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Darting Between Fiction & Reality 我是白

March 27, 2018 2018年3月27日
  • Book by Wo Shi Bai. Swipe to read.


“A fiction within a fiction.”

“Cuts between perspectives in time and space.”

“Just read through your comics, some of them are really deadpan and really funny, some of them I don’t quite get, some of them really hit you in the gut.”

“The author is 30? Hahaha.”

“The author’s got to be a woman…”

All these are messages and comments left by readers of the comics of Wo Shi Bai, whose pen name literally means “I Am White.” For his fans, these comments have just about become required reading. Sometimes they point out a detail in a comic you missed, sometimes they leave you marveling at the reader’s overactive imagination.

And sometimes Wo Shi Bai will write a few words in reply, such as: “Thanks for the messages. I notice most of the feedback comes from people who don’t understand the comics or don’t get the point. Honestly, I drew them to record boring everyday experiences, really ordinary stuff. The first part is about the book the main character’s reading, or related to his mental state.”

“作者 30 岁?哈哈哈~”



From Chuck & The Portal / 来自《查克与传送门》
From Chuck & The Portal / 来自《查克与传送门》

As a comic artist in the internet age, Wo Shi Bai has been in dialogue with these unseen critics from the start. You could even say that the very existence of these readers, both the ones who get it and the ones who don’t, is what gave Wo Shi Bai the chance to change his life and focus on his creative work. That’s jumbling the timeline, though: in reality, it was an assignment from Gummi Comics in early 2017 that led Wo Shi Bai to start drawing seriously. Yet as anyone who’s read his work knows, this kind of jumble is the precisely what makes his comics so engaging: they leap and dart across space and time. Comics have an expressiveness that gives him a great deal of creative freedom.

“After drawing a few comics,” he says, “I found that a lot of ideas I couldn’t express in a single image I could express easily in comic form.”


这样讲似乎有点时间逻辑混乱,其实是因为 2017 年初的一次来自于《软糖漫画》的约稿,才让我是白真正开始画起了漫画。但是如果你也看过他的那些漫画,你就会明白这样的混乱恰恰是他漫画里一个很有趣的特质。从一个空间跳跃到另一个空间,从一个时间穿越到另一个时间。漫画的这种表达方式,给了他很大的创作自由,“在画了一些漫画之后,我发现我有蛮多单幅画面传达不了的想法可以用漫画的形式顺畅表达。”

  • Swipe to read.

  • This is my last story for Gummi Comics.

  • When I was coming up with the story, I started getting a migraine.

  • It usually takes three to four hours before I feel better.

  • I’ll feel better with the lights off. I’ll just sit in the dark and wait for the headache to pass.

  • Not doing anything, I began to drift into the recesses of my memories.

  • In 1997, my mom went to Japan to work at a clothing factory there. Seeing her off at the airport was the first time I took a taxi.

  • I was in first grade at the time, and I got extremely carsick. I regretted going along to see her off. (If I’d known I wouldn’t have come…)

  • My dad had been in a hospital long-term, and for the next three years I lived with my grandparents, aunt, and uncle.

  • All I did the whole day was play with the kids living nearby.

  • We brewed concoctions with pills, dead insects, and leaves.

  • Stuck firecrackers in toads’ mouths.

  • There was a kid a few years younger than us, and we didn’t always include him.

  • To grab our attention, he’d pretend to poop or masturbate.

  • Most of the time in the summer I’d watch T.V. by myself at home.

  • Sometimes I’d climb out of the second-floor windows and get lost gazing up at the sky.

  • The rooftop panels were burning hot in the sun.

  • In the building across the way, I’d sometimes see a little girl.

  • We’d undress for each other.

  • My memory is hazy. Maybe it was just me who undressed.

  • At the time, landlines had just become commonplace.

  • But I was terrified of picking up the phone. I don’t know why. Whenever it rang, I’d throw a blanket over it to muffle the sound.

  • Or sometimes I’d quietly pick it up and listen for a bit before gently hanging up. (Hello? Hello? Hello? That’s weird, someone definitely picked up…)

  • One particularly boring afternoon, I went through every corner of our house.

  • In a bedside cabinet, I found a pile of five-mao coins. I exchanged them for a kind of popsicle called “Mr. Banana.”

  • I also dug up my aunt and uncle’s book that taught newly married couples how to maintain their relationship.

    I also flipped through my aunt and uncle’s

  • At the time, Hong Kong just transferred its sovereignty back to China. By the time Macau was handed back over, my mom moved back.

  • I used the allowance money she gave me to buy accessories for my Mini 4WD racer.

  • Not long after, this entire neighborhood where I grew up was demolished.

  • Revisiting the area, there are no traces of my childhood to be found.

  • I think the migraine is easing up.

  • I think I still remember the phone number from that old house. I wonder what would happen if I called it.

Wo Shi Bai was born in Shanghai’s Songjiang district, and in a comic titled Migraine, he talks about his childhood there. The main character, drawn simply as a boy with hair, represents the author himself. But in Song, another comic, the story he tells is fictional, and for that fiction, he created a character with nothing but eyes and a mouth. That’s right: no eyebrows, nose, ears, or hair.

“I only kept the eyes and mouth, and added a human outline, to have a minimal vehicle of expression. That’s how the blank little guy came about,” he says.

Readers often think this blank character – xiao bai ren (小白人) – is Wo Shi Bai, because their names are so similar.

“Some of my moods and states come through in that character,” he concedes, “So there’s a part of ‘myself’ inside. Really, every writer’s characters probably have something of themselves inside.”


很多时候,读者也会把小白人和我是白本人联系起来,因为他们的名字太像了。“通过 ta,我的一些状态和情绪具象化了,所以有一部分的‘我’在ta里面。实际上每个作者创作的人物都有一部分自己存在吧。”

  • Swipe to read.

Wo Shi Bai’s comics always alternate between these two figures. Maybe the one with the hair represents reality, while the blank one represents fiction, and only by combining both their stories can you come close to getting a complete picture of Wo Shi Bai. You start to see how much he enjoys this “back-and-forth” creative style – darting back and forth between fiction and reality. It’s like the series of illustrations he once drew called Chuck and the Portal. The feeling of being here one moment and flying somewhere else the next is what he likes best about his creative work. “When I’m at home drawing by myself, I feel like I’m on some remote island,” he says. It’s a solitary, quiet feeling, and I get lost in my thoughts and my creative work. Especially when it’s raining – then I feel even more cut off. The rain adds another barrier between you and the outside world.”

我是白的漫画总是在这样的 2 个主角里摇摆,有头发的那个或许代表的是现实,而那个小白人代表了虚构。而将这两个不同角色的漫画故事混合在一起看,似乎才能更为接近一个完整的“我是白”,你会发现其实他很享受这样的一种“穿行”式的创作方式,在现实和虚构里穿行。就像他曾经画过一套名叫《查克与传送门》插画作品一样,这种忽而在这里,忽而又飞到了那里的感觉,恰恰是他在创作时最享受的时刻。“一个人在家里画画的时候,我感到仿佛置身孤岛。这样孤独而平静的感受让我完全沉浸在思考和创作中。特别是下雨的时候,更加会觉得和外面隔绝。下雨把你和外面的世界又隔了一道屏障。”

  • Closet by Wo Shi Bai. Swipe to read.

  • When my grandmother was in my great grandmother’s body

  • My mother was already in my grandmother’s body.

  • And at the same time, I was already in my mother’s body.

  • But there’s no one inside my body because I’m a boy.

  • I didn’t quite understand how people were born into this world, so that was my theory.

  • The grown-ups told me that babies are born after you get married, but this didn’t feel like a satisfying answer.

  • Isn’t getting married just a bunch of people getting together to eat a meal?

  • How does eating food produce babies?

  • So the only explanation is that everyone already exists inside other people. I was quite happy with myself after coming up with this answer.

  • I thought about all of this inside a closet at my kindergarten.

  • Ten minutes ago, I talked in class, and my teacher put me in here as a timeout.

  • I didn’t feel like I was being punished. It felt fun.

  • Seeing all my peers outside, all well-behaved, and me not having to be part of it gave me inexplicable joy.

  • On my way home, I shared the baby theory with my mom. After hearing it, she laughed, and that’s when I knew something was off about my answer.

  • A few years later, an older kid in the neighborhood told me the truth of it all.

  • And much to my surprise, it turns out the answer was hidden in the curse words that we commonly used.

  • Since then, nothing has shocked me more.

In fall 2017, Wo Shi Bai held his first solo exhibition in Shanghai where he met his online fans for the first time. “Maybe because everyone there was a fan of my comics, I felt they all had a few similar traits: they were delicate, shy, and quiet,” he says. Yet they may have even more in common with the blank character in his art. Maybe they too go to work by themselves, come home by themselves, eat takeout by themselves, read by themselves. Maybe they have also a pet at home and a fantasy world inside their heads. And maybe in Wo Shi Bai’s comics they find a resonance with their lives that they’ve long been missing.

在 2017 年秋天,我是白在上海举行了他的一次个人展览,在这个展览上,也是他第一次和互联网上的粉丝见面。“可能是因为喜欢我的这些漫画的缘故,所以感觉大家身上都有一种相似的特征:细腻,害羞,还有安静”。不过,他们和漫画故事里的那个“小白人”,也许真的有不少的相似性,也许他们也是一个人上班,一个人下班,一个人住,一个人吃便当,一个人看书,然后家里也有个小宠物,在脑海里有一个幻想的世界,而我是白的这些漫画,让他们找到了那种久违的共鸣。

  • 158 Days by Wo Shi Bai. Swipe to read.

  • After every shower, I have to wipe the floor dry.

  • My bathroom has a slanted floor, so a lot of the water ends up not going down the drain.

  • The carpenter didn’t realize this until after he finished laying all the floor tiles.

  • He said: (Sorry about that).

  • It takes me five minutes to dry the floor every single day.

  • Over the course of a year, that adds up to 76 hours.

  • Over 50 years, that adds up to 158 days.

  • 158 days…

  • In Interstellar, there was a planet where the entire surface was covered in shallow water.

  • If I had to wipe water off the floor without any sleep or rest for 158 days straight, I’d imagine the scene would look something like that.

  • (Drip drip)

  • This is some kind of punishment.

  • It’s a sentence passed down to me by that carpenter.

  • To be precise, it’s the result of him mentally checking out for a moment.

  • Some stray thought that distracted him.

  • (A-choo!)

Weibo: ~/WoShiBai
Douban: ~/WoShiBai
WeChat: WoShiBai


Contributor: Dawen Ding

微博: ~/WoShiBai
豆瓣: ~/WoShiBai
微信: WoShiBai


供稿人: Dawen Ding

Job Opportunities at Neocha Neocha 开放职缺

March 26, 2018 2018年3月26日

We’re always on the lookout for new talents to join us in our mission. If you’re someone who wants to flex their creativity in a fun and exciting work environment, we want you!

我们在寻找新的创意人才!如果你需要一个可以让你大肆施展创意的地方,也喜欢在富有弹性、好玩、具有挑战性的环境中工作,那 Neocha 需要你!

At the heart of any creative community are inspiring people and places whose stories deserve to be told. Our online magazine tells these stories to a global audience on a bilingual platform that showcases Asia’s burgeoning creative class. We welcome curious storytellers who share this vision and are looking to grow their career in an exciting, inspiring environment!

To find out about career opportunities with our online magazine, click here.

任何创意平台的核心,都是那些具有启发性和故事性的人和地方。Neocha 杂志就是通过多种语言,向全世界展示来自亚洲地区飞速发展的创意群体的故事。我们欢迎任何眼光前瞻并期望在富有激情的创业环境中工作的应征者!



In addition to our magazine, our creative agency is a passionate, full-service team focused on achieving ambitious ideas and inspired storytelling for the most forward-thinking brands in the world. We welcome any candidates who share this vision and are looking to grow their career in an exciting, entrepreneurial environment!

To learn more about career opportunities at our creative agency, click here.



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Valley of the Pandas 你不曾了解的熊猫谷

March 22, 2018 2018年3月22日

The early snow caught us off guard. It would have been romantic, comedic even, but for the full day of relentless rain before it.

Now the rain turned to ice. The dropping temperature bit through our soaked layers and skin, and freezing crystals tumbled their way down our necks. The others argued whether to go left or right in the immense undergrowth – for there was no path – and I quietly retreated into my own mental tomb of misery, stowing away my waterlogged and useless camera for good.



Zuǒ háishì yòu?” Left or right, they repeated, as if saying the same question once more would make the answer reveal itself out of the damp cold.

Zuǒ. That was the thin consensus, its logic hidden deep within the incomprehensible tones of rural Sichuanese dialect. They moved forward towards the left, one by one willingly entering back into the snow-laden bamboo. Its depths swallowed them each. I sighed, placed all my faith into this exercise of blind trust and tossed myself back into the barricade of mountain woods.

Misery had been what I expected, not getting lost.

We stopped again. More agitated Sichuanese. More brushing off snow from our bodies and packs. Someone close by shivered uncontrollably head to toe; another cut wet stalks of bamboo for kindling; another tried futilely to start a fire with damp tissue and matches. No fire, but my hands and feet burned. The painful beginning of frostbite had set. We were freezing, and the argument as to which way to go continued.





These were some of the most arduous moments during our three-day panda conservation patrol in the Hengduan Mountains of China. Our team of ethnic Tibetans in Sichuan entered the woods with the goal of checking infrared cameras that monitor pandas and other rare species like the musk deer and Himalayan takin. Next to that, we had to prevent their greatest threats: the warding off of would-be poachers and illegal logging of the state and provincial-owned forest for timber and expansion of arable land. The presence of officials from the local forestry department with us would give authority to our mission if we encountered any.


This patrol should have been routine, but our luck turned with the weather and a wrong turn almost cost us much more than merely a day of time. Our work turned from not only protecting the flora and fauna of the mountains to protecting our safe return home.

After the snow, we descended waterfalls, using live bamboo stalks to repel down cliffs as streams cascaded beside us. At night we made shelter in a dripping cave, once a hideout for poachers who used to hunt the forests seeking the same thing we now labored to protect. We made fire, chipping off wet wood from large, fallen trees and branches, finally using the dry interiors as kindling. The dim cave walls danced with warm, orange glow and the deluge outside which delayed our return home continued.



Pandas are one of the world’s most iconic, elusive species. Their remaining numbers in the wild are no more than a small town, less than 2000. Of this, the majority of them dwell in the Hengduan Mountains of China. And, more than anywhere else in the Hengduan, Pingwu County of Sichuan Province.

这种世界上最具代表性的和难以捉摸的动物之一,熊猫,它们野生的数量比小城镇的人口还少,只剩不到 2000 只。大部分的野生熊猫都生活在中国的横断山脉,其中,四川省平武县是横断山脉地区熊猫数量最多的地方。

Rangers of the patrol gather around to look at GPS coordinates of the locations of cameras placed in the mountains. Every month they go up in the mountains to check the infrared cameras, replace batteries, and install new ones in the forest where they think wildlife might be. / 巡逻者们聚集在一起查看山上红外线摄像机的 GPS 坐标。他们每个月都会上山对相机进行检查并更换电池,并在野生动物可能出没的地方安装上新相机。

Our team was a small collective of ethnic Tibetan villagers from the remote Pingwu County village of Guanba. Guanba isn’t on most maps. It lies hidden away in a precipitous mountain valley that winds its way along river and wood to snow-covered peaks around Jiuzhaigou. But this remote village is a foremost player in the rise of community conservation in China.

Young natives of Guanba who once served as migrant workers around China have been trickling back to this village for the last 10 years. They have returned not only to raise families in their place of birth, but also from a growing sense of environmental consciousness and responsibility to protect the land around their home. In the 70s poaching in the Hengduan Mountains was rampant, and one charismatic species’ pelt brought a particular amount of prestige and profit: the panda.


在过去的 10 年间,曾经进城务工的关坝年轻人纷纷回归。他们回来,不仅是要为了回到家乡组建家庭,更是出于他们日益强烈的环保意识和保护家园的责任感。70 年代,横断山脉的偷猎活动十分猖獗,其中一种动物的皮毛因为珍贵和高利润而成为了偷猎的目标,那就是熊猫。

Pandas in China were poached near the edge of extinction. Foreigners even came to hunt them, with the Roosevelt brothers proudly claiming the first successful panda hunt by Westerners in 1929. Finally, by the 1980s, the number of pandas remaining in the wild neared only 1000, and the national government made all poaching illegal. All the men from a neighboring village to Guanba were charged with illegal poaching and incarcerated. Fast forward to the present, and the national and local government is increasingly supporting environmental protection efforts, including the creation of a state-managed national park that will encompass almost all of the panda’s habitat.

It is under this background that the villagers of Guanba founded the region’s first community nature reserve in 2015. The reserve, while approved by the government, is solely managed by the local people, of whom the effort is led by the millennials who have come back from working remotely far across the country. While the area they protect behind their home village is only 40km wide, it is now home to four or five pandas, one of the highest densities for the species in all China.

However, hunters who create homemade guns and gunpowder still enter into these mountains, and while pandas are no longer hunted, rare takin and white-lipped deer are. These mountains, once a sanctuary for all sorts of wildlife, now lie silent. The forests still seem empty, and the rivers are devoid of fish. The recovery process has begun, but nature requires time.

在中国,大熊猫因为偷猎活动而几近濒危。不啻国内偷猎猖獗,甚至还有专门前来的外国人,在 1929 年,罗斯福兄弟(Roosevelt brothers)就曾自豪地声称他们是第一次成功狩猎大熊猫的外国人。到 20 世纪 80 年代,野生大熊猫的数量已减少到近 1000 只,中国政府下令将所有偷猎行为定为非法。关坝一个邻村里的所有男子都被控非法偷猎而被关押起来。


在这种背景下,关坝村民在 2015 年创办了当地第一个社区自然保护部。这个保护部虽然是由政府批准的,但其管理完全由当地居民负责,而其中的领头人则是一些曾远赴千里进城打工,现在回到家乡的千禧一代。他们负责的保护区在村庄背后,面积仅 40 平方千米,但现在却是四五只大熊猫的家园,这已经中国大熊猫密度最高的地区之一。


One of the cameras with infrared capabilities placed on a tree. Even though the straps securing it to the tree have been undone, moss has grown and fixed the camera to the tree. Due to the extremely humid and rainy conditions, plants in this part of the Hengduan grow quickly. / 一个安装在树上的红外线探测相机。尽管安装的绑带还未完全固定,但苔藓已经长牢,且把相机固定在了树干上。因为这里极端潮湿多雨的气候,横断山脉的植物生长速度很快。
These cameras use the same SD cards as regular cameras, so the photos can be checked on-site even if the batteries of the infrared cameras area already dead. / 红外线探测相机使用和普通相机一样的 SD 储存卡,所以即使在相机没电的情况下也能够检查里面的相片。

Still, it was this heroic recovery story that kept me fighting through the endless forest of thorns and wet bamboo. A village whose natives had turned from poachers to protectors was a story too enticing not to investigate and share. In response to the ever-present threat of outside poachers, the Guanba Community Nature Reserve patrols the mountains monthly and have been doing so since 2009. But even the best-laid plans go awry. A wrong turn up a ravine early on led us up to an unknown section of the mountain. An early cold snap turned the rain to snow, and we found ourselves in a position that – although the locals may be too proud to admit – could have cost us our lives. Being cold and wet with no shelter can often mean death up in the mountains.

不过,正是这一鼓舞人心的保护区事迹,让我坚持着在这片布满荆棘和湿竹的森林里奋斗。村庄居民从当初的偷猎者转变为保护者,这样的身份转变着实让人忍不住想要深入调查,并与外人分享。为了应对外界偷猎者的威胁,从 2009 年起,关坝自然保护部门每月定期巡逻山林。


At last we returned safely. The patrol was a success. We discovered no signs of poachers or their traps, a sign that the frequent patrols were working, and recovered a photo of one of the wild pandas on an infrared camera. To document this, my gear had paid the price: the Nikon body was focusing poorly, all the internal lens elements of my glass were fogged, and one my of filters had been jammed after hitting my lens on an protruding rock. After spending a night freezing in the wet cave my bed was more than a welcome sight, but I was emotionally spent from fighting through the forest. The fear of real disaster far beyond my gear for three days had drained me.

But those days cannot compare to the years that the locals have been entering the mountains for this cause. When it comes to protecting your home and the environment that supports you, there is little luxury for choice. In the brutal moments of snow falling around us, seemingly lost on a forlorn mountain ridge I was ready to give up. I would have turned back; they did not. In that moment it became evident: this is what conservation looks like. It’s dirty, it’s a mess, but it’s a real adventure. And always worth it.



Images of wildlife taken from the cameras placed throughout the mountains. / 由遍布全山的相机所拍下的野生动物照片。
Images of wildlife taken from the cameras placed throughout the mountains. / 由遍布全山的相机所拍下的野生动物照片。
Images of wildlife taken from the cameras placed throughout the mountains. / 由遍布全山的相机所拍下的野生动物照片。

In the past, Guanba had another name: bai xiong gou, or, the “Valley of the Pandas.” The road ahead will not be easy for the young conservationists who have returned here, but, as China examines how to build a national park in an area with permanent residents and villages, the positive participation of locals for conservation has never been more important, nor has sharing their story. From poachers to protectors, the young villagers are building a new future for their community and conservation in China.


Mengji, the captain of the patrol team, holds up a successfully captured photo of a wild panda from one of the infrared cameras. / 巡逻队的队长孟吉,举着一个成功拍下野生熊猫的红外线探测相机。

Contributor & Photographer: Kyle Obermann

供稿人与摄影师: Kyle Obermann

10 Inspiring Chinese Photographers

March 9, 2018 2018年3月9日

Information overload in today’s media landscape is a real problem. The signal-to-noise ratio on all our social media feeds could be optimized. To help combat your “following” fatigue and filter through the noise, we’re releasing Neocha Roundups, a series of short-form articles with recommendations of Asia-based creatives whom we follow closely and think you should be keeping an eye on.

In the first installment of Neocha Roundups, we’ll be taking a look at the Instagram photography scene in our home turf of China. Instagram-savvy users might already be aware of several big-name Chinese photographers, such as Jennifer Bin, 5.12, hx1125, amongst others, who have all played a part in popularizing the app in the Middle Kingdom and amassed sizable followings in the process, but many more talented photographers still remain very much off the radar. To help introduce some of these hidden gems into your Instagram feeds, we’ve compiled a list of accounts that have inspired us lately.

“信息超载”是现代人在频繁接触媒体的生活中,常会面临到的困扰问题。社交媒体每天传递给我们大量信息,其中很多是不被需要的“噪音”。而这些“噪音”其实是可以被过滤、及优化的。为了帮助减少你成天接收这些“噪音”随之而来的疲劳,我们开启了新的企划单元――“Neocha 精选集”。这是一系列的短篇文章,向你推荐几位值得关注的亚洲创意人士 。

在 “Neocha 精选集”的第一篇,我们将目光放在 Instagram 上来自中国艺术家的摄影作品。常用 Instagram 的用户,可能已经注意到了好几位知名的中国摄影师,比如 Jennifer Bin5.12hx1125 等等。他们让 Instagram 普及到了更多中国用户,并在这个过程中获得了大量的粉丝关注。但还有更多有才华的摄影师,远在人们的视线之外。为了让你在 Instagram 上搜索到一些隐匿又有才的中国摄影师,我们列出了一批最近给我们以无数灵感启发 Instagram 摄影师账号。



Capturing moments of hilarity and the subtle interplays between environment and people, photographer Liu Tao‘s (@grinch0748) account offers a unique and whimsical look at life in Hefei. While his humor-filled work has garnered him a devoted fanbase on Chinese social media, his Instagram is an underappreciated treasure trove of street photography.

摄影师刘涛@grinch0748)的镜头往往会捕捉到欢闹的时刻,以及环境与人之间微妙的互动感,为观看合肥的日常生活提供了一个独特而又异想天开的角度。虽然他充满幽默的摄影作品,已经为他赢得了许多中国社交平台的忠实粉丝,但他的 Instagram 却是街头摄影的一个未被开发的宝库。



Already a well-established name in the Chinese photography scene, Luo Yang‘s (@luoyangphoto) Instagram account offers a refreshing perspective of femininity in an evolving China.

摄影师罗洋@luoyangphoto)的 Instagram 账号已经在中国摄影界名声显赫,它为发展中的中国提供了一个全新的女性视角。



Using a subdued palette of colors, Shanghai-based photographer @harry.lil channels a sense of calm and tranquility throughout his work. Primarily focused on portrait photography, his Instagram portrays young Chinese females with equal parts attitude and equal parts grace.

上海摄影师 @harry.lil  的摄影作品色调柔和,呈现出平静和安宁的感觉。他的摄影以肖像作品为主,在他镜头下的中国年轻女性,兼备个性态度与优雅魅力。



Often blurring the line between conceptual photography and fashion photography, Leslie Zhang‘s (@lesliezhang1992) Instagram is home to a quirky collection of colorful images that, at times, feel like scenes straight out of a Wes Anderson film.

摄影师张家诚@lesliezhang1992)的作品模糊了概念摄影和时尚摄影之间的界线,他的 Instagram 上展示了一系列独特的影像作品,色彩丰富又充满趣味。



While his account has accumulated an impressive following, @youknowcyc_ only skyrocketed in popularity over the past year. Comprised of neon-lit cityscapes and vertigo-inducing vantages, the Shanghai-based photographer’s account shows off various Asian metropolises in their full grandeur.

@youknowcyc_ 是这几位摄影师中粉丝数量最多的其中一位,但其中有一大批粉丝都是在过去一年间暴涨的。他的作品多为亚洲大都市中霓虹灯闪烁或是令人眩晕的城市景象。如果你喜欢这样的摄影风格,这位来自上海的摄影师绝对不容错过。



Cathy Liu’s (@lvlvlcy) Instagram account is a visual travel diary that takes viewers from the forests of Hokkaido to the alleyways of Morroco. Her account is a delightful recap of the beautiful architecture and stunning sights she’s stumbled across in her adventures across the world.

Cathy Liu (@lvlvlcy)的 Instagram 可说是一个视觉旅行日记,可以让关注者从北海道的森林一路“旅行”到摩洛哥的街头小巷。她的照片常常纪录下偶然发现的美丽建筑和绝妙景色,活泼轻巧地勾勒出她在环游世界的冒险之旅。



Photographer and co-founder of independent publishing studio Same Paper Xiaopeng Yuan (@xiaopeng_yuan) uses his Instagram to inject a healthy dose of surrealism into the mundanities of life in China.

摄影师兼独立出版工作室 Same Paper 的共同创办人袁小鹏(@xiaopeng_yuan),将他的 Instagram 作为中介,在中国平凡的世俗风景中注入了一剂超现实主义的新能量。



Coming from a videography background, He Xilin (@aero.h) offers his perspective of China via atmospheric, cinematic snaps that transports viewers into scenes reminiscent of director Wong Kar-wai’s work.

来自拍摄动态影像的背景,何西林 (@aero.h) 透过他独具氛围感、像电影一般的影像作品,透露了他对中国的看法。将观者直接带入画面中,让人联想到王家卫导演的作品。


Radiating a sense of tenderness and delicacy, Hangzhou-based photographer Li Hui’s (@huiuh_) Instagram features a collection of beautiful analog snapshots that explore intimacy, relationships, and vulnerability.

来自杭州的摄影师李晖@huiuh_)在 Instagram 收录了一系列作品,探索人与人之间亲密关系和脆弱性,展现了毫不掩饰的温柔美感 。



Based in Chongqing, photographer @by.harper takes to the skies to capture jaw-dropping aerial perspectives of the city. From crisscrossing highways to geometric building formations, his account shows off the many shapes and forms of China’s “mountain city.”

重庆摄影师 @by.harper 喜欢从高处捕捉城市中令人瞠目结舌的上空视角。从纵横交错的高速公路,到几何建筑形态,他的作品展示了中国“山城”的多种样貌。

A’long Shan’s Quagmire

February 9, 2018 2018年2月9日

The Daxinganling forests lie in the extreme north of China, where temperatures drop below negative 40 degrees Celsius in winter. Spanning Inner Mongolia and Heilongjiang provinces, this forest is estimated to hold half of China’s lumber supply, but since the establishment of forestry divisions there in the late 40s, it has lost nearly all of its primeval forests to logging.

For over six decades, the people of A’long Shan prospered by felling the forest that held them. In 2015, the Chinese government established Daxinganling as a “strategic lumber reserve” and prohibited logging. Since then, the town has lost three-quarters of its population, including most of its youth. Once 40,000 strong, the town of A’long Shan is home to only 7,000 residents today. Like dozens of other lumber towns in the region, A’long Shan must find a way to thrive with the forest instead of at its cost or face certain ruin.

大兴安岭林区在中国最北边,跨内蒙古、黑龙江两省,纬度高,严寒,冬天气温经常在 –40℃ 以下。曾经,中国有一半的木材供应量都来自这片森林。上世纪 40 年代末,这里设立了林业部门、开始大规模伐木。阿龙山人也因此得以靠伐木起家。在过去 60 年里,镇上人吃的是“伐木”这碗饭。而时至今日,大部分的原始森林都被砍伐殆尽了。

直到 2015 年。

大兴安岭林区被定为国家木材战略储备基地,禁止采伐。从那时起,这个小镇流失了四分之三的人口,年轻人几乎全体“出逃”。这个曾拥有 4 万以上人口以上的阿龙山镇,到如今只剩 7000 多人。和大兴安岭林区其它几十个曾经的伐木重镇一样,阿龙山必须找到一条与森林共繁荣的路。

I grew up reading about the majesty of Daxinganling. I had imagined fields of thick pines stretching into the horizon but when I looked out the window of our jeep as it cut across the mountain, I saw trees tall and lanky in a forest sparse and frail.

“How old are these trees?” I asked Zhang, my local friend, thinking they must be in their teens.

“About thirty years old.” He answered. “Trees grow real slow here.”

He had caught the disbelief in my eyes.

“We chopped down this one tree before that was about this thick,” he outlined an imaginary bowl with his hands. “It was filled with rings. A scientist used a microscope and counted to about 300 years! This small,” he motioned again. “Three-hundred years! That must’ve killed his eyes.”

He watched the young forest spreading on the distant hill like an overgrown crew cut, and continued, “This area’s been cleared three or four times already. The old forest is long gone! You might still find some if you go real deep.”

Zhang used to work in forestry when it was still the lifeblood of the town. He saw trees so thick they took five men to cut; he saw the mountain swallow work teams two hundred strong and spit out truck after truck piled high with logs. Back then, he had thought the forest infinite. Back then, he had kept his friends stocked with meat and booze and had kept the numerous roads clear for their trucks. Now, only one road remains.

“We cut down too many.” Zhang sighed. “It takes so long to grow but we cut one down in ten minutes. The government’s doing the right thing protecting the forest.”

He fell silent and watched the forest fly by.










The forest needs time to recover. But since the sudden demise of forestry, the townsfolk have found nothing with which to replace it. Stuck in this quagmire, they wait, some for a chance to leave, others for miraculous release from their predicament. Like all those who have surrendered their fates to powers greater and more mysterious than their own, they pass their time with cheap entertainment and gossip, believing that in the end, all will be well.


Every night, over glasses of baijiu (a strong Chinese spirit made with grains), Zhang and his underlings – Jin and Gu – share news on which drunkard had frozen to death after falling asleep in the snow. Besides gruesome deaths by the cold, they liked to talk of one other thing: foraging. It was only through their descriptions that I could imagine the forest in summer and fall – in a sea of green, wild berries and nuts of all colors ripen and release their fragrance. Out of work, many of the townsfolk spend the entire fall foraging for savory wild mushrooms, blueberries, “red beans” (which turned out to be cranberries), and unctuous pine nuts, all of which can be sold to collectors at decent prices. Some make 40,000 yuan a year foraging. They passionately described the times they discovered hidden treasures in the forest – bushes laden with “red beans” or patches of open earth covered with the best kind of wild mushroom, still untouched, of harvests so plentiful that they had to haul 50 kilogram sacks back to town.


不让伐木了,好多人就进山采秋。山里野味儿多呢,有散发着泥土和木头香味的野蘑菇,酸甜口儿的“嘟市”(蓝莓)和泡酒用的“红豆儿”(蔓越莓)还有香喷喷的松子。所有这些食材都可以用不错的价钱卖出去。通过采摘野生食材,有些人每年可以赚4 万多元。

他们兴致勃勃地讲述在丛林中发现“秘密宝藏”的旧事,那是长满红豆儿的灌木丛,或是长满了顶级野生蘑菇的开阔草地,收获如此之丰,他们有时要把 100 多斤的麻袋运回镇上。

镇郊外长着一片野生浆果 / A patch of wild berries on the outskirts of town.
待售的冰冻粘豆包、花生、海带干和冰棍儿 / Frozen buns, peanuts, dried seaweed and popsicles for sale.
棉花棉裤 100 元一条;鼎鑫衣吧 / The red sign reads: Cotton and cotton pants 100 yuan per pair; the blue sign reads: Ding Xin Fashion Bar

“What if you started a factory here?” I suggested hopefully. “To make dried wild fruits and nuts? They’d sell for 50 yuan a bag in Beijing! People there love the organic stuff! And that would give people here the incentive to protect trees.”

What excitement remained was immediately extinguished by looks of pity.

“We tried before. It doesn’t work.” Zhang shook his head.

The topic was changed before I could ask why.

Though Zhang was born in A’long Shan, his family came from Penglai, a town by the sea in Shandong Province. Part of a massive movement to populate and develop frontier provinces, his father migrated here in the 1950s with many of his townsfolk.

In his early 50s and rapidly balding, Zhang has spent his entire life in the forests of Daxinganling and is due to retire in a few years. “After I retire, I’ll go south and live by the ocean with my daughter! Maybe manage an Airbnb or two.” He beamed with drunken bliss.

“要是在这开个工厂呢?做野生果干和松仁儿。到了北京一包能卖 50 块钱呢!北京人可喜欢这些野生的东西了。这样,这儿的人也愿意保护树了。”我满怀希望地建议。






少生优生,幸福一生 / Painted slogan reads: Fewer but better [children], a life lived happier.
遵守规章保安全 预防为主安全第一 / Painted slogan reads: Follow Protocol, Ensure Safety; Prevention First, Safety First.

I stayed at Long Shan Hotel, one of the taller buildings on the south side of town. The hotel is on the main street along with all other buildings of import, surrounded first by a ring of bungalows that thins with each passing year, then a ring of abandoned log factories and ruined train tracks leading south, and finally, a chain of small hills on which animal tracks become more common than human ones.

There is a tension between the town and the wooded hills that look down upon it. A definite border divides their territories. Upon exiting A’long Shan, the territory of man immediately thins to about two meters – between the edges of the only road through the mountains.

我住的龙山饭店(Long Shan Hotel)在小镇南边的大街上,是座高楼。这条“中心大街”也是仅剩的山路,是324县道。镇子上稍有地位的建筑都在这条街上。往外,是一圈日渐稀疏的平房;再往外,是废弃的木板厂厂房和向南去的铁道。最后,一圈连绵的山丘把镇子围在中间。到了这儿,动物的印记已比人的容易找了


Inside the forest, towers are the only human outposts. There are two close to town, each on its own hill: a radio transmission tower and a fire watch tower.

The sun skirmishes along the horizon from east to west and calls it a day. Its light always hits at an angle so, parts of the forest hidden within taller trees never see the light. In such spots, snow stays all winter and is dyed blue by the shadow. Smaller paths leading into the depths of the forest are marked in this way by a deep blue hue.



I can see all this from atop the tower and more. I can see the moon just above me, rising to overtake the sun; I can see the dying light tracing the pale skin on crowds of young, white birch; further, I can see the town rolled out beneath the moon.

The forest grows stronger with each passing decade, but where I see life and opportunity, the townsfolk see cold and bitterness. What use are thick trees if they can’t be cut and sold? What good is a strong forest if A’long Shan no longer exists?

That those who know the forest best are often the most willing to harm it once puzzled me. Now, I see – the townsfolk had not accepted that their fate and the forest’s had long been bound together.




In recent years, growing flocks of urbanites pass through A’long Shan on their way to “experience the Russian border” in Mohe. As China’s metropolises explode from overpopulation and as their overstressed inhabitants stream into nature, desperate for breaths of fresh air, A’long Shan has an opportunity to reposition itself as a haven for the city-sick and a base for trekkers.

What it needs is investment and some small success to show its people it is possible to thrive with the forest. What it needs most is for its people to start acting to improve their own lives instead of continuing to rot, waiting for change that may never come.



Contributor & Photographer: Andy Hu

供稿人与摄影师: Andy Hu

The Laundrymen

February 1, 2018 2018年2月1日



In India and nearby regions, the word dhobi refers to an artisan caste of washermen and women. When combined with the word ghat, which is defined as a set of steps leading to a river, it forms dhobi ghat, a term used in the region that refers to any place where washermen and women go to wash clothes. However, more often than not, when people mention dhobi ghat, they’re talking about the most famous one of them all – the Mahalaxmi Dhobi Ghat, which has been dubbed as the largest open-air laundromat in the world.

在印度和周边地区,“Dhobi”洗衣工的意思,而“Ghat”则是“河坛”,指的是一系列通往河流的台阶。这两个单独的词组合在一起时,就成了“洗衣工河坛”——“Dhobi Ghat”,指任何洗衣工(和女工)一起洗衣服的地方。但很多时候人们提及 Dhobi Ghat 时,往往联想到的都是最有名的马哈拉施特拉邦洗衣坊(Mahalaxmi Dhobi Ghat),它也是世界上最大的露天洗衣坊。

Built in Mumbai during the 1890s to cater the laundry needs of the British and Parsi population, Dhobi Ghat has stood the test of time and remains in operation even after 120 years. The wash pens are comprised of over 700 interlocked grids, and within the patterned geometry of these concrete enclosures, an army of men and women are hard at work, washing away; above them, an array of colored fabrics are hung out to dry, gently swaying to the rhythm of the wind.

位于孟买的马哈拉施特拉邦洗衣坊,建于 1890 年代,最初是为了满足当地英国人和帕西人(Parsi,来自古代波斯地区的移民及其后裔)的洗衣需求而建造的。即使饱经了 120 年风雨沧桑,这个露天洗衣坊如今仍在运作。700 多个混凝土制成的洗衣池纵横交错,形成 Dhobi Ghat 洗衣坊的网格状结构。在洗衣池的几何网格中,男男女女组成的洗衣工大军正努力清洗衣服;在他们上方,五颜六色的衣服被挂出晾干,随风轻轻摇曳。

Washing machines are in common usage throughout Mumbai in modern times, but over 100,000 garments are still hand washed in Dhobi Ghat daily. From government services to private businesses, clothing is ferried in throughout the day from different locations across the city to be soaked, cleaned, slapped on flogging stones, dried, and ironed before being delivered back to the respective businesses and households.

即使是洗衣机在整个孟买都很普遍的今天,每天仍有超过 10 万件衣服会在 Dhobi Ghat 的洗衣坊进行手洗。从政府部门到私营企业,这里会全天候地收到从孟买各地运来的需要清洗的衣服。随后,洗衣工人先将它们浸泡、清洗,再在石头上敲打,然后烘干、熨烫,最后洗好的衣服就会被送回各家公司或家庭。

Despite the opportunities and historical significance of Dhobi Ghat, the plot of land that it sits on is regarded as prime real estate. In a rapidly developing Mumbai, many opportunists see the aging neighborhood as nothing more than a nuisance that’s preventing good money to be made. The wash pens of Dhobi Ghat is protected as a heritage site, but the surrounding neighborhood isn’t as fortunate. Over 200 families are still living in Dhobi Ghat but certain areas of the neighborhood have already been demolished.

“This is the 3rd generation of my family living here,” says Bala, a 20-year-old dhobi living in the neighborhood. “I work here in the morning and then go to college later in the day. This place has helped my family sustain a livelihood.”

尽管 Dhobi Ghat 洗衣坊拥有着很多机会和历史意义,但对快速发展的孟买城市来说,它所在的这块土地被认为是房地产开发的黄金地段。许多机会主义者认为,这个老龄化的街区不过是个妨碍赚钱的麻烦罢了。虽然现在 Dhobi Ghat 的洗衣池已经被作为文化遗产保护起来,但周围街区却没这么走运了。如今,在 Dhobi Ghat 洗衣坊地区附近依然生活着 200 多户家庭,但该地区的许多楼房已经被拆毁。

20 岁的洗衣工 Bala 就生活在这片地区。Bala 说:我们家三代都在这里生活。我白天在这里工作,晚些时候再去大学上课。正是因为这洗衣坊,我的家庭才得以在这座城市里维持生计。

One of the best vantage points of Dhobi Ghat is from an overpass directly above the wash pens where you can observe the washermen below, all moving with speed and purpose like a beautiful, choreographed dance. However, from the same vantage point, Mumbai’s growing skyline looms in the distance, casting a solemn gaze at the dilapidated housing before it, almost as if willing Dhobi Ghat to succumb to the forces of modernization. As greed and modernization continue encroaching on traditional ways of life, those still living in Dhobi Ghat face an uncertain future.

参观 Dhobi Ghat 的最佳地点之一,是在洗衣池正上方的一座桥。在那里,你可以俯瞰整个洗衣坊,洗衣工穿梭来去,像一组美丽且有序的舞蹈。而同样地,站在桥上,你也能看到孟买迅速崛起的城市天际线在远处若隐若现,它的光芒笼罩住面前破旧的房屋,就好像要让 Dhobi Ghat 洗衣坊屈服于现代化的力量一样。人们对财富的贪婪,加之现代化的逐步侵蚀,让这些还在 Dhobi Ghat 洗衣坊努力维持生计的人们,不得不面对难以确定的未来。

Contributor, Videographer & Photographer: Omkar Phatak

供稿人、视频与图片摄影师: Omkar Phatak

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January 25, 2018 2018年1月25日

TRANSIT is a new video series by Vans that aims to explore the different forms of public transportation in China, South Korea, Singapore, and Malaysia. The series follows members of its Asia skate team as they explore and rip up the pavement in iconic cities across the four countries. At the helm of the videography efforts is Tommy Zhao, a Shanghai-based skater, photographer, and filmmaker who’s been documenting the Chinese skateboarding scene for nearly a decade. Having witnessed firsthand the growth of Asia’s skate scene over the years, Zhao believes that there are better things ahead for the sport, especially with brands like Vans helping to champion local skaters. “I’ve had a really good relationship with Vans since they’ve started up in China, and they’ve been really supportive of not just my skate videos but the whole skateboard scene,” says Zhao. “Having a skate team, going on tours, and doing grassroots events, Vans has given the opportunity to a lot of skaters in China to live the dream life of skating and traveling to some of the best skate spots in the world.”

Vans最新推出的《TRANSIT》影片系列,旨在探索中国、韩国、新加坡和马来西亚,这四个亚洲国家的公共交通是如何重要,它们成功帮助了滑板选手穿梭于各地。该系列还介绍了亚洲滑手,在这四个亚洲国家,他们用滑板在人行道上探索,冲出一条新路。这一影片系列的掌镜人是Tommy Zhao。他是来自上海的滑手、摄影师和摄像师,曾以影像记录了中国滑板近十年的时间。Tommy高兴地说道,“滑板运动在亚洲正处于上升阶段,这太令人惊喜了。现在的滑手肯定比以前多。十年前的上海,你都很难在晚上的大街上找到滑手,但现在,你去任何一个三线城市,都有可能看到滑板爱好者在当地的广场上闲逛。”

Having witnessed firsthand the growth of Asia’s skate scene over the years, Zhao believes that there are better things ahead for the sport, especially with brands like Vans helping to champion local skaters. “I’ve had a really good relationship with Vans since they’ve started up in China, and they’ve been really supportive of not just my skate videos but the whole skateboard scene,” says Zhao. “Having a skate team, going on tours, and doing grassroots events, Vans has given the opportunity to a lot of skaters in China to live the dream life of skating and traveling to some of the best skate spots in the world.”


By bringing together skaters from each featured region and giving them the chance to explore one another’s home turfs, TRANSIT captures the strong sense of community that’s intrinsic to the sport, demonstrating skateboarding’s status as a universal language that transcends cultural barriers. “When you get taken around by local skaters versus being there just as a tourist, you kind of become a local for that short amount of time,” Zhao comments on the experience. “It’s also refreshing to be reminded that even though we may all be from such different places, when we all sit down for a meal or to hang out, everyone’s the same. We just want to have a great time and share it with friends and family.”


However, as to be expected, local authorities tend to be less than enthused with skaters visiting their neck of the woods. “Getting kicked out of spots is just part of skating,” Zhao says, shrugging. “It might rain, someone might get hurt, security might show up, or all of these might happen at once. When you travel around with eight to twelve people on these trips, it doesn’t make it any easier. It draws a lot of attention and a lot of the times you just have to figure out how to deal with security guards or the police.

Skateboarding has long held a bad rep among non-skaters, being defined by its anti-authoritarian, anti-establishment roots. But with its induction into the 2020 Summer Olympics, skateboarding is becoming recognized as a legitimate sport on an international level. Zhao sees both the ups and downs of skateboarding’s newfound validation. On one hand, skateboarding will receive more exposure and support, which will in turn produce more skaters and open up opportunities for emerging talents. However, once skateboarding becomes propped up in the mainstream, it’s doomed for commercialization. “It can produce a lot of greed within the sport, and when a lot of politics get involved, things can get messy,” Tommy comments. “Apparently the Chinese Skateboard Olympic team are some kids they picked from the Shaolin Temple and have never skated in their life. They will be coached and taught how to skate as if it were gymnastics. Their mentality towards skateboarding will probably be a lot different than other kids who pick up skateboarding just for fun. But who knows. Maybe they’ll win gold.”

Check out the TRANSIT series below.




Episode 1 – “Shaolin Shadows”




The debut episode, “Shaolin Shadows,” sees Vans skaters from China, Hong Kong, and Malaysia meet up to explore China’s Hunan province and rip up the streets of Changsha and Zhengzhou’s Shaolin Temple.

在系列第一集影片《Shaolin Shadow》中,来自中国大陆、香港和马来西亚的亚太区滑手一起去探访了中国湖南,从长沙街头滑到郑州的少林寺。

Episode 2 – “Satellites”




In the second episode, “Satellites,” Australian skaters Bibi Bradbury and Ben Currie join Vans riders from Hong Kong, China, and South Korea as they explore and skate the less-visited areas of Seoul.

在第二集影片《Satellites》,澳大利亚滑手Bibi Bradbury和Ben Currie加入香港、中国和韩国滑手的队伍,跟着他们去探访首尔鲜为人知的场地。

Episode 3 – “Be Like Water”




The third installment of TRANSIT, “Be Like Water,” sees skaters from Vans China, Vans Hong Kong, and Vans Malaysia join forces to conquer the streets of Guilin and Nanning.

TRANSIT的第三集《Be Like Water》中,来自中国、香港和马来西亚的滑手们联合起来,在广西桂林和南宁的街头滑板驰骋。

Episode 4 – “Chasing the Malacca”




In “Chasing the Malacca,” the fourth and final episode of the TRANSIT series, riders from Australia, Hong Kong, and China meet up with Malaysian skaters as they cruise through Singapore, Langkawi, and Kuala Lumpur in their quest to discover the perfect skate spots.

在《Chasing the Malacca》(TRANSIT系列的第四集,也是最后一集)中,来自澳大利亚、香港和中国的滑手与马来西亚滑手会合,在新加坡、兰卡威和吉隆坡滑板巡游并找寻最完美的溜冰地点。

Instagram: @vans_cn
Weibo: ~/VansChina


Contributor: David Yen
Images & Videos Courtesy of Vans China

Instagram: @vans_cn
微博: ~/VansChina


供稿人: David Yen
图片与视频由Vans China提供

Finding Family with Cheuk-Yin

January 25, 2018 2018年1月25日

   Listen to the full story / 点击此处收听完整故事

We’re excited to announce a new partnership with Hong Kong-based media platform MAEKAN. Rallying around the motto of “Stories for the Curious,” their insightful storytelling and audio-centric approach have been a much-needed breath of fresh air in a digital landscape overpopulated with listicles and rehashed content.

Together, we’ll be creating a series of stories that celebrate culture and creativity in all shapes and forms.

For the debut of our collaboration, photographer Cheuk-Yin To shares a story about how he ended up in a special reunion at his ancestral village on a recent trip to China.

我们很高兴地宣布和位于香港的媒体平台 MAEKAN 建立了伙伴关系。他们以富有见地和音频为主的讲述方法,致力于“把故事讲给好奇的人听”(Stories for the Curious),而这恰是在充斥着大量数字内容的当下所急需注入的一股新生力。


在我们合作的首篇文章中,摄影师 Cheuk-Yin To 分享了他近期到中国旅行时,竟无意中找到了他的祖籍村庄,并最终认亲团聚的故事。

As the modern world continues to race toward the future, we can find ourselves constantly groping for radical or material ways to find our identities in it. But while we might be obsessed with going forward and discovering the new, we sometimes forget to look back and to the old — to our own pasts.

Cheuk-Yin To is a photographer MAEKAN has worked with in the past. One summer evening, he dropped by the MAEKAN office where he shared a special story of how he took a side trip on a whim only to find both his roots and a few long-lost relatives.


Cheuk-Yin To 是曾与 MAEKAN 合作过的摄影师。在某个夏夜,他们就在 Yin 的办公室里听他讲述了一个特别的故事——那是在一次无意的旅行中,Yin 竟意外发现了自己失散已久的远亲和血脉的故事。

To Family Village sits on one of the many distributaries in the Pearl River Delta region. / Yin老家的村庄位于珠江三角洲地区众多分支之一

 “To be honest, it kinda broke the spell a bit. I wanted my ancestral village to be with like, old school donkey carts and stuff. It’s not like that anymore. There’s mopeds, there’s smartphones. Everyone’s in on this now.”

— Yin remarking on his unexpectedly modern ancestral “village.”


——Yin 不曾料想到祖辈的“村庄”早已现代化了

Yin with his uncles and cousin on the far right. His grandfather’s older cousin is seated. / Yin和他的远房叔伯及表亲,他的大叔公坐在正中
Yin’s grandfather’s cousin (the younger of two brothers). / Yin的小叔公
Yin’s grandfather’s cousin (the elder of two brothers). / Yin的大叔公

“Within the next generation, it’s not going to be the same anymore. I don’t think kids these days will actually stay in these villages; they’ll all go to the cities and no one’s going to maintain the traditions.”


The two girls, Qingqing (left) and Yingying (right) are the daughters of a cousin Yin did not meet and are referred to as nieces. / 青青和莹莹,这两个小女孩是Yin的侄女,她们的父亲是Yin未曾谋面的表亲
Lunch prepared the first day of Yin’s visit. / Yin第一天到访时乡亲为他准备的午餐
Yin’s aunt with the family Gai Lan crop. / Yin的阿姨和自家的芥兰田
Yin’s uncle and nephew (cousin once removed). / Yin的叔叔和侄子
Yin’s cousin. / Yin的侄子
Eating sugar cane the traditional way. / 嚼甘蔗
Yin’s niece “plays” with a chicken during an evening stroll with the family. / Yin的侄女在和家人傍晚散步时逗鸡玩

“My grand aunt made a feast that could have fed double the amount of people. […] We all ate together and watched TV at the same time, just like every other Chinese family.”


“To Family Village, Wangniudun Town, Dongguan City” / 老家之村,东莞,望牛墩镇

“You can’t describe this experience. If someone else were to find their roots — completely unintentionally…I think that’s the reason why I was so happy.”


This story is part of a content partnership and media exchange between Neocha and MAEKAN. To see more from our collaboration, click here.

本文为 Neocha 和 MAEKAN 媒体及内容合作篇。点击此处 获悉更多我们的合作内容。

Media Partner: MAEKAN

Script & Narration: Nate Kan
Audio: Elphick Wo
Photographer: Cheuk-Yin To

Images, Audio, & Text Courtesy of MAEKAN

媒体合作伙伴: MAEKAN

供稿人: Nate Kan
音频制作: Elphick Wo
摄影师: Cheuk-Yin To


Silk Road Sounds Vol. 1

January 17, 2018 2018年1月17日

Asia-based and London-born, music collective Yeti Out has recently unveiled their latest project: Silk Road Sounds Vol. 1, a compilation album eponymously named after their new record label. The reference to Silk Road is meant to embody the album and label’s core mission of facilitating an exchange between different cultures, much like how the ancient trade route linked Asia with Europe, the Middle East, and Africa. But instead of peddling fabric and spices, Yeti Out founders Arthur Bray, Erisen Ali, and Tom Bray are eager to build cross-cultural relations by wielding the universal language of music.

诞生于伦敦而常驻于亚洲的音乐团体 Yeti Out ,最近推出了他们的与新唱片公司同名专辑《丝绸之路》——这是为了体现专辑和唱片公司促进不同文化交流的核心使命,也是致敬于历史上那一条连接亚洲与中东、非洲和欧洲的古代贸易路线。但Yeti Out 的创始人 Arthur Bray,Elisen Ali 和 Tom Bray 并不想贩售传统的织物和香料,他们想通过音乐推动现代亚洲与世界的跨文化交流。

Listen to select tracks from Silk Road Sounds Vol. 1 below:

Aristophanes ft. Chiu Pi – U Were Not Here (prod. by Jam City)

Delf – Sentimental Mood ii

Bohan Phoenix ft. Chauncey, Slodown – SOLOW (prod. Drummy)

点击即可试听《丝绸之路 Vol. 1》中的几首歌曲:

Aristophanes ft. Chiu Pi – U Were Not Here (prod. by Jam City)

Delf – Sentimental Mood ii

Bohan Phoenix ft. Chauncey, Slodown – SOLOW (prod. Drummy)



Silk Road Sounds Vol. 1  features an all-star roster of emerging musicians, including Bohan Phoenix, YoungQueenz, Zean, Aristophanes, Chiu Pi, Roska, and more. From minimal Saigon electronica to Tokyo grime, the album seamlessly stitches together different languages and genres to bless listeners with a dynamic yet cohesive soundscape.

Aside from the talented musicians taking part in the album, art director Derick Van Wijk and photographer Alex Maeland were brought on board to create accompanying visuals. See larger versions of images Maeland shot for the album along with additional unreleased selects below.

《丝绸之路 Vol.1》专辑中收录了目前一众新晋国际歌手的音乐,包括 Bohan PhoenixYoung Queenz、Zean、貍貓邱比、Roska 等等,出色地融合了不同语言和流派的音乐,从西贡解构电子乐到东京Grime音乐,这张专辑既展示了文化多样性,又突显了音乐将世界各地人们凝聚一起的力量。

除了参与录制的歌手之外,Yeti Out 还邀请了艺术总监 Derick Van Wijk 和摄影师 Alex Maeland 分别负责专辑设计和摄影。下面一起来看看 Maeland 为《丝绸之路 Vol. 1》拍摄的作品吧。

Instagram@silkroadsounds @yetiout


Contributor: David Yen
Images Courtesy of Yeti Out & Alex Maeland

Instagram: @silkroadsounds @yetiout


供稿人: David Yen
图片由 Yeti Out与 Alex Maeland 提供

What’s the Point in Growing Up?

January 12, 2018 2018年1月12日



Born in Taipei, having studied in Milan, and now based in Shanghai, Ning (aka Kang Yung-Ning) is a designer and entrepreneur whose intercultural experiences have broadened her mind and shaped her creative interests. In the past, she’s found success as a high-end menswear designer, stylist consultant, and lecturer. In more recent years, she co-founded XSPLUSLAB, an eyewear brand designed specifically for kids, and Speechless, an online fashion and lifestyle platform. Eager to learn and experiment, Ning’s career path has been a path filled with many twists and turns. Even now, it’s difficult to define her job roles and responsibilities, which might change on a day to day basis. She sums everything up by simply saying, “It’s a bit complicated!”

生于台北,留学米兰,现在长居于上海的 Ning(康韵宁) 形容自己是一位专业“不务正业”的跨文化人士。除了担任一线品牌的男装设计师、造型顾问和学院讲师之外,她还创办了儿童眼镜品牌 XSPLUSLAB 以及时尚创意平台 Speechless。当被问及怎么定位自己的时候,Ning 的反应是,“哇,这很复杂,实在一言难尽!

Despite her cross-disciplinary interests, Ning has been able to balance all of her creative and entrepreneurial pursuits. Unsurprisingly, when asked what she would prioritize to if she had to choose between her personal life and work life, Ning went with the latter. But she admits, it’s often difficult for her to determine where one ends and the other begins. “I discover inspiration for my work everywhere in life,” she says. “It might come from spotting a row of interesting buildings, a particular floor tile, how random colors interact with one another, graffiti art on the street, or even a fallen leaf.”

在不同领域间游走,天秤座的她也形容自己是一个很平衡的人,尽管有很多不同的身份,也能尽量让这些角色达到彼此平衡,并且每个工作都全力以赴。如果要工作与生活二选一,Ning 毫不迟疑地选择工作,原因是她认为做自己喜欢的事,工作也像生活一样。她喜欢四处搜集与流行,时尚,艺术及生活相关的资讯。“生活中大大小小的事物都能为我带来灵感,走在路上看到一排特殊的建筑,路上的一块砖头,不同的色彩搭配,墙角的一个涂鸦,甚至是一片落叶,都能带给我灵感。”

In early 2016, Ning met Vic, an eyewear designer. At the time, Ning worked full-time as a menswear designer. But the two had a mutual interest in using their respective expertise to create something fun for kids; this resulted in the idea of designing playful eyewear for children. To their surprise, the project – initially created just for fun – received an overwhelming amount of positive feedback. This success would sow the seeds for the two to launch XSPLUSLAB not long after. Their vision for the brand is simple – create eyewear for stylish kids and adults with a child-like sense of wonder. But aside from simply designing glasses, Ning aims to communicate an underlying message of “Never grow up.” She hopes the brand can help foster creativity in the youth and inspire people of all ages to live their life without constraints.

2016 年初,Ning 碰到了她现在儿童眼镜品牌的合作伙伴 Vic,那时的 Ning 以从事男装设计的工作为主,而 Vic 是个很资深的眼镜设计师。因为两人对于小朋友的生活方式有着共同的想法,他们以做着玩的心态设计制作了一些儿童眼镜,没想到反响非常好。此后,两人就将这个概念发展为了现在的 XSPLUSLAB,一个专为有自我主见的酷小孩和童心未泯的有趣大人设计眼镜和配饰的原创品牌。而制造眼镜之外,Ning 也更想将这种“不想长大”的生活态度传递出来,和大家分享勇敢创新、充满创意的生活方式。

Aside from XSPLUSLAB, a large portion of Ning’s time is dedicated towards Speechless, an online platform that curates a collection of quirky lifestyle and fashion-related stories. “On one particularly hot day, when I was walking around town with my friend, I noticed a group of older folks in public with their shirts rolled up, revealing their stomach. To me, it felt almost like a fashion statement. I thought it was so much fun, but I couldn’t quite explain why. Not long after, I realized I had other interesting observations and ideas about fashion that I wanted to share. And so, Speechless was born,” she says, explaining that her long-term vision is for the platform to grow into an archive of stories that’s able to captivate people of all professions, races, cultures, and genders. “Maybe it’s a naive idea, but we’re open to everything. On this platform, I want people to not worry about ‘stepping over boundaries.’ There shouldn’t be any!”

说起 Speechless,这个 Ning 一手创立的线上生活形态资讯平台,背后还有个可爱又有点搞笑的小故事。“当初和朋友走在街头,看到夏天时大叔们因为天气闷热,把衣服卷到肚皮上散热,一群人站在路口形成有趣的‘时尚风景’,觉得说不出的逗趣景象,加上自己有许多对于生活趣事和时装及美感的看法想跟大家分享,于是便有了Speechless。” Ning 想借助这个平台,和一群对新鲜事物充满好奇的人们分享资讯,他们不按常理出牌,喜欢打破沙锅问到底,勇于打破常规,当然还有,充满幽默感。Ning 希望透过 Speechless 推广一种没有边界,跨产业、跨种族、跨文化、跨性别的理念,创造一个单纯且有趣的意见交换与分享平台。“在这里因为我们单纯而开放的多元精神,大家不必在意互踩界线!哈哈,因为我们也没有界限!”

“I’m both a dreamer and a dream maker,” Ning tells us. “I’m interested in sharing my experiences with people eager to learn so that they can make it closer to their own dreams. I think the best way to live life is to keep an open mind about everything. Kids and adults think differently. Adults already have preconceived notions about many things in life, but kids are different. They look at things in a different light – they don’t see limitations.” Ning often reminds people to retain their child-like sense of wonder about the world, to be receptive to different ideas, and create by thinking outside of the box. She wants people from all walks of life – especially designers, stylists, and fashion enthusiasts – to see that life can be lived without the mental limitations we often place on ourselves and spread the message that by harnessing our creativity, we hold the key to unlocking endless possibilities.

我是一个梦想家(Dreamer),也同时是一个梦想实现家(Dream maker) 。因为我在做梦的同时,也会把自己的经验传达给很多学生,帮助他们更靠近梦想。” Ning 和我们分享道,我觉得最有趣的生活状态就是对任何事物都采取开放的态度。”所以 Ning 常提醒自己用小孩子的态度对待世界,“孩子的生活和成人的生活不同,成人对事物已经有既定的印象,可是小朋友不一样,小朋友没有带有色眼镜,也没有任何的限制。” Ning 希望用更开放的心胸和更多元化的想法去创作,把这种没有界限的生活方式带给所有人,包括设计师,和那些对时尚和设计有热情的人们。

If you’re interested in checking out more designs from Ning and XSPLUSLAB, they’re now available at the POY Art Designer Concept Store.


Aegean Shopping Mall
1588 Wuzhong Road 1F 123A
Minhang District, Shanghai
People’s Republic of China


Facebook: ~/xspluslab
Instagram: @absolutespeechless
WeChat: SPEECHLESS_Official


Contributor: Ye Zi
Videographer: Yang Bingying & Ye Zi

Photographer: Chan Qu

想看到更多 Ning 和 XSPLUSLAB 的更多作品,可以到半境空间设计概念店参观。


吴中路1588号 1F 123A


脸书: ~/xspluslab
Instagram: @absolutespeechless
微信: SPEECHLESS_Official


供稿人: Ye Zi
视频摄影师: Yang Bingying & Ye Zi

照片摄影师: Chan Qu