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

Novel approach: Sarah Zhuang on her jewellery brand and beyond

Sarah Zhuang may have been born into a family of jewellers, but she has carved out her own name through her eponymous jewellery label. The Gafencu team sits with Hong Kong’s own home-grown jeweller to talk about her inspirations and aspirations.

With your family having been in the jewellery business for generations, were you always destined to follow suit?

Well, I studied journalism at university and hoped to get into news broadcasting. It was my sister, Fiona, who initially joined the family business, but she soon realised that it was too overwhelming to manage on her own. That was when I jumped in to help her. She focused on the business side of things, while I managed the PR and creative sides. We soon realised that we worked very well together. To be honest, though, before I actually started designing jewellery, I had no idea that was what I wanted to do. Once I got into the groove, however, I realised I had found my true calling.

You studied at both the Gemological Institute of America (GIA) and Accademia Riaci in Florence. What impact did they have on your own approach to jewellery design?

What I learnt at GIA was very different from what I learnt in Accademia Riaci. GIA is very good for beginners, as its style is easy to pick up and they teach you a lot of the basic techniques. By contrast, Accademia Riaci teaches you the more traditional forms of jewellery-making.

What made you decide to launch your eponymous brand and make it distinct from Tak Fook, your mother’s established business?

Tak Fook is a very traditional Hong Kong brand and, when I took over my mum’s business, it was felt that there was a mismatch between my creations and the positioning of her brand. My pieces tended to appeal to a younger demographic and were a lot more playful. When customers came to Tak Fook and saw my jewellery, it didn’t quite fit with their expectations of the label. So we thought it’d be better to create a separate entity, one that was younger in its approach and that embodied a new design philosophy. That’s how, in 2017, Sarah Zhuang Jewellery came into being.

Where do you draw your inspiration from?

I am inspired by the multi-faceted nature of the modern woman. Something that especially influences me is the way that women adapt to the many distinctive roles they have to play in life. In essence, my brand celebrates womanhood in its entirety. Each one of my five collections depicts a particular aspect of the modern woman, which is why each one of them has a very different style.

Tell us about those different styles…

Well, I want every woman to be able to find a collection that she can truly relate to. In line with that, I have tried to portray a very different woman in each of my collections. Spread Your Wings, for instance, is a celebration of someone who’s ambitious and goal-driven, while Lady Rose is more suited to a woman who’s elegant and beautiful, rose-like in fact. Mix and Match is for those who are cool and down-to-earth, while Enchanted Pearl – which features only white pearls – symbolises someone who’s innocent and pure at heart. By contrast, Dancing Butterfly is dedicated to all the cheerful and happy souls.

Which collection do you see as reflecting your own personality?

The Mix and Match collection. For daily wear, I favour simple jewellery from that collection, as they tend to be petite and go with almost any outfit.

What new things can we expect from the brand this year?

We’ve been working on two new collections, both of which will launch this year. We will also be unveiling a range of men’s jewellery especially tailored to the Japanese market. We’re also continuing to work with Memorigin [a Hong Kong watch brand] on a new range of designer watches.

With Sarah Zhuang Jewellery already well-established in Japan, China and the UK, are there any other territories you are looking to conquer?

We are definitely planning to target a number of US cities, as well as Paris and a few other key European markets. For me, every jewellery brand has to make its mark in the US. As it’s such a huge and competitive market, though, we wanted to build our brand strength before taking up that particular challenge.

Lastly, tell us something that people don’t really know about you…

Not too many people know this, but I write science fiction novels. I recently finished my second book, tentatively titled Parallel Dreams. I published my first science fiction novel, The End of Reincarnation, after I graduated. Since then, I haven’t really had time to focus on my writing as I have been so busy with my jewellery brand. In the end, it took me three years to finish this one, but now – at last – it’s finally done.

Thank you.

Interview by: Suchetana Mukhopadhyay
Photos: Neville Lee
Art direction: San Wong
Video: Kingsley Lau
Makeup: Margaret Wong
Jewellery: Sarah Zhuang Jewellery
Venue: Tai Fook Showroom

Master geomancer Lee Shing-Chak predicts what lies ahead in the Year of the Pig

Dubbed ‘Hong Kong’s Youngest Feng Shui Master’ at just 19 years old, Lee Shing-Chak, expounds on what to expect in the Year of the Pig.

By the time you were 19, you were the youngest feng shui master in Hong Kong only at the age of 19. When did you know where your own future lay?

When I was growing up, my father made no secret of the fact that he wanted me to follow in his footsteps and become a practitioner of geomancy. I was just 10 years old when my formal training began. As I grew older, though, my creative leanings began to became more apparent, with a possible career as a designer being foremost in my mind. In 1988, though, as my father lay on his death bed, he repeatedly asked my mother if I was reconciled to dedicating my life to feng shui. It was his dying wish and I finally acquiesced before his passing.

Do you think feng shui is at all threatened by the modern world?

When I first started out in the field about 30 years ago, many of my elders in the geomancy world and even my family advised me to seek out a different path, maintaining that faith in feng shui was in a sharp decline.

However, I accepted it as a challenge and, at that time, my way of proving the value of feng shui was through the accuracy of my predictions. This saw me foretell everything from horse racing results to the winner of the Miss Hong Kong beauty. Nowadays, though, I’m reconciled to the fact that there will always be those who believe in feng shui and those who don’t. Thankfully, the number who do believe remains reassuringly high. For my part, I’ve incorporated statistics into predicting what the future has in store. They complement the traditional geomantic metrics and have given me some fantastic successes.

What do you see lying in store for Hong Kong during the Year of the Pig?

Well, the two decades from 2004 to 2023 actually constitute an ‘Eight Lucks’ period – a time of good fortune for medicine, education, childcare, insurance, property and mining. Within that period, however, the Year of the Pig will actually be the most turbulent time. My advice for 2019, then, is for those associated with such activities to stay the course, maintain an even balance and avoid any aggressive moves. Do not attempt any major new initiatives, no matter how tempting they may seem. The property market will also see some slumps, as will the stock market.

Are there any particular negative happenings people should look out for this year?

Yes, the alignments of the stars seem to suggest that things will not go well on the medical front. In fact, a major illness or epidemic may emerge, something that will put many people at risk. I’d advise everyone to pay particular attention to their health and wellbeing throughout the course of this year. The current cosmic positioning of the stars also warns of subterranean dangers. There is potential for an incident involving an underground transportation system, the MTR for instance. People should also avoid visiting volcanoes or engaging in underground leisure activities. It’s also best to avoid overly-old buildings as their unstable foundations may result in a sudden collapse.

What about the political sphere?

To answer that particular question, we should look to history for guidance. A full zodiac cycle – consisting of 12 zodiac animals and five elements – is 60 years long. Looking back six decades to 1959, this was the time when the US first opened its doors to China. Many economic ties were created during that period, although China was definitely under pressure and somewhat on the back foot when it came to trade negotiations. This type of trade uncertainty will be very much to the fore this year, with continuing friction with the US definitely on the horizon. Businesses should take some heart from the fact that not too much disruption is likely to come to pass.

Are there any zodiac signs that should think twice before having children this year?

I don’t think it’s possible to predict, outright, that certain people should not have children this year. Having said that, I think potential parents should be aware of specific personality conflicts that may arise between different zodiac animals. Generally speaking, Pigs are notoriously laidback, to the point of laziness. So if, for example, a Monkey has a child this year, the resulting parent-child personality combination may not be all that productive, as Monkeys tend to be more playful and active. Pigs are also known to be stubborn on occasion. So, if a potential parent is a Tiger – a sign for famous for meticulous planning – some clashes may be ahead as the parent and child may not see eye to eye on all things.

Is it true that those born in the year of a specific animal will have a ‘bad luck year’ when that sign comes around again? So, will 2019 really bring bad luck to those born in, say, 1983, 1971 or 1959?

Well, the answer is both yes and no. While it definitely is a ‘bad luck year’ for Pigs, not everyone born under the sign will experience a tumultuous year. For an accurate prediction, you need to know the exact month, date and year in which a person was born. In broader terms, the sign of the Pig is related to the element of water and also, a little more remotely, to wood. Therefore, if you were born in the spring or the winter, the negative potential is high indeed. If, on the other hand, you were born in autumn or, more particularly, during summer, then you will not be too adversely affected by any lingering bad luck.

Thank you.

Interview: Tenzing Thondup
Photos: Neville Lee
Video: Lai Ty Yeung
Art direction and styling: San Wong
Hair: Calvin Tsoi
Makeup: Jessica Chan
Wardrobe: Mountain Yam
Venue: Penthouse

Absolut Creative Competition to be hosted in Hong Kong for the first time

Since its inception in 1985, the Absolut Creative Competition – sponsored by renowned vodka label Absolut – has been a platform dedicated to fostering a spirit of artistic competitiveness, engaging some of the world’s boldest and most talented up-and-coming artists in an endeavour to find just the right interpretation of its iconic logo. Now, for the first time ever, the event will be taking place right here in Hong Kong.

To participate, entrants can start by downloading the template of the Absolut bottle silhouette from the free competition’s website. From there, they are encouraged to get artistic and create a new logo that shares the company’s vision of a better tomorrow, through any of its five central brand beliefs. What does the lucky winner get, you ask? Well, first there’s the chance to win a €20,000 (HK$205,742) cash prize. Better yet, their creation will featured in an international Absolut campaign, offering them global visibility and prestige.

With our sights set on learning more about the competition and Hong Kong’s own bustling creative scene, we sat down with two of this year’s Absolut Creative Competition local judges – Alan Lo, Co-founder and Executive Director of Classified Group, and Founder of G.O.D. (Goods of Desire) Douglas Young, to get some insight into what the judges are looking for, and some advice to today’s young Hong Kong artists.

absolut creative competition — *Absolut Creative Competition* judges Alan Lo (left) and Douglas Young

As a leading voice in the Hong Kong art scene what are you doing specifically to give back to the community and its budding creatives?
Alan Lo: I’m in a very lucky position in that I can allocate time outside of work towards my philanthropic pursuits, namely co-founding Design Trust and Para Site. At Design Trust, we look to activate long-term, intelligent and meaningful platforms that fund and advocate for the positive values of design. Para Site, meanwhile is a space that allows businesses with a corporate social responsibility (CSR) programme to get involved in the local art scene.
Douglas Young: At G.O.D, we are always trying to find new talent and work with them. We fully support their work and give them exposure, even if we can’t pay them handsomely. Because the Absolut campaign is so iconic and is being held in Hong Kong for the first time, it’s a great opportunity to give back.

Absolut has declared that they believe brands should act in a sustainable and transparent way. What does sustainability and transparency mean to you?
Alan Lo: It’s about long term thought, and making a commitment. You don’t have all the answers, but on a basic level, it’s about a well-considered and transparent effort.
Douglas Young: On a philosophical level, we need to produce things that are meaningful. I really believe in the Renaissance of Chinese culture and traditions, and look to create things that last more than just a season. It’s more important to create products that are of value. To me that’s what sustainability is about.

Do you have any advice to isolated or marginalized youth, particularly those who wish to pursue art as a career?
Alan Lo: Go for it. Some of the best works in the world come from a place of emotion built from experiences where you have something to say. Connect and follow those in Hong Kong that foster growth. Explore grants, and keep going. Hard work leads to results, so persevere, persevere, persevere.

Art is often political. How do you approach diversity and inclusivity without alienating any particular sub-group of people?
Douglas Young: I think as a creative person it’s very important to have the courage to speak out, and know that it’s an obligation as an artist to deal with sensitive issues and things that require change. It’s our task to move society on. Conflict is inevitable, but if we keep dialogues open, we can resolve misunderstandings.

Thank you.

To learn more about Absolut’s Creative Competition you can visit their website here.
The last day to submit entries is 31 January, 2019 with the local winner announcement to take place in March and the global winner to be announced in May.

Interview by: Bailey Atkinson

Lala Curio unveils new home decor collection at COLOURLIVING

Hong Kong’s very own luxury home decor maison, Lala Curio, partnered with COLOURLIVING, the city’s one-stop lifestyle concept store, to unveil its latest collection of vibrant, elegant, handcrafted wallpaper designs. We sat down with Laura Cheung, founder and owner of Lala Curio, to find out more about the brand’s philosophy, inspirations and intricate designs.

*Laura Cheung, founder of HK-based home decor company, Lala Curio*

How did your passion for interior design and home decor come about?

Actually I come from three generations of specialists in home decor and decorative arts. My father’s side of the family specialises in rosewood furniture, while my mother’s family are experts in cloisonné, a rare from of Chinese craftsmanship focusing on intricate inlay work. Growing up playing with cloisonné toys and interacting with Ming dynasty rosewood furniture, I knew interior design was my goal pretty early on. I just love the theatrical side of the business, but I also love beautiful, tactile things.

After graduating from university, though, you first entered the fashion industry…

That’s right, I did fashion event production. I was the design director and only designer of the company. It was such a hectic schedule with New York Fashion Week and then continuous corporate events and so forth. In your early 20s, it’s the perfect place to learn, but after a while I realised I wasn’t taking in anything new and that it was time for something new. That’s when I moved back to Asia and took some time off to figure out my next step.

So that next step was Lala Curio?

Not exactly. I decided my mission was to reinvent the lost crafts of Asia, and that’s what Lala Curio is all about. But first, I wanted to travel to the specific regions where these rare craftsmen lived. My family connections within the industry really helped me out, and for a while I was just travelling the length and breadth of China to find these artisans and learn from them.

After two years of travelling, learning and sourcing products, I made my first foray into interior design at Singapore’s International Furniture Fair four years ago. I took 4,000sq.m of space, poured so much effort and money into it, and developed a completely out-of-this-world ‘Cabinet of Curiosity’ showroom for all the major buyers in the world. That’s how Lala Curio was born.

Tell us about Lala Curio and its philosophy.

Well, the name Lala Curio is based on my childhood nickname, Lala, which also has a spirit of whimsicality, and Curio, based on an object of curiosity and also the art of curation. I think our brand encompasses all these characteristics, but most importantly, we are focused on artisanship and lost crafts.

We’re a Hong Kong-based home decor company that focuses on high-end, handcrafted products with a strong focus on Chinoiserie. We’re a bit unique in that we do everything in-house, from material sourcing to owning our own production… We also have a team wholly endowed with design know-how, from the historical to the handcraftsmanship. This really gives us the flexibility for any bespoke work our clients are looking for.

What is the latest collection you’re unveiling at COLOURLIVING today?

We’ve unveiled an all-new wallpaper collection today that is very much inspired by a romantic flora-and-fauna Chinoiserie theme. For example, we’ve utilised the city’s famous bauhinia tree, replete with heart-shaped leaves, in one of our wallpaper designs. We also have our latest Pearls on Walls wallpaper that is elegant without being overpowering. We also have our Red Wall, inspired by traditional Chinoiserie techniques but transformed with a modern touch. The entire collection was designed solely for our Hong Kong clients. It’s all hand-embroidered and handmade, no machines were involved.

Thank you.

Interview: Tenzing Thondup
Images: Lala Curio

Omtis Fine Wines: Hong Kong-based luxury wine merchant turns 100

For Hong Kong oenophiles looking to buy Nicolas Feuillatte or any number of other high-end wines, their first port of call should be at Omtis Fine Wines, the family-run wine merchant that has made Asia its home for 100 years. We interview Philippe Bera, CEO of Omtis, about its partnership with the French champagne house, its centenary celebrations and its vision for the future.

How did the partnership between Omtis and Nicolas Feuillatte come about?

Unlike most wine distributors, Omtis Fine Wines focuses primarily on the high-end. We were the agents for Domaines Barons de Rothschild wines for more than 20 years in Hong Kong and Macau, before segueing into becoming a fine wine merchant with a global presence. We then encountered Champagne Nicolas Feuillatte, a powerful brand representing almost a third of the Champagne region. Building Nicolas Feuillatte in Hong Kong and Macau was an enticing challenge, so we grabbed the opportunity. It’s been a very fruitful partnership with market penetration increasing each year.

Omtis is celebrating its 100th anniversary in Asia this year. What are the keys to success for this family-run business?

That’s a complex question. Omtis has evolved across different industries to where it is today – from importing Western movies into China in the ‘20s to being the exclusive agent for Omega and Tissot watches, not to mention other reputable Swiss luxury brands in Greater China from the ‘30s to becoming a wine distributor in Hong Kong and Macau in the ‘80s.

I think the most important factor of our success is that every new generation brought a fresh perspective. My father worked in Switzerland before joining Omtis, so he had strong connections with the watchmaking industry as well as an engineering background which helped us grow our watch importing business in Hong Kong. For myself, I worked as a banker previously, so I have a finance-driven approach to our wine business. These unique skillsets help us reinvigorate Omtis to make sure it stays contemporary and ahead of any major trends.

Furthermore, I think communication has been our greatest asset. When one generation transitions to the next, it does not mean that the previous generation’s input stops. In fact, using their experience and knowledge to complement the current generation’s visions have really strengthened our business as we expanded across industries. I talk with my father every day to get his input on our strategies.

With a century under its belt, what’s next for Omtis?

Something that we’ve been working on is a brand-new system of wine purchasing and management. Currently within our industry, each step of the wine value chain is isolated and disjointed, from the vineyards to the distributors to the storage companies to the auction houses – it’s a very inefficient process. We want to help our clients keep tabs of their collections from the vineyard to their homes. From calculating storage costs to shipping details and even tracking the provenance of each individual bottle, we’re hoping to streamline and digitise the entire process, so our customers receive efficient service and full transparency.

For the immediate future, though, with Omtis turning 100 this year, we’re aiming to host 100 events. It’s a fun way to interact with our friends and clients, and we’re looking to host everything from intimate dinners to larger-scale tasting parties.

Thank you.

For more information, please contact sales@omtis.com

Mouse Builder: For Allen Au-Yeung, working at Disney is a dream job

Allen Au-Yeung, Disney’s Asia-Pacific Vice President of Creative and Product Development, on indulging his creative spirit, his life-long love affair with Disney, and marking Mickey Mouse’s 90th birthday…

How did you become involved with Disney?

As someone who considered themselves inherently creative, I was always fascinated by Disney’s dedication to putting creativity at the forefront of everything it did, as well as its amazing ability to consistently create the most invitingly interesting products. I felt that this was completely in line with what I was looking for at the time. I joined the company back in 1996 and I’ve never really looked back.

What can you tell us about your current role at Disney?

Right now, I’m the Vice President of Creative and Product Development for the Asia-Pacific region. Essentially, I’m responsible for formulating a unified creative vision for all our team members across the region. This means designing Disney creative assets that tell our brand story, while also working closely with our business strategy teams to help create new products that are in keeping with our overall philosophy while remaining wholly aspirational.

How do you think Disney has managed to stay so relevant for quite so long?

Despite being a globally recognised brand, localisation has really been the key to its success. We do our utmost to incorporate elements of local culture in any relevant and unique Disney story we set out to tell in any of our markets. During last year’s Mid-Autumn Festival, for instance, we released a range of mooncakes featuring some of our best-loved characters.

Then, of course, there’s digitisation, which is clearly the most rapidly-developing sector right now. Apart from the expected social media platforms, many of which we are already using to help broaden our demographic, we’re also placing a real emphasis on e-commerce, especially within the Greater China market.

How do you juggle Marvel, Pixar and Star Wars with the more traditional aspects of the wider Disney universe?

The key to finding the right strategy lies in knowing just what consumers are looking for. To that end, Disney spends a huge amount of money on research, commissioning studies and analysing a wide range of demographics. The end result is that we are very aware of what people want.

We know, for instance, the strong appeal our princess characters – such as Cinderella and Snow White – have for young women. Equally, we know that men prefer the action and superheroics that come courtesy of Marvel and Star Wars. Meanwhile, with the younger kids, Pixar characters like Wreck-It Ralph are hugely popular. Ultimately, it’s all about targeting the right products at the right consumer group and making sure they fall in love with us regardless of their age or gender.

Given the breadth and depth of your back catalogue, is there still one character that really stands out for you?

That would have to be Mickey Mouse. He’s the character that Walt Disney himself developed and one that remains synonymous with our entire brand. His engaging personality, innate curiosity and happy-go-lucky nature have seen him consistently win hearts over the years, even though he’s now 90 years old. At heart, though, I think his appeal lies in the fact that he is pretty much the embodiment of eternal hope.

What did you do to mark Mickey’s 90th in Hong Kong?

We rolled out a variety of promotions, exhibitions and products that all commemorated this particular milestone. A few months ago, we also partnered with Times Square Hong Kong to stage an exclusive 90 Years of Mickey exhibition, which featured more than 90 unique pieces of memorabilia from the Walt Disney Archive, including 20 that had never been seen in public before. We’ve also partnered with a number of local companies to create various limited-release designs that are exclusive to the city.

Thank you.

Interview by: Tenzing Thondup
Photos: Neville Lee
Art Direction: San Wong

Interview: How Nicolas Feuillatte became France’s favourite champagne

Despite having only begun in 1976, French champagne brand Nicolas Feuillatte has quickly grown to establish itself as a market leader and one of the pre-eminent champagnes of the world. The brand’s Managing Director, Christophe Juarez, enlightens us on how this phenomenal growth came about…

*Christophe Juarez, Managing Director of Nicolas Feuillatte*

Tell us a little bit about Nicolas Feuillatte.

Champagne Nicolas Feuillatte was founded in 1976. Mr. Nicolas Feuillatte, himself, was a successful businessman who switched from running a US-based coffee bean business to opening his own domain in the Champagne region. He started a small estate and then joined Centre Vinicole de la Champagne, France’s oldest union of champagne producers, to build the Nicolas Feuillatte champagne brand as we know it today.

In the 40+ years of our existence, we’ve become very successful, both within France and on an international scale. I’m proud to say that we are now not only the No.3 champagne brand worldwide, but we are also the absolute leader, the preferred champagne of French people. In fact, we are the top-selling brand within France, which is quite a feat.

*The new Espace Nicolas Feuillatte, inaugurated in April 2017*

What makes Nicolas Feuillatte so unique?

First of all, we are a co-op, which means that we are owned by the growers. We currently work with about 4,500 grape growers which represents one-third of the vineyards in Champagne. This huge source allows us to achieve exactly the blending we want for the best possible flavour and quality.

Secondly, we are known for making only the best champagnes. The jewel in our champagne collection, a special tete de cuvee, is the “Palmes d’Or”. It is created using only the most outstanding, flavour-packed grapes.

Nicolas Feuillatte Palmes d'Or Rose 2006 — *Nicolas Feuillatte Palmes d’Or Rose 2006, a delicious tete de cuvee*

Tell us about the newly refreshed brand visual identity and packaging.

We are a relatively young brand compared to other champagne houses, and we pride ourselves on our innovative approach. We’ve just retooled our entire range of products this year, including the packaging and even our logo. Our new logo is very emblematic. We have the small grapes ringed by heart-shaped vines. The grapes represent our workforce, the people who drive our success. It is a tribute to the thousands of grape producers within the co-op who make Nicolas Feuillatte so special.

We’ve retained the signature blue label for the Reserve Exclusive Brut, which is iconic for Nicolas Feuillatte, to ensure we remain recognisable and attractive. Our bottles have also gone through a significant revamp. The Palmes d’Or collection, which features a unique and eye-catching ‘pearl-marked’ design, will be the next to follow.

*Nicolas Feuillatte Blanc de Blancs 2008*

What’s next for Nicolas Feuillatte?

Our focus now is very much on China. It’s an enormous market with huge potential, and we believe Hong Kong is the perfect gateway. Of course, Hong Kong already boasts a large legion of champagne aficionados, but we hope to introduce them to new expressions of our champagnes as well.

Thank you.