Catwalk Calligraphy 水墨点染的时尚秀场

February 11, 2019 2019年2月11日

A Chinese upbringing in Malaysia is a lot of work. For Kedah-born illustrator Lihuà Wong, in addition to learning every subject in two languages and enrolling in a never-ending series of extracurricular classes, that meant calligraphy lessons. From the tender age of six all the way up through secondary school, Wong had to practice making Chinese characters with perfect brushstrokes. Despite her reluctance, what began as a laborious chore soon became a key element in her art. Her calligraphy-inspired illustrations have now attracted major fashion brands, such as Chanel, Prada, and Christian Dior.

对于在吉打州出生的插画家王莉桦(Lihuà Wong)来说,身为一个华裔,在马来西亚成长的经历是辛苦的。除了必须用两种语言学习每一门科目,她还得参加一系列永无止境的课外课程,其中包含书法课。从六岁到中学的年纪,王莉桦必须练习用完美的笔画写出汉字。尽管她不情愿,但早先的辛苦练习很快发展成她艺术的养分。现在,她的书法风格插图吸引了许多国际知名的时尚品牌如香奈儿、普拉达和迪奥的注意。

Wong currently juggles a job teaching fashion illustration at The One Academy while building her name as an artist. She brings her minimalist figures to life with bold brushstrokes, injecting them with the flair and expressive movement of calligraphy. Incorporating calligraphy in her work was never a conscious plan. “It just happened,” she says, since the brushwork carried over to her painting. The only real change was the medium, as she experimented with the combinations of various types of paints and paper.

王莉桦目前在立万国际美术学院(The One Academy)教授时装插画,同时以自己的名字发展艺术生涯。她通过大胆的笔触将她极简主义的人物变为现实,为他们注入了书法灵动的表现力。在她的作品中,融合书法并不是一开始就拟定好的计划。“它才刚刚发生。”她说,自从书法进入她的画作,唯一的改变是媒介,因为她开始尝试各类颜料和纸张的组合。

She describes her work as mixed media, since she doesn’t use just Chinese ink, but also works with watercolor, acrylics, and even digital software. Still, Wong prefers more traditional approaches, because she likes the organic feel of doing things old school. A true artist, she declines the convenience of brush presets and printing to pursue something more delicate and crafted.

“I start with a sketch. It’s quite spontaneous. I look for a picture, a composition, then put it together. I want to find something that makes the most impact,” she says. “That’s my concept, that’s how I work. It’s easy with things like Photoshop—you just need a laptop and a tablet and you can easily work anywhere. But that’s more for commercial art. If it’s just for myself, then I choose the traditional way.”

It’s not difficult for Wong to find inspiration, as she weaves through videos of fashion shows. She’s particularly drawn to the designs by two of the biggest fashion houses in the industry, Chanel and Dior, for their timeless and delicate designs. Aside from that, she also seeks visual counsel in artists from the past.


“我的创作从画草图开始,是很随兴的。我会思考如何去建构我的图像,我希望让作品的冲击力越大越好。“她说,“这就是我的概念,我的工作方式。用 Photoshop 这样的绘图软件创作很容易,你只需要一台笔记本电脑或平板电脑就可以轻松地在任何地方工作,但这更适合商业艺术。如果只是为了我自己,那么我选择传统的方式。”


Wong first began her fashion illustration journey by approaching local brands for small projects at events involving art and media entertainment. International outreach didn’t really happen until she was studying in the UK and had to find a way to make ends meet while pursuing her passion.

“I like fashion. That’s where I started out, doing events. I like drawing people. You get to see their personality, the way they dress, their silhouette, their character. It’s fun to watch. I can’t sit and draw, say, landscapes. I’ve tried it before. I find it boring. I need a more dynamic subject. If it’s just a tree, I find it difficult to tell a story.”



What’s inspiring about Wong is her thirst for a challenge. Whenever she’s asked about her style or subject matter, her response always has a common denominator: the challenge.

“I like doing events,” she says. “I like the challenge of live sketching. I get easily distracted working at home, but for this job you have to focus for four hours and observe people. In five minutes you have to observe your subject and observe their character, silhouette, personality, and features—and get it done. That’s why I like drawing figures. It’s dynamic and is always different.”

However, when it comes to sewing, Wong isn’t interested.

“Oh no, no, no,” is her immediate response when asked whether a career in fashion design is in the cards. “I don’t sew. I like to draw what designers already have. I interpret. I love to make things nicer. When I work with designers, they ask me ‘Can you draw this in this way, with this stitching, and this button?’ Then I’ll be their hands. They tell me what sort of artwork they want, and I act as a visual translator.”





As for the future, like any artist, Wong aspires to have her works showcased to the public. “I gave myself a target. I want to make 100 works of art, then approach galleries to set up a solo exhibition. Also, I haven’t worked with Louis Vuitton yet!”  

至于未来,像任何艺术家一样,王莉桦希望她的作品可以进入大众的视野。“我给自己订了一个目标。我想制作 100 件作品,然后在画廊办个展。而且,我还没有和 LV 合作过呢!”

Instagram: @artoflihua


Contributor: Joanna Lee
Chinese Translation: Yang Yixuan

Instagram: @artoflihua


供稿人: Joanna Lee
英译中: Yang Yixuan

A Growing Streetwear Empire 从首尔街头走来

February 8, 2019 2019年2月8日

This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more of MAEKAN’s content on Neocha, click here.

It’s no surprise that some of the most authentic and successful retail concepts begin with a simple desire to bring new exciting things to a local crowd. But short of simply importing and selling a shop full of goods because they’re popular abroad, it takes an eye for the timeless and the “classic” that ensures those items will resonate with the target market in a way no derivative products could.

For Kang Seunghyuk, founder of WORKSOUT, what started as a personal mission to make overseas streetwear items available—and accessible—to Seoul’s fashion scene has since exploded into an empire that encompasses over 10 stores throughout the country.

We sat down with him as he prepared to celebrate the next milestone in his streetwear empire, the opening of a new location inside RYSE hotel in Seoul’s up-and-coming Hongdae neighborhood. He shared with us how far he’s come, the intricacies of the Korean fashion scene, and what it takes for a brand to succeed there.

本篇文章来自新茶媒体合作伙伴 MAEKAN 的内容交换。在 Neocha 上阅读更多 MAEKAN 的文章,请 点击此处


对于 WORKSOUT 的创始人 Kang Seunghyuk 来说,最初的使命是为首尔时尚界提供多一些海外街头服饰的选择。但时至今日,此一念头已经发展成为一个全国拥有 10 多家连锁店的服装帝国。

当他正准备庆祝他的下一个里程碑——在首尔逐渐崭露头角的弘大街区里,位于 RYSE 酒店里的新店面——我们在开幕时和他见了面。他与我们分享了他至今走来的路程、韩国时尚界的复杂性以及品牌如何取得成功的故事。

MAEKAN: What was the inspiration behind WORKSOUT?

Kang: This might be hard to explain, but in Korea, there’s this idea of “oldness”—that it’s the older generations that manage companies. Fashion companies still operate under this concept: they keep wanting to work with department stores, and when their products enter these department stores, the prices skyrocket, which makes it hard for ordinary consumers to buy them.

Before, it was really common to see items that would cost only 30 dollars in the US but sell for 60 dollars in Korea. But, I wanted to deconstruct all of that. I wanted to show that it was possible to get the same price for something here as you would in America, Korea or Europe. My goal was to show Korean people that you didn’t have to purchase particular items in the States and that they could buy the same items here.

MAEKAN:创立 WORKSOUT 背后的灵感是什么?



MAEKAN: How did the opportunity with RYSE come about?

Kang: They first asked us to join them about three or four years ago, but at the time we were preparing to open our Apgujeong Store, so we declined their offer. But a year later, when we were open and WORKSOUT was doing well, I was given the offer again. Actually, it was a lot of work getting the brand into the hotel. I turned it down initially because it seemed like too big a project or plan and I thought it was too much to take on, but they really wanted to bring street brands into the hotel, so I eventually agreed. The very same Andre Caputo that designed our Apgujeong-dong store is also working on this project.

MAEKAN: 和 RYSE 的合作是怎么开始的?

Kang: 首先他们在3、4年前要求我们加入他们,但当时我们正在准备狎鸥亭的新店,所以拒绝了。但在一年后,当 WORKSOUT 表现不错而我们的时间也允许,我们再次得到这个提议。将品牌带入酒店事实上需要付出非常多心力,最初我拒绝了,因为这像是一个太过庞大的项目,我认为太超过了。但他们真的很想要把街头品牌带进酒店,最终我还是同意了。当初帮助我们设计狎鸥亭店的 Andre Caputo 也参与了这个项目。

MAEKAN: What is unique about the Korean perspective toward fashion?

Kang: I guess it’d be accurate to say Koreans have a strong sense of loyalty? Fandom is a huge concept in Korea. There’s a community for it. So if there’s any one type of style or one type of brand, people will follow it. People from overseas like to dress a certain way that expresses themselves, but Koreans have a tendency to base their style around the brands they’re loyal to. If you like a certain brand, you’ll always like it and never throw it away or abandon it. So I’d say brand loyalty is one unique part of Korea.

MAEKAN: 韩国人对时尚的看法有什么独特之处?

Kang: 我想,韩国人有一种强烈的忠诚感,这样的描述应该是准确的吧。粉丝在韩国是很有影响力的,这是一个巨大的群体。因此,如果出现了某种特定风格或类型的品牌,人们就会跟随它。国外的人也许喜欢穿着可以表达自己的衣服,但韩国人倾向于以他们忠诚的品牌为穿搭的基础。如果你喜欢某个品牌,你会永远喜欢它,不会扔掉它或抛弃它。所以我认为品牌忠诚度是韩国独一无二的一部分。

MAEKAN: You now have four WORKSOUT stores and eight CARHARTT stores. What does it take to succeed in different Korean cities?

Kang: For one, if a brand succeeds in Seoul, it can succeed in any region of Korea. That’s why I opened up five stores in Seoul first, which led to a contact from Busan asking if I wanted to open up stores there and then later on again in Daegu. The reason for this is if you succeed in Seoul, you can then expand to other provinces. And if you take advantage of those opportunities, you’ll succeed no matter what because people from other regions always follow Seoul. So because we already did so well in Seoul, things really took off after that.

MAEKAN: 你现在有四家 WORKSOUT 商店和八家 CARHARTT 商店。在不同的韩国城市中取得成功的因素是什么?

Kang: 首先,如果一个品牌在首尔成功,它就可以在韩国任何地区成功。这就是为什么我先在首尔开了五家店,之后就有釜山的人联系我,接着是大邱。原因是如果你在首尔先取得成功,你就有机会扩展到其他城市,如果你好好把握这些机会,事情无论如何都会水到渠成,因为其他地方的人总是跟着首尔的脚步走。因为我们在首尔已经做得很好,我们的品牌就从这里起飞了。

MAEKAN: What direction do you see fashion in Korea taking?

Kang: As I mentioned earlier, it’s still a bit difficult for Koreans to express themselves. We always like to think that Koreans are like Americans in that we like to be bold and outspoken, but the truth is that we find it really hard to create our own color. However, if we talk about the nature of contemporary fashion in Korea, there’s a bit of movement there. Korean idols are so influential and people follow their fashion, so they’re beginning to develop their own color and style. Plus, people are aware of overseas influencers through Instagram and Paris and New York fashion, so they’re starting to draw their own style from it, in my opinion.

MAEKAN: 你认为韩国时尚的走向是什么?

Kang: 正如我之前提到的,韩国人对于表达自己仍然有点困难。我们总是以为韩国人像美国人一样,大胆直言,但事实上是我们连创造自己的风格都有问题。然而,如果现在我们谈论到韩国当代时尚的本质,已经有一些动静了。韩国偶像是如此有影响力,人们开始追随他们的时尚,进而开始发展出自己的风格。 此外,人们通过 Instagram 发现巴黎和纽约的时尚,了解到海外有影响力的人,因此我认为人们会从中汲取并演变出自己的风格。

MAEKAN: What role do you think the Internet has played in all this?

Kang: Back in the day, you had to read books for fashion. Books were more important than the Internet. I used to have tons of books at home, but now I don’t even have a single one. That’s because magazines, unlike books, are updated every day now. But back then, because the magazine came out only once a month, you’d get the latest news only as often, so the trends would be a little late. I think that would be the main difference: the speed in which trends would disseminate.

MAEKAN: 你认为互联网在这一切中发挥了什么作用?

Kang: 以前书比互联网更重要,你必须阅读时尚书籍去了解时尚。我以前在家里有很多书,但现在我甚至连一本书都没有。那是因为杂志的出现,与书不同的是杂志更新的速度非常快。但因为杂志通常都是月刊,一个月你只会收到最新消息一次,所以这样的速度还是有点慢。我认为这是主要的区别:趋势传播的速度。

MAEKAN: I was personally amazed by your Apgujeong store. How should people feel when they have a good physical retail experience?

Kang: The most important thing, in my opinion, is to get people to come to the store by having items on display, preparing events or collaborating with different brands every month at our store. For example, last year we had Nike, Adidas, Puma in our store to collaborate with us and hold parties and events every season and month to introduce their brand. This is how consumers get introduced to the brands and how we bring customers to visit our stores a little bit more often—and not just look online, but actually come and check them out.

MAEKAN: When I went to Apgujeong, I saw a lot of different brands there. How do you pick them and position them together in the same space?

Kang: When I look for a brand, the first criteria is that it’s a brand I can’t find in a department store. In terms of levels, you can see the brands on the first floor are curated so that when people come in they’ll think, “oh, I know these brands.”

When they head upstairs to the second floor, they’ll notice more niche brands that they don’t know but will still appreciate. And on the third floor, they’ll think, “they’ve got a mix of brands here, but I know all of this”.

MAEKAN: 狎鸥亭店让我感到非常惊奇。你觉得人们在良好的消费实体体验当下应该感受到什么?

Kang: 在我看来,最重要的是让人们愿意每个月到我们的商店看看架上的商品、参加活动或和不同品牌的合作。例如,去年我们的店里有 Nike、Adidas、Puma 等品牌与我们合作,每季或每月举办派对和活动来介绍他们的品牌。这就是让顾客如何了解品牌以及吸引他们更频繁地造访我们商店的方法——不仅仅是在网上看,而是实际到店里来看。




MAEKAN: As a foreigner, I always hear the fashion discussion in Seoul gravitate towards Itaewon and Gangnam etc. How would you describe Hongdae?

Kang: I personally think Hongdae will be the biggest neighborhood in Korea in the next five or 10 years. We’re already starting from the RYSE  hotel and building all the new buildings on this street, and the hotels and department stores will keep coming in.

Especially in this business district, there are lots of young people living there, so a lot of people pass by all the time. It’s different from Gangnam where it’s hard for people to move around, but here, there are lots of young people, restaurants, bars, and clothing stores too. So business isn’t going anywhere but up here, and more people will come.

MAEKAN: 关于首尔的时尚讨论,作为一个外国人我总是听到大家在谈论梨泰院和江南等街区。你会怎么形容弘大?

Kang: 我个人认为弘大在未来五到十年内将成为韩国最大的社区。从 RYSE 酒店开始,这条街上多了很多新建筑,更多酒店和百货商店将继续进驻这里。


Instagram: @worksout_official


Media Partner: MAEKAN

Contributor: Nate Kan
Photographer: Chris da Canha
Korean to English Translation: Martin Bae
English to Chinese Translation: Yang Yixuan

Instagram: @worksout_official


媒体合作伙伴: MAEKAN

供稿人: Nate Kan
摄影师: Chris da Canha
韩译英: Martin Bae
英译中: Yang Yixuan

Editing for a Cinematic Look 用一张照片看一部电影

February 7, 2019 2019年2月7日
Image by jessicalindgrenwu / 图片由 jessicalindgrenwu 提供

This story is part of a content partnership and media exchange between Neocha and VSCO. Their membership program, VSCO X, is designed to help you reach your creative potential. Take the next step in your creative journey by starting your free 7-day VSCO X trial today and gain access to the complete VSCO preset library, the newest editing tools, and inspiring educational content.

There is something magical about movie stills and the feelings they evoke. Whether it’s the color grading, the wide cinematic crop, or the effect of 24 frames per second whizzing by, all of these factors create something truly unique. In this tutorial, we will look at ways of creating a cinematic look in your photographs and find inspiration from the community.

本篇文章来自新茶媒体合作伙伴 VSCO 的内容交换。VSCO X 是一个专门帮助摄影爱好者发挥创造潜力的会员项目。现在就开启你的 7 天免费 VSCO X 试用创意之旅,即可获得的 130+ 预设滤镜,以及新的编辑工具、视频编辑和教程内容。

单单一个定格的电影画面就能牵动你的情绪和感受,这种力量是很神奇的。无论是因为调色、较宽的比例、或是每秒 24 帧画面飞逝所产生的视觉效果,以上种种因素都能让一幅照片充满独特的电影感。跟着以下小提示,就近在你的周遭找到灵感,并拍摄出电影感十足的作品。

Edit with Grain & Contrast / 編輯颗粒和对比度

First, make the initial edits to the photograph and its color. Focus on making adjustments using the grain tool and the contrast tool. These two tools will help mimic the look of a movie shot on film. Try adding a bit of film grain to an image to give the feeling of movement and imperfection. Next, decrease the contrast to take out some of the vivid, bright color and give the photo a subtle look.


Original / 修前


Edited / 修后
Edit with Crop & Borders / 边框和调整比例

After making the initial edits to the color of an image we will look at how Crop and Borders can create a cinematic scene. Movies have a distinct wide aspect ratio, the most notable being 2.35:1. This distinct look came from the invention of the CinemaScope anamorphic lens, which was created in the 50s and resulted in a new dimension for experiencing a movie. To mimic this look, we will use the Crop tool to change the dimensions of an image. Experiment with different aspect ratio’s and sizes and find one that fits your image best. Finally, add a black border to frame your newly transformed picture.

在针对图像颜色进行初始编辑后,下一步就可以运用裁剪边框工具来调整比例,以创建更接近电影画面的场景。电影有一定的宽高比,最常见的是 2.35:1。这种独特的比例来自 CinemaScope 变形镜头的发明,该镜头于50年代问世,为电影体验带来了全新的维度。为了模仿这种比例,请使用裁剪工具来更改图像的尺寸。尝试不同的宽高比和尺寸,找到最适合你的一个。最后,帮你的照片加上一组黑色的边框吧。


Experiment with these editing technique on different scenes for varied effects.


A shallow depth of field, an adventurous moment, or a beautiful scene all contain the magic of a cinematic moment. Find inspiration from these images from the community and next time you are out photographing try and look for those fleeting moments.


Image by zach / 图片由 zach 提供
Image by luisaaguia / 图片由 luisaaguia 提供
Image by mc-cait / 图片由 mc-cait 提供
Image by animry / 图片由 animry 提供
Image by moehemo / 图片由 moehemo 提供
Image by sweaterboy / 图片由 sweaterboy 提供

Shadows & Mirrors 花花世界,光影知道

February 5, 2019 2019年2月5日

A self-described “skateboarder and photographer,” Chris da Canha has a keen eye for color and light. Raised in South Africa and now based in Seoul, he’s traveled and shot in cities across Asia and Russia. His work, which has been featured in Maekan, Hypebeast, Vanity Teen, Ignant, and many other platforms, explores the subtle changes that play across the city’s architectural and human landscape.

“I learned how to shoot by walking the streets and hunting for the moments that felt right,” he explains. “I’m particularly excited by scenes showing poetic contradictions.” Often these contradictions are just subtle contrasts: a building warped beyond recognition in the hood of a car, a telephone pole whose bewildering network of cables is doubled by shadows. These familiar scenes are rendered slightly unrecognizable by precisely calibrated angles and light.

Chris da Canha 自诩滑板手和摄影师,对色彩和光线有着敏锐的眼光。他在南非长大,现居首尔,在亚洲和中东的城市旅行和拍摄。他的作品曾在 MaekanHypebeastVanity TeenIgnant 和许多其他平台上出现过,主旨在于探索城市建筑和人文景观中的微妙变化。


Often the details in these images don’t jump out at first glance, so they reward unhurried contemplation. In the mirrored glass of a skyscraper, a view of the city is slightly stretched and distorted, almost seeming to waver like a mirage—and this, combined with the haze in the distance, gives the scene a slightly unreal feel. In one of the photos below, the intense yellow of the wall makes the rust on the bars of scaffolding seem somehow redder and dirtier; in the other, an almost opaque window casts a greenish tint onto the street below. Such subtle effects give his work an understated drama.


Fascinated though he is by the sharp contrasts in color and shadow in the built environment, Da Canha also takes pictures of people. In fact, the bulk of his work centers on human subjects, often strangers he spots on the street.

These images seem to split the difference between portraits and candid snapshots, an effect he achieves by closely cropping them. “When I shoot, I’m thinking about what information I want to show, and what doesn’t belong,” he explains. “That helps with the composition, and I suppose makes it seem more careful,” he explains. “I find faces interesting, more often than not, and when the information around the face isn’t worthwhile, I shoot a little closer, and that’s developed into a kind of street portraiture.”

虽然他被城市建筑环境中那些鲜明的颜色和强烈的阴影对比所吸引,Chris 也还会为人物拍肖像照。事实上,他的大部分作品都是以人为主题的,且通常是他在大街上发现的陌生人。

这些照片似乎在肖像和人物抓拍之间划分了界限,因为 Chris 通过仔细的剪裁来达到这样的效果。当我拍照的时候,我会想我想要展示什么信息,什么信息需要删除。他解释说。这对构图很有帮助,我想这让它看起来更细致,他解释说。我发现人物的面部往往很有趣,当面部周围的信息不值得入镜时,我就拍得更近一些,这就发展成了一种街头肖像画。

Da Canha has lived in Seoul for the past five years, and thrives in the crackling electricity of the city’s creative scene. “Seoul was recommended to me by a friend living here at the time. I came and have never looked back. Korea’s a wonderful country, splitting at the seams with energy, and Seoul gets bigger every time you blink,” he says. He’s especially enthusiastic about the country’s photography community. “You won’t find a friendlier group of talented people excited to create rad imagery.”

Chris 在首尔生活了五年,在它创意界蓬勃发展期中成长起来。当时住在这里的一个朋友向我推荐来首尔的。我来了,从未回头。韩国是一个神奇的国家,充满活力,你眨眼间,首尔就好像变得更大了。他说。他对这个国家的摄影界特别有热情。你不会找到一个更友好的充满才华的大集体来创造这样的图景了。

Da Canha has shot for fashion and lifestyle brands, and has a collection recently appear in Dreamingless. He’s also begun a yearlong project intended for print, with 12 series of photographs grouped together under different aesthetic themes. Photography is his job, but it’s also his hobby, and he’s always on the lookout for something striking. “Daily life is more enjoyable when you’re actively looking for what you like.”

Chris 也为拍摄时尚和生活方式品牌拍摄照片,并有一个专题集最近出现在 Dreamingless 上。他还开始了一个为期一年的项目,计划刊印成册,将呈现 12 个系列的照片和其不同的美学主题。摄影是他的工作,但也是他的业余爱好,他始终都在寻找那些令人注目的东西。当你积极地寻找你喜欢的东西时,日常生活就会变得更加愉快。
Instagram: @chrisdacanha


Contributor: Allen Young
Chinese Translation: Chen Yuan

Instagram: @chrisdacanha


供稿人: Allen Young
英译中: Chen Yuan

Sigh, Gone “你”能放过我吗?

February 1, 2019 2019年2月1日



Sigh Gone is a new film by writer-director Jeannie Nguyen and cinematographer Andrew Yuyi Truong, the filmmakers behind First Generation. The duo’s latest storytelling effort takes them to their parents’ home country of Vietnam, where with help from local producers at BLAZE they’ve crafted a love story with a contemporary twist.

《Sigh Gone》是由导演 Jeannie Nguyen 和摄像师 Andrew Yuyi Truong 拍摄的一部新电影,他们也是《First Generation》的导演。这对拍档的新电影讲述了一个他们父母的祖国越南的故事,在那里,在 BLAZE 当地制作人的帮助下,他们创作了一个具有当代特色的爱情故事。

The short film centers on Thuy, a girl who’s desperately trying to get over a recent heartbreak. Alone at home and unable to quiet her restless mind, she decides to go for a ride on her scooter. But as she cruises through the bustling streets of Saigon, she discovers there’s no use hiding from her emotions. Her grief is even echoed by lyrics inscribed on the back of her motorcycle helmet. The quote, penned by Vietnamese musician Trinh Cong Son, translates to, “Not all that is lost is forgotten.”

这部短片以一个正在拼命试图从最近的心碎经历中走出来的女孩 Thuy 为中心,影片描述了她一个人在家,无法平静她的心绪不宁,于是决定骑上她的机车去兜风。但当她在西贡熙熙攘的街道上穿行时,她发现隐瞒自己的感情是没有用的。她的悲伤和印在摩托车头盔背面的歌词所呼应,那是越南音乐家 Trinh Cong Son 的原话:失而不忘。Not all that is lost is forgotten.

As her day drags on, the bereaved protagonist’s heartache goes from bad to worse—she can’t even make even simple decisions, like where to go and what to eat. To make matters worse, she realizes she’s completely forgotten about a friend’s birthday, and when she rushes over with a cake to make amends, the neighbors tell Thuy no one’s home, and chastise her for being a terrible friend.

随着时间的流逝,失去所爱的 Thuy 的心痛愈发加剧,她甚至不能做出简单的决定,比如去哪里、吃什么。更糟糕的是,她完全忘了朋友的生日。当她匆忙拿着一块蛋糕去赔罪时,邻居们跟她说根本没人在家,且指责她是个糟糕的朋友。

Thuy heads home feeling even more defeated than before. But as she pulls up to her apartment, she finds a welcomed surprise: her lost love is there waiting for her—an iPhone that she left at a friend’s place.

回家后的 Thuy 感觉比之前更沮丧了。但当她把车在公寓停好后,她发现了一个惊喜:她丢失的“挚爱”在那里等着她——她的 iPhone,曾留在了一个朋友家的 iPhone。

Sigh Gone turns out not to be a story of lost love after all, but a commentary on our obsession with smartphones. While it’s a lighthearted take on the subject, there is something bleakly familiar about this portrayal of our modern consumption habits. For many viewers, the anxiety and frustration of not having our smartphones within arm’s reach may hit a little too close to home.

Sigh Gone》原来说的并非一个关于失去爱人的故事,而是对我们对智能手机的痴迷现象。虽然这个话题令人轻松愉快得多,但在对我们现代消费习惯的描述中,的确存在着一些令人沮丧的事实。对许多观众来说,手机只要一离开就在我们几步之遥,我们就会感到焦虑和沮丧。

Alongside technology codependency, the film also touches on the double-edged nature of social media. “To be honest, it’s a little scary that today’s young people have never experienced life outside social media,” Nguyen says. “While these platforms can be great tools to make connections with and be exposed to art and culture from around the world, they’re more frequently highlight reels for people’s lives. It’s inauthentic, but young people don’t process that. It can be detrimental to their psyche.”

At one point in the film, Thuy asks herself, “What’s the point of creating memories if they’re not shared?” This question takes on a different meaning when it becomes clear that she’s referring to Facebook. What seems like a wistful question becomes a damning critique of our need to be constantly plugged into these digital feeds. With the ubiquity of smartphones and our ever-increasing screen time, Sigh Gone poses a tough question: are we living our own lives anymore, or are we too busy living vicariously through our devices?

除了科技与人的共生关系,这部电影还涉及了社交媒体的双刃性质。“老实说,现在的年轻人在社交媒体之外从来没有体验过生活,这有点吓人。” Nguyen 说,“尽管这些平台可以成为连接世界各地的艺术文化,并成为与之接触的绝佳工具,但它们通常只是起了强调人们生活的作用。这不是真实的,但是年轻人不会接受。这对他们的精神是有害的。”

在电影中,Thuy 问自己,如果不能分享,那么创造记忆有什么意义呢?当明确了她所指的是 Facebook 时,这个问题就有了不同的含义。似乎从一个伤感的问题变成了对现代人们捆绑于数媒信息之上的一种严厉批评。随着智能手机的普及、人们屏幕时间的日益增加,《Sigh Gone》提出了一个严峻的问题:我们是在过自己的生活,还是我们忙于通过设备,以间接的方式生活?


Instagrams@jea.nguyen | @a.y.truong


Contributor: David Yen
Chinese Translation: Chen Yuan


Instagrams@jea.nguyen | @a.y.truong


供稿人: David Yen
英译中: Chen Yuan