them the opportunity to build trust, to develop their sense of identity, despite any crises that may have disrupted their birth homes.

And what have been the most challenging aspects of the role?

It’s fair to say it’s not an easy job. Every day we hear the most heart-wrenching stories – a newborn baby abandoned in a trash can, a 14-year-old girl who has been abused and raped or a family that has been torn apart. These are incredibly difficult stories to get your head around, but the good thing is I now know there’s hope for everyone. Each one of us gets a second chance. There’s no such thing as a hopeless case. There’s hope that everyone can have a good future, there’s hope for every baby, every girl and every family. I say that because we’ve seen true miracles happen. Even though it is a hard job, I have to tell you I have become a far more hopeful person than I was in the past.

How do you ensure that the children have a seamless transition when they’re adopted?

Our preparatory work focusses on the two key parties – the adoptive families and the children who they are taking on board. In the case of the families, we hold their hands every step of the way, making sure they are fully aware of the needs of the child, the legal side of things and so on. We have hundreds of volunteers, social workers and lawyers all working together so that they are well prepared for their forever homes. We also have nurses, doctors and therapists, who come in to check that their medical needs are being met so that they have a better chance of finding a new home.

How open is modern-day Hong Kong to adoption?

In the 32 years since we started, I’ve seen Hong Kong really open up to the idea of adoption and we’re so grateful for that. In the future, we would like to see people being more willing to open their homes and their hearts to children with special needs and older kids. Every child, no matter their age or condition, deserves to be part of a loving family.

Thank you.

Interview by: Suchetana Mukhopadhyay
Photos: Jack Law
Art Direction: San Wong
Make-up and Hair: Irene Hung
Venue: Mother’s Choice

For the full article, please find the latest issue of Gafencu’s print magazine or the PDF version on the Gafencu app. Download the app from the Google Play Store or Apple App Store.

Dish of the Day: Model-turned-chef Esther Sham talks about her career

Esther Sham gave up a promising modelling career to indulge her passion for the culinary arts, and now owns two highly-acclaimed restaurants of her own…

Tell us a little about your early years…

Well, I was born in Hong Kong to a Shanghainese father and a Chiu Chow mother. I spent the first half of my childhood here, before moving to Los Angeles. Looking back, it was the perfect combination – I spent just enough time in Hong Kong to become familiar with traditional Chinese culture and was then able to immerse myself in the more Western approach to off-the-wall thinking and self-belief.

What then led you into modelling?

Well, after high school, I studied for a Bachelor’s Degree in Contemporary Art at the University of California. Once I graduated, though, I found I wasn’t actually that keen to become an artist, so I was at something of a loose end. That’s when I decided to come back to Hong Kong and try and find a ‘normal’ job for myself. That, however, turned out to be more of a struggle than I’d expected. It was around then that a number of people suggested I should consider modelling, especially as I had the height for it.

Esther Sham — *Jacket and pants in jacquard, white tee and pumps, all by Prada*

What was your favourite part about modelling, and what proved to be the biggest challenge?

The best thing was that no two days were alike. I was never repeating myself so there was a constant novelty to it all. It helped that I wasn’t just doing fashion, but also commercials and even cameos in TV shows. At the same time, I really came to struggle with the instability and unpredictability of the job. While one particular month could be filled with bookings, the next might be completely empty. Although I was in a relatively stable position, I ended up becoming very insecure about it all, so I feel fortunate that I discovered my love of food just a short while later. It grounded me in a way I had never been before.

So, how did your love of cooking develop and when was it you decided to reinvent yourself as chef?

As a kid, I have to say, I had no real interest in cooking. At the same time, though, my family was very food-oriented. Both my parents come from strong culinary traditions, so eating well cooked meals was always a given. Looking back, though, I think my passion for food is down to my parents – and to my mother, in particular. She came from a family of truly amazing female cooks and she was the one who taught me the importance of bringing happiness to your own family through good food.

While I was working as a model I wasn’t allowed to eat a great deal, so I became extremely picky in my choice of cuisine. It was then when I realised that creating good food is really an art. Then, while on assignment in Singapore, I was then exposed to a whole new culinary scene, one quite distinct from Hong Kong or Los Angeles. It ignited a flame in my heart and I started experimenting with different cuisines. Soon, I realised that my passion for cooking had out stripped my love of modelling. That’s when I finally decided to take the plunge.

Given your upbringing in Hong Kong and the US, why did you opt to specialise in French cuisine?

When I discovered Gallic gastronomy, it was like discovering a new form of art, albeit one with any number of practical applications. Aside from the fantastic techniques and the inherent creativity, I think it was the amazing presentational skills that nouvelle cuisine demands that really appealed to my artistic nature. I fell in love with it wholeheartedly.

How did that lead you to opening your restaurants, Maison Es and Ta Pantry?

In 2008, I opened a private kitchen dedicated to serving a table of just six guests – Ta Pantry. It was a real one-woman show – from taking the bookings and creating the menus to buying the ingredients, cooking and ironing the table cloths, I did it all.

Eventually, I got married and, later, had two sons, so I was looking to develop my career in a more flexible and less time-consuming fashion. Ultimately, that’s what led me to open Maison Es in 2015. Having regular opening hours and a committed, well-trained staff to support me meant I could spend more time with my family, while still indulging my love of cooking.

Do you hope your sons will follow in your foodie footsteps?

Honestly, I think it’s a bit too early to tell, but there’s definitely a part of me that hopes they will. They’ve both already shown a tremendous passion for the culinary arts, and I believe that may be because I would constantly cook when I was pregnant. Even after my sons were born, I’d keep them close to me in the kitchen – and they were so unbelievably calm even in the middle of all that chaos. In a way, it’s already in their blood…

Thank you.

Interview by: Tenzing Thondup
Photos: Jack Law
Art Direction: San Wong
Touch-up: Zoe Fan
Jewellery: Van Cleef & Arpels
Venue: Ta Pantry

For the full interview, find our latest issue of Gafencu’s print magazine or the PDF version on the Gafencu app. Download the app from the Google Play Store or Apple App Store.

Martijn Oremus on the BMW Art Car, Art Journey and what to expect from the carmaker in 2019

The recent Art Basel Hong Kong fair marked the seventh anniversary of the fruitful partnership between the mega art event and renowned German automaker BMW. We spoke to the marque’s new managing director Martijn Oremus about this successful relationship, its Art Basel highlights and what Hong Kong’s auto enthusiasts can expect from the luxury carmaker in 2019.

Tell us about the partnership between BMW and Art Basel, and what makes it such a successful one?

The partnership between BMW and Art Basel spans seven fruitful years, but actually, the engagement of BMW in cultural partnerships goes back even further, encompassing five decades. In essence, it’s creativity that ties everything together. Creativity is key, not only to art, but to innovation, design and technology. To that end, it a fundamental part of our business.

With Art Basel being one of the leading platforms for creativity, it brings together all the relevant people from an expansive array of industries in the name of art. We are very happy to be partnered with Art Basel, not just in Hong Kong but worldwide.

Martijn Oremus with BMW Art Car No1 at Art Basel Hong Kong — *Martijn Oremus, Managing Director of BMW Hong Kong, with the BMW Art Car No.1 at Art Basel Hong Kong*

What can we expect from BMW at Art Basel Hong Kong 2019?

We have a range of activities going on, and one I’m particularly proud of is the BMW Art Journey. Each year, we bring young emerging artistic talents and give them an opportunity to travel the world as part of this unique art competition. It’s not just a prize but an opportunity for them to develop as artists. At Art Basel Hong Kong, we’ve announced the shortlist of potential awardees for the next Art Journey. The winner will be chosen in the coming months. This year, we have three female finalists, which is quite special.

Tell us a little bit about BMW’s all-new Art Car. What were the inspirations behind its design?

Over the years, we have brought a total of nine BMW Art Cars to Hong Kong, but this year it’s even more exciting because we have the original Art Car No.1 from 1975. It’s a particularly special occasion because this was the car that laid the foundation stone for the entire Art Car collection. It was French racer Hervé Poulain who commissioned his friend, the renowned American artist Alexander Calder, to transform on his actual BMW racecar. It is that precise car that is on display at Art Basel Hong Kong, and is the pioneer for a line that now boasts 19 unique models. The Art Car really highlights to blending of creativity and artistic flair with our cars, which evokes emotional responses in people’s hearts and emotions, much like the world of art.

What’s can we expect from BMW in 2019? Which new models will be making their debuts?

First and foremost, we will have a range of new models launching in the market. First of all, the new generation of the 3-series. The 3 series for us represents the core of sheer driving pleasure. It’s the most dynamic and sporty car that we have, and will be coming to Hong Kong very soon. On top of that, this year we’ll be focussing on the luxury segment. For example, we will bring a revamped version of the 7-series, but also two all-new concept cars – the BMW 8-series and the X7, which will be the first full-size SAV in this luxury segment to be introduced to the market.

Thank you.

Interview and photography by: Tenzing Thondup
Video: Kingsley Lau

Richard Nagy brings trove of Egon Schiele artworks to Art Basel Hong Kong

It’s no secret that the late Austrian artist, Egon Schiele (1890-1918), is widely regarded as the “Bad Boy” of the Austrian Expressionist art world. His penchant for sensational and controversial erotic paintings of nude figures have long held a special fascination for collectors the world over. In fact, in the wake of the centenary anniversary of his premature demise last year – which saw some of the most-lauded art museums worldwide pay tribute to his oeuvre – the Austrian painter’s masterpieces have become even more highly sought-after across the globe.

Despite the burgeoning rise of passionate and dedicated Asian art collectors, to date, Egon Schiele has never been represented or displayed by any gallery within the region. It was a particularly thrilling treat, then, when the internationally acclaimed gallerist Richard Nagy showed an expansive collection of 45 museum-quality Schiele artworks at the recent Art Basel Hong Kong fair – the first-ever retrospective show of the Austrian artist’s works in Asia.

Richard Nagy debuts Egon Schiele artworks at Art Basel Hong Kong — *Richard Nagy, founder of Richard Nagy Ltd, has been dealing in Egon Schiele artworks for almost 40 years*

A self-confessed fan of Egon Schiele, Richard Nagy (owner of the eponymous Richard Nagy Ltd art gallery) says: “Schiele’s an artist that I’ve worked with for almost 40 years now, and still find exciting. He’s intellectually stimulating and very confrontational.”

“Not only did he break with convention by becoming the first Austrian Expressionist painter, he also reinterpreted the depiction of naked women as individuals wholly in control of their bodies, rather than as objects for the voyeuristic pleasure of men. His works are vibrant and unapologetically raw. It’s something to which people still react and it’s still the reason that some people are upset by him. It gets under their skin.”

Check out our interview with Richard Nagy in the video below to find out exactly why Egon Schiele is such a fascinating figure, and why his artworks were at the centre of the his gallery’s Art Basel Hong Kong exhibition.

Panda Brander: Dennis Chan on his new HaHaPanda sculptures and their Chinese connection

Dennis Chan, the Hong Kong-born jewellery guru who founded the much-loved haute joaillerie maison Qeelin, now looks set to dominate the art world with his HaHaPanda sculptures…

When did you first realise you were destined for a career in design?

As a child, I had no idea that design was to be the great passion of my life. In fact, it wasn’t until I finished high school that I even considered the notion. It was one of my uncles who first spotted my potential and encouraged me to take up art. My parents weren’t too keen on the idea. Coming from a family of doctors, my artistic streak was something of a surprise to them. I did manage to convince them, though, and eventually signed up for an Industrial Design programme at Hong Kong Polytechnic University.

What led you to specialise in product design?

While I was at university, I was introduced to a wide range of design disciplines, including interiors, fashion – for which I had a particular knack – and engineering. Without a doubt, though, product design – and three-dimensional design in particular – was my favourite, and that’s what I finally settled upon. I think it’s hugely versatile and essentially multi-disciplinary. Through it, you can pretty much access any other design sector. It’s a decision that’s definitely stood me in good stead over the course of my career.

Is it fair to say that all your designs have a distinctly Chinese feel to them?

For as long as I can remember, I’ve been captivated by Chinese culture. Also, I spent a large portion of my early career working in the UK, Europe and Japan. So I’ve got a very distinct East-meets-West perspective – a balance that’s a part of the charm and character of all my creations. So, in my designs, I want to bring out that traditional influence, but in an internationally contemporary fashion. I feel that, when people discuss Chinese style, they’re usually talking about old-fashioned, traditional objects, and that’s fine. We can’t stop there, though. There needs to be some inclusion of modernity as well. Take Ming dynasty furniture, for example. While it’s undeniably very beautiful, we can’t simply keep replicating it. Otherwise, 200 years from now, when future designers analyse the work being produced right now, they won’t see any unique design interpretations, they will just see something exactly the same as what was produced centuries before.

Nowadays, you are perhaps best known as the founder of Qeelin, the luxury jewellery company. What led you to branch off from jewellery design and into sculpture?

On the surface, they’re both quite similar. Jewellery is something you can use to decorate yourself with, while sculpture is something you can accessorise your home with. With jewellery, though, there are certain limitations as to how much you can express yourself. With sculpture, though, you can really express your own thinking and your own ideas. That’s what led me to launch HaHaPanda more than 10 years ago…

Why ‘HaHaPanda’?

I think the one thing everyone is seeking is (ha)ppiness. To achieve that, you need (ha)rmony, hence, HaHaPanda.

The idea to create HaHaPanda came to me first while visiting the Sichuan Panda Foundation. The undeniable naivety and purity of the baby pandas sparked something in me. As soon as I returned to Hong Kong, I started sculpting models based on the sketches and photos I’d brought back from that trip. That’s how HaHaPanda first came about.

While HaHaPanda is seen as very much part of a new wave of Chinese art, how much of it is inspired by traditional culture?

While I haven’t made a conscious decision to draw only from Chinese culture, it’s something inherent in my creative psyche. Pandas, for instance, are something I deploy as symbols for modern Chinese people. The country is increasingly opening up to the world and participating on a global scale – economically, politically and socially. I feel we’ve entered a new age – Modern China if you like – and I use HaHaPanda to express my own take on this blossoming era.

How have the HaHaPanda sculptures evolved over the years?

The initial spark came from the pandas in Sichuan and the first collection was definitely true to life in terms of their mannerisms and aesthetics. Over time, though, more abstract motifs have emerged and it’s an evolution I’m very happy with – it lets me go deeper and I can imbue greater meaning into each piece. There are two aspects to everything I produce. Firstly, it should be aesthetically appealing, and secondly, it should embody good feng shui. If you study my pandas, you’ll see they’re all curved and rounded, with no sharp edges or protrusions that could disturb the harmony of a room. Even the colours have been chosen to evoke happiness and bring good cheer. Then there are the deeper symbolisms in each piece. I created one particular panda, for instance, that was entirely covered in reversed gold coins. In Chinese culture, it can symbolise an in-pouring of wealth.

Are there any new HaHaPanda projects that you’re particularly excited about?

I don’t believe in having any boundaries and I love to express myself freely. Just because I’ve focused on 3D sculptures doesn’t mean I want to just stick to that. To that end, one of the new additions is a series of 2D wall-mountable designs, which I’m hoping to build on further by including lighting elements. I’m also in the process of creating some panda-inspired digital sculptures. Looking ahead though, there’s one particular project that I’m hugely excited about – an upcoming exhibition at The Landmark in Hong Kong. It opens in May and I can’t share too many details just yet, but watch this space…

Thank you.

Interview by: Tenzing Thondup
Video: Kingsley Lau
Photos: Neville Lee
Art Direction: San Wong
Make-up: Mak Tung
Venue: Isola Bar & Grill

Continuum Capital founder Marie-Louise Jungels on demystifying the world of finance

Marie-Louise Jungels, the Luxembourg-born founder of Continuum Capital, talks to us about the city’s banking potential, starting her own financial firm and her upcoming book.

Tell us a little bit about your early years…

I was born in Luxembourg, a tiny country in Western Europe. I have one sister and, by and large, my childhood was pretty normal. I grew up in a very rural, cosy environment – one that would be seen as rather provincial nowadays. Growing up, I primarily spoke Luxembourgish and German, my mother’s native tongue. I also studied French and English. It may seem like a lot, but many of my countrymen are quadrilingual, as we’re right at the crossroads of so many major cultures.

And then how did your education pan out?

I completed my primary and secondary schooling in Luxembourg, but I had to go abroad to attend university, the reason being that, back then, Luxembourg had such a small population – about 375,000 people – that it didn’t really have any high-level tertiary education institutions to speak of. Ultimately, I ended up collecting several finance and economics-related diplomas from universities in France, Belgium and the US.

Was finance always your one calling?

Honestly, growing up, I would never have guessed I’d end up as a banker. I was far more interested in the arts, so much so that I seriously thought about becoming an artist at one stage. But my father who advised me that something a little more financially lucrative might be wiser in the long run. After toying with the idea of becoming a scientist or a doctor, I finally settled on economics and finance, because they seemed to offer the broadest opportunities.

What brought you to Hong Kong?

After completing my studies, I was somewhat at crossroads in terms of what to do next. The obvious thing would have been to return to Luxembourg to work. The not-so-obvious choice, though, was to explore the wider world. I had never been to Hong Kong – or even to Asia – before and I wanted to see what could be achieved here. So I enrolled in a PhD programme in Economics at HKU, but ultimately decided to forego getting another degree in favour of gaining some real-life experience, preferably somewhere I could put all my theoretical knowledge into practice.

Having come to that decision, was it hard to find work?

It was a bit of a struggle to land my first job, largely because I was an economist interested in corporate strategy at the time, whereas Hong Kong finance companies were far more focused on immediate results rather than long-term planning. Eventually, I stumbled into private banking and thoroughly enjoyed the experience. What kept me in that sector was that I found a niche for myself – I loved managing client portfolios and met many amazing people while I was in that role. Gradually, I started to become more involved in bond portfolio management.

What led you to launch Continuum Capital, your own business?

It was down to a mix of several different factors. Firstly, I’d been working as a bond portfolio management specialist for many years and, while I enjoyed the challenges of working in a bank, I felt that it was somewhat restricting in terms of what I wanted to achieve for my clients.

In 2012, after the Global Financial Crisis, I was working for Merrill Lynch. Given the traumatic upheaval the company was going through, I thought it might be a good time to branch out on my own. Ultimately, though, it was my clients – many of whom I’d built strong relationships with over the years – who gave me the confidence to start Continuum Capital.

Tell us a little more about your business and about what makes it special…

Basically, it’s an independent asset management firm. We specialise in managing clients’ bond portfolios, working closely with them to meet their individual requirements and specifications. The company’s aim is to help preserve their wealth while building exponential financial gains over time.

In terms of your future plans is there anything that is particularly exciting you at the moment?

Actually, I’m currently writing a book, one that looks to explode the myth that finance has to be complicated – an impression that many in the industry seem keen to maintain. I’m writing it in a way will be accessible to everyone and will enable them to gain a solid working understanding of how the different aspects the industry all inter-relate. Sadly, the world of banking is not very transparent at the moment, something that I hope my book will help change.

Finally, what advice would you give any other female entrepreneurs looking to start her own business?

Well, it takes a lot of courage to start your own company, but – having said that – I would encourage everyone to give it a try. Irrespective of your field, keep a firm grip on your finances. Above all, you must be tenacious. While there will be hurdles and unexpected setback, much the same can be said of everything else in life. Above all, always keep a calm head and ensure you are well-prepared for every eventuality – no matter how positive or how negative.

Thank you.

Interview by: Tenzing Thondup
Photos: Jack Law
Art Direction & Styling: San Wong
Venue: Andante Lifestyle Store
Video: Kingsley Lau

Asia Horse Week: Chairman Raphaël le Masne de Chermont on the forum’s missions and visions

Only in its second year, the Asia Horse Week – which takes place alongside the Longines Masters – has established itself as an annual platform for the equestrian industry to come together and share experience, exchange knowledge and engage with the key players of the horse world. This year, important members of the equestrian community attended the event that took place between 14 and 16 February at AsiaWorld Expo. We talked to Raphaël le Masne de Chermont, the Chairman of the Asia Horse Week during the three-day event to know more about the mission and vision of Asia Horse Week.

What are the programme highlights for this year’s Asia Horse Week?

This year’s programme has been built around four major pillars – horse welfare, education, sports and breeding. In this regard, the seminar organised by International Equestrian Federation (FEI) to raise awareness on anti-doping and the promoting on clean practice in equestrian sports was particularly eye-opening, I’d say. The other important highlight was the auction that we organised this time – for the first-time ever in Asia, the embryos from the best blood lines of horses were sold. It was obviously an incredible opportunity of investment in the equine industry.

How has the equestrian market grown in Asia over the years?

I can confidently say that the equestrian market is booming in Asia now. The Chinese market itself is growing by 50% per year, with about one million riders joining various clubs. Other countries, too, like Japan, India and Indonesia, are also developing their own strong racing industries.

What areas of horse welfare were highlighted in this year’s Asia Horse Week?

This year’s Asia Horse Week touched upon a diverse range of areas around equine welfare, like regular monitoring of horses’ health, good training and riding practices, the regulations and stipulations necessary for the protection of horses and riders, FEI’s various regulations and achievements so far, etc. I would particularly like to draw attention to the participation of Mr. Roly Owers, in this seminar, who as the chief executive of the World Horse Welfare charity, helped understand the global perspective on these issues.

How much awareness is there around horse welfare in Hong Kong?

I think welfare of horses is quite embedded in Hong Kong’s culture, as the city sees high-performance horse racing events throughout the year and the horse lovers here are well-aware of the very specific needs of racing horses, in particular.

But one may wonder about what happens to these horses after they retire. Well, in that context, I found the session conducted by Amanda Bond, Executive Manager of Equestrian Affairs at HKJC [founding partners of Asia Horse Week] to be very illuminating. She talked about giving retired racehorses meaningful second careers in the equestrian industry – something that really resonated with the horse lover in me.

Thank you.

Interview by: Suchetana Mukhopadhyay
Photos: EEM