Dig Deep, Always

November 15, 2016 2016年11月15日

Dig Deep is an independent menswear label based in Singapore, their apparel is designed in and inspired by the East Asian region. Each collection focuses on a particular country within the region and aspires to convey certain elements of each country’s culture. Dig Deep juxtaposes traditional elements with the most rugged aspects of their respective countries to create premium garments for curious-minded people living in this homogeneous generation. Recently, Neocha sat down and talked to Choo, one of the founder of Dig Deep, to find out more about their inspirations and view on streetwear culture in the region.

Dig Deep是一个来自新加坡的独立男装品牌,设计充满东亚风情。Dig Deep的每一季的设计灵感来自东亚地区的不同国家,致力于把不同文化中的传统元素带进他们的设计。Dig Deep把这些传统元素和男装的硬朗相结合,为这个充满好奇心而又有些同质化的这一代人,创作出牛逼的服装。最近新茶和Dig Deep的创始人之一Choo聊了聊他们的设计灵感和对新加坡的潮流文化的看法。

Neocha: Within the context of Singapore, have you faced any difficulties in trying to start an independent fashion label? What are some of the more memorable experiences of starting this label?

Choo: We’ve actually encountered countless issues along the way due to nature of the fashion industry in Singapore. The difficulty of sourcing embellishments and fabrics was definitely one of the most challenging one we’ve had to overcome. By many measures, the local fashion industry is quite small when compared to other industries in Singapore’s economy. This led us to the sourcing of our fabrics and embellishments from more established markets in Japan, China and Vietnam. One of the most interesting things we did in starting Dig Deep, and still continue to do this day, is work closely with our pattern makers. Both ladies of whom are in their late fifties and have been perfecting this art for over the past thirty years. Pattern making is essentially a dying trade in Singapore, a skill that many can pick up with time but only able to master through countless years of experience and practice. Pattern making can be loosely defined as making the shapes for each component (e.g. sleeve, cuff, collar, bodice etc. for a shirt) of a particular type of garment and these shapes will eventually be used to cut the fabric according to the patterns before being sewn together. The pattern makers we work with exercise a great degree of judgement and precision in crafting the patterns according to our sketches, measurements, and inputs through fitting sessions. We actually rely heavily on these increasingly rare artisans to bring Dig Deep’s designs to life.


Choo:因为新加坡时尚产业自身的局限性,导致我们在做这个品牌时遇到了很多困难。目前布料和配件的供应是最大的困难。在很多程度上,本地时尚产业和新加坡其它产业相比规模是很小的,这让我们必须从更成熟的市场寻找供应商,像是日本,中国和越南。在成立Dig Deep以来,最有趣的事就是和我们的服装制版师们一起工作,两位年近六十的女士都有着超过三十年的从业经验。服装制版师在新加坡是一个快要消失的职业,服装制版也是个简单易学却需要多年经验和练习才能如火纯青的技术。制版可以简单定义为制作衣服的每个部件形状(如果做件衬衫的话,像是袖子,袖口,领子等等),根据这些形状裁剪出布料,最后进行缝制,我们的样板师根据我们的设计,测量和数据,能够超级精准的制作出我们想要的样板。想要把Dig Deep的设计转化为现实,这些越来越少的匠人使我们不可或缺的。

Neocha: Many would agree that Singapore is the financial center of South East Asia, and you come from a financial business background. In a country where it’s possible to have a comfortable career in finance, what led you to abandon this path and dedicate yourself to fashion?

Choo: I would say there weren’t any factors that pushed me to leave the world of finance, but rather I was pulled and drawn into the world of fashion by a number of factors; one of which was definitely the insatiable desire to create. I saw the creation of garments and Dig Deep as an avenue that would allow myself and my team to create a brand and products that hopefully many would be able to relate to. In fashion, the individuality beyond just the garments itself was also something that truly intrigued me. I have always found it very interesting how the same piece of garment could be part of such a disparate impression for two different people wearing it. The styling, the attitude, the age of the individual, their gender, their body structure, their tattoos or the lack thereof are all components that actually give the garments its character. To me, It’s really fascinating how people buy clothes with the mindset that it creates a certain persona or impression of themselves to others, or even to themselves. They’re generally unaware that their interaction with the garment itself is actually what gives the garment its character.


Choo:其实不能说是什么原因让我离开了金融界,而是时尚界的很多东西深深地吸引了我,其中一个原因就是我很想搞自己的创作。我把服装制作和Dig Deep看做一个渠道,能够让我和我们团队创作一个很多人喜欢的品牌。我喜欢时尚的个性超越了服装自身,同一件衣服两个人穿,也会产生完全不同的效果,我觉得这很有趣。每个人的风格,态度,年龄和性别,甚至身材都能够给一件衣服带来不同的特质。对我来说,我觉得人们买衣服为自己或者他人制造某种印象,但是大部分人没有发现到他们自身与衣服的互动,这也给衣服赋予了他们自身的性格。

Neocha: Most Asian countries have westernized rapidly in the last few decades, and it’s kind of xenophilic on some levels. When you created Dig Deep, did you feel a certain sense of responsibility to make certain cultural and traditional aspects of Asia more accessible to the younger generation?

Choo: Most definitely. There are a number of reasons why we feel this way. One of the main reasons is this perspective that we all hold in the team, which is without knowledge of history, and the cultural, traditional aspects of different parts of Asia, we would not be able to appreciate the present to the fullest extent. It’s only by learning about the journey of how Asia has come to be where it is right now that one is able to understand where the future of Asia lies. The result of the rapid westernization of the East has most definitely brought about some benefits for Asia, but not without its disadvantages, such as the erosion of our own culture, tradition and aesthetics. These things have to be relearned due to the younger generation’s lack of exposure to these elements. The result of which is often an aversion to these seemingly archaic elements, often seen as being outdated and irrelevant to the current generation. What we aim to achieve here at Dig Deep is to generate curiosity and create designs for garments that we feel would be highly relevant to this generation and also serve as a catalyst for one to explore deeper into East Asia’s immensely rich heritage.

Neocha:大部分亚洲国家在过去的几十年里迅速西化,在某些程度上也有些崇洋媚外。当你在创立Dig Deep的时候,你是否觉得有某种责任去把一些亚洲文化和传统,变得更容易被年轻人接受?

Choo:那是肯定的。我们这么觉得是有几个原因,我们团队都认同一个原因就是,我们不会对今天拥有的一切心存感激,如果我们对亚洲的文化,历史和传统一无所知,只有了解过去,才能展望未来。迅速的西化的确给亚洲带来了一些好处,但是也带来了很多负面的东西,像是对于文化,传统和美学的侵蚀。这些我们都要重新去学习,也因为年轻人对这些缺乏了解,导致他们对这些看上去有些“陈旧”的东西产生厌倦,认为是过时的,或者跟这一代人没有什么关系的。我们想要做的就是让Dig Deep能够激发年轻人的好奇心,创作出现代人喜欢的服装,也希望能成为探索深厚东亚传统文化的一剂催化剂。

Neocha: How did all the minds behind Dig Deep meet and get together to start the brand?

Choo: A good friend of mine and I were actually having a conversation, about a year and half back, talking about how we felt that much of what we wore in both formal and casual settings was predominantly, or in most cases, entirely Western by nature. We then went on to speak about how wearing our traditional outfits was essentially left for rare occasions and we imagined how people would react if we wore it on a day-by-day basis; we envisioned most people might find it quite odd, and we’d most likely be ridiculed by some, which really got us thinking why that was the case. It became quite clear to us that the economic and political dominance of the West over the last few centuries have permanently altered our perception of our own culture, traditions, and arts, to the point that most of us have developed a sense of aesthetics or normalcy in dressing in a style that’s aligned with Western cultures. We felt that the underappreciation of the arts and culture in the Asian region was less a result of inferiority and more related to an underexposure of Asian elements. Thus, in order for Eastern aesthetics to be considered “normal” and “pleasing to the eye,” it needs more exposure. It was through this conversation that Dig Deep was manifested. We noticed the absence of an Asian-inspired high street brand in the global fashion scene and felt strongly there was definitely room for a number of Asia-inspired brands such as visvim and the up-and-rising IISE to appeal to the global audience, in what has become a rather homogenous environment for high street fashion. It is our hope that Dig Deep, along with other Asia-inspired labels, will be able to bring about a refreshing perspective on high street fashion.

Neocha:Dig Deep现在的主创们是怎么走到一起的?

Choo:大约一年半前,我和我一哥们在聊天,我们都觉得我们平时穿的正装和休闲服都太西方了。继续聊到我们只在一些节日的时候才会穿一些的传统服饰,如果平时也穿这些,别人会怎么看,我们猜别人肯定觉得很奇怪,甚至会被嘲笑。这让我们去思考为什么会变成这样,这显然是西方在过去几个世纪经济上和政治上的统治对改变了我们对自我文化,传统,艺术的认知。以至于我们穿衣风格也被西化了。我们觉得对亚洲文化,艺术的忽视,并非因为自卑,只是缺少对传统文化的推广。因此,为了让东方审美变成“正常的” “好看的”,这都需要对其更多的推广。自那时起,创立Dig Deep的想法就出现了。我们发现在国际时尚界缺少亚洲风格的高街时尚品牌,除了visvim和上升很快的IISE之外,还是有很多发展空间的。我们希望Dig Deep能够和其他亚洲风格的品牌一起给高街时尚带来一股新风。

Neocha: You guys insist on all-original designs, and there are many interesting details in each single one of your creations. What are some reoccurring concepts you try to incorporate when designing an outfit?

Choo: One of the concepts we constantly explore from collection to collection is the reinterpretation of certain iconic traditional elements and how we are able to respectfully transform and incorporate these elements into a particular garment, but in a unique and refreshing way. For example, our first official collection Dragon in the Concrete Jungle explored one of the legends of the East, the late Bruce Lee. We were particularly fascinated with Bruce Lee’s final film appearance before his passing, the 1973 classic Enter the Dragon. In that film, Bruce Lee can be seen wearing a particular type of pants in several iconic scenes. We saw the incredible structure and silhouette of the pants, which was extremely flattering to the male body; being slim at the waist, with strength around the thigh areas, before it’s tapered down near the ankle region, allowing it to elongates the legs. We adopted a very similar structure to our pants and not only that, the cloth used in securing the ankle regions as seen in the film was reimagined. What we created was essentially Bruce Lee’s pants. In the early design phase, we will also try to understand the functionality and reasoning behind why a particular traditional East Asian attire is the way it is, the reasons behind how the aesthetics of that attire has come to be. In our upcoming collection based around Japan, we researched extensively on a couple of facets of Japanese culture, one of them being the attire worn in the art of yabusame, a type of mounted archery in traditional Japanese culture that originated in the Kamakura period.


Choo:其中一个理念,在我们每一季的设计中都在一直探索的就是,用一种新鲜且独特的方式,把一些标志性的传统元素转化和融入我们的设计中。举个例子,我们的第一季《Dragon in the Concrete Jungle》灵感来自东方传奇李小龙。在他离世前的最后一部电影,1973年的《龙争虎斗》中,在很多标志性的场景中李小龙都穿着一种很独特的裤子。我们能发现它的剪裁其实是很衬托男性身材的,在腰部的地方收窄,大腿部分相对宽松,最后在脚踝部分收窄,使其更显腿部的修长。我们把这种结构带到我们裤型设计中,在此之上,又重新设计了脚踝部分的设计,使我们真正意义上做了一条“李小龙”裤。在设计的初期,为了理解为什么设计成这样,我们努力去研究和学习亚洲传统服饰设计中独特的功能性。我们下一季的灵感主要来自日本,深入研究了日本文化的几个方面,其中一个就是在流镝马这个起源于镰仓时期的传统马上射箭项目时穿着的服饰。


Neocha: Many brands are starting to create more Asia-inspired apparel, and most of them keep it rather traditional, what would you say makes Dig Deep different from the rest?

Choo: There are a number of factors which set Dig Deep apart from the rest and chief amongst these is in our view, our perspective on East Asia which stems from the dynamic nature of our team. The heritage and influences of our team is quite wide ranging. On our team, we have Chinese individuals who have grown up in westernized societies, such as Melbourne and Singapore; a Eurasian whose heritage is part Polish and part Chinese, but whose nationality is American; and also a Shanghai native who has spent a large amount of time in Singapore. This diverse dynamism within the team allows for Dig Deep to have a highly varied and nuanced view of East Asia and affects how we interpret different elements of East Asia. This has a direct impact on the brand and all of our designs. Our individual opinions and perspectives are forced to interact collectively and the result of which are designs that stand apart. On the more tangible side of things, we place a lot of emphasis on the quality of our fabrics and embellishments along with the workmanship behind putting each garment together. We never compromise on the smallest of details for each garment. Every piece of garment is handmade, which allows us certain types of finishes and quality that would not be possible with machines.

Neocha:现在很多品牌都在做亚洲风格的服装,大部分都是尽量保留传统的风格,和这些品牌相比,Dig Deep有什么不同?

Choo:我认为,在几个方面Dig Deep与其它品牌不同,我们对东亚文化独特的理解,源于我们团队对自身文化和传统的影响。在我们团队中,有在墨尔本和新加坡这样西方社会长大的华人,一个波兰和华人的美籍混血儿,以及一个常年生活在新加坡的上海人。这样一个充满多样性和活力的团队让Dig Deep对东亚文化有着多样且细致的观察,能够更好地融合不同的东亚文化元素,这对我们品牌和设计有着直接的影响。我们每个人不同的想法和观点在一起产生化学反应,使我们的设计与众不同。在一些更实际的方面,我们强调用料的质量和缝制的工艺。我们也从不在任何的小细节做出妥协,花大量时间调研,只跟行业里最成熟的供应商合作,制作最高标准,耐用的服饰。不仅如此,每一件衣服都是手工制作,这让我们的服装达到了很多机器无法完成的质量。

Neocha: Traditional East Asian attires have a very unique look compared with traditional attire in other regions. What is your take on the aesthetics of traditional East Asian attire?

Choo: One of the major differences for traditional East Asian attire compared with traditional attire of other regions would most definitely be the evidence of strong hierarchal elements in traditional East Asian attire. It’s not to say that these elements aren’t present in the traditional attire of other regions, but the difference is really in how the hierarchal elements are expressed. In traditional East Asian attire, the aesthetics for royalty and higher ranking members of society revolved around mythological creatures, in addition to rich colours and embellishments. The unique look of traditional attire in East Asia can also be attributed partly to the environmental conditions of the region where seasons play a large role in what people used to wear to protect themselves against the environment. The iconic layering often seen in East Asian attire was mostly due the harsh winters in certain areas of East Asia and though it served a functional purpose, it has also become one of the more prominent features of East Asian aesthetics in the traditional garments. However, we are very often very cautious in generalising traditional East Asian attire under one category, as the differences from country to country, even within a country itself from region to region, or the different time periods have spawned numerous looks within East Asia. It is this dynamism within the East Asia region that we at Dig Deep, truly revel in.


Choo:东亚传统服饰与其它地区的传统服饰相比,最大的不同之一就是历史承载的深厚文化底蕴。这并非说其它地区的传统服饰不具备这些,而是东亚传统服饰有着独一无二的表达方式。在传统东亚服饰里,对于皇室或者贵族的服装设计,是围绕着神话中的麒麟异兽展开的,而且有着丰富的色彩和装饰。东亚传统服饰的独特美感一部分也是由自然环境决定的,这包括四季的变化,以及人与自然的对抗。其标志性的多层次穿法,也是源于东亚部分地区寒冷的严冬,而且能够因地适宜,这也成为东亚美学中最突出的特点之一。所以我们在把所以东亚传统服饰归为一个类时非常谨慎,因为不同国家,甚至是一个国家的不同地区,不同时期,都有着很多不同的着装风格。就是东亚地区这种多样性让我们Dig Deep十分地着迷。



Contributor: George Liu Zhen

Read, Play, Paint, Discover

November 14, 2016 2016年11月14日

Hangzhou has long been a must-go location for both tourists in and out of China, with millions of visitors flocking to the capital of the Zhejiang Province to catch a glimpse of its idyllic natural surrounds. The city is steeped with a rich history, which has inspired art and poetry for centuries, before evolving into the bustling modern civilisation that it is today. In the hotspot of Hangzhou’s Binjiang District lies the Wheat Youth Arts Hotel, a minimalistic hotel that seeks to entice and entertain every contemporary traveller.


The Wheat Arts Youth Hotel is the brainchild of Shanghai-based design company X+Living, who previously designed the stunning Hangzhou and Yangzhou branches of Zhongshuge bookstore. The design team responsible for bringing this project to life is comprised of Chen Fan, Dan Chen, Feng Wu, Xiao Zhang and Ren Lijiao. The philosophy of X+Living is to create value with design – the company was adamant about creating a space that was both a visual spectacle, as well as a warm and inviting place for guests to rest their heads. This endeavour to strike a natural balance between good design and comfort is apparent from the moment visitors enter through the lobby door.


In true boutique hotel style, the entrance to the hotel is blink-and-you’ll-miss-it subtle and nestled on the seventh floor of a shopping mall. The words mai jian, meaning the tip of a stalk of wheat in Chinese, appear on a clean white wall at the entrance, a preface to the warm and inviting lobby. Much like Hangzhou itself, the lobby features nuances of both traditional and modern Chinese culture. Art, music and literature are vital themes throughout the hotel’s design and is a big part of the hotel’s overall creative energy. The walls are lined with endless bookshelves that hug the corners of the lobby and contrast against a three-dimensional world map, which is comprised of many traditional Chinese checker pieces.

酒店具有的精品酒店风格,不起眼的入口,需要从商场七楼内部进入。 来到门前,小巧简白的酒店门口简单写着“麦尖”两字,引领你进入温馨的酒店大堂。就像杭州这座城市一样,大堂内体现着传统和现代的中国元素。设计师用日常人们热爱的音乐、绘画与读书来装扮整个酒店的氛围。

En route towards each hotel room, guests can also discover amusing tidbits that line the corridors of the hotel. A preview of the amenities that await in each room have been arranged into a stylised display that hangs at the end of the lobby. Chinese checker pieces also make a colourful reappearance, along with a series of bright and playful paintings. Every floor features numerous bookshelves and a piano that guests are encouraged to play to their heart’s content.

在前往房间的路上,客人能够发现走廊里布满着有趣的涂鸦。更有部分空间用彩色跳棋来装饰天花,像彩虹糖般甜蜜。设计师用跳棋来比喻每个人,所以在一面墙上用跳棋装点了一幅世界地图,寓 意欢迎世界各地朋友来此一聚,并用跳棋来代表酒店的服务人员,所以设计师原创出 跳棋一样的凳子,让人们可以坐在上面,像是一种服务的意识。 每一层都有很多藏书,还有一架钢琴供客人弹奏。

Each hotel room is equipped with Scandinavian-style furnishings that offer both comfort and functionality to every guest. The TV is hidden behind a sliding canvas that features a thematic splash of colour and a bold greeting that is unique to each room. An easel is placed next to every window, in the hopes that guests can get creative during their stay. For weary explorers, unwinding with a book from the hotel’s cozy coffee shop before taking a long soak in a bathtub is the perfect way to end a long day.


Wheat Youth Arts Hotel aims to honour Hangzhou’s long-standing affinity with art and culture, whilst providing travellers with a truly unique accommodation option. Every aspect of the hotel, from the attentive staff, to the hotel’s bright, open spaces and seemingly infinite book collection beckons guests to enjoy this contemporary artistic playground.


No.9, Taian Road 7F (Xinguang Center)
Hangzhou, Bingjiang District
People’s Republic of China

+86 0571-28000999


Contributor: Whitney Ng
Photographer: Shao Feng
Images Courtesy of X+Living

泰安路9号 7楼(星光中心)

+86 0571-28000999


供稿人: Whitney Ng
摄影师: 邵峰

The Journey Out West

November 11, 2016 2016年11月11日

Shanghai-based travel photographer Scott Turner likes to document real life, often taking an anthropological approach to his work. He regards people and their lives to be the most rewarding and challenging subject to photograph. In his travels, he admits that he likes to go deep in the places that he visits, opting to stay longer to really invest himself and understand more about the local culture. Avoiding areas that are touristy, he prefers instead to visit less popular destinations, places that Scott says “usually have the most open people and the most interesting stories”.

主要活动于上海的旅行摄影师Scott Turner喜欢用镜头记录真实生活,常以人类学的方法进行创作。他认为人与生活是摄影中最具价值和挑战的主题。他坦言,在行程中他不喜欢蜻蜓点水,更喜欢在一个地方呆上一段时间,充实自己,了解当地文化。他尽量避免一些热门旅游景点,更愿意前往小众之地,在Scott看来,在有热情本地人的地方,才能找到最有趣的故事。

Scott has lived in Shanghai for two years now, and has visited many of the major metropolises in China. But what he is most curious about are what he calls “the spaces in between”. He plans to spend some time to explore some of the smaller cities and towns in China, as well as other remote parts of Asia in the coming year, and potentially make a book about it. He has been to Xinjiang, the far west region of China, Kyrgyzstan, Turkestan, as well as India, Pakistan, Nepal and Sri Lanka. For him, the region is multifaceted, complex, and wild. “These places are already widely photographed,” Scott says, “so coming up with something new there can be challenging.”

Scott已在上海生活了两年,也游访过中国许多大城市。但他最感兴趣的,还是那些他称之为“中间地带”。他计划花一段时间去游览一些中国的小城与边镇,同时在未来的一年,也希望走访亚洲其他偏远地区,并有可能为此出一本书。他曾去过中国新疆、吉尔吉斯斯坦、土耳其斯坦、印度、巴基斯坦、尼泊尔和斯里兰卡。对他来说,这些地区多彩多姿,狂野又复杂。“已经有很多摄影作品取材于这些地方,” Scott表示,“所以创作出不同的作品,很有挑战性。”

On his way to Kyrgyzstan, Scott passed through Kashgar, the westernmost city in China, located in the Xinjiang Uyghur Autonomous Region. A former outpost on the Silk Road, its history stretches back 2,000 years, and today is known for its famous bazaar, a bustling and vibrant daily market. Some parts of the old city, Scott describes, almost felt like scenes that were straight out of Aladdin, while other parts of the city appeared to be undergoing extensive development and were being rebuilt.


It was at the end of 2013 when Scott quit his job as an engineer and decided to travel around Asia for a year. The main reason behind this was because he just wanted to get out of his nine to five routine, explore the world more, and really work on his travel photography. During his travels, Scott did what was probably the wildest thing that he had ever done in his life, which was buy a horse from a local livestock market in Kyrgyzstan and ride it through the mountains by himself for a month. Prior to this experience, he had never even ridden a horse before.


While up in the mountains, Scott met a few Kyrgyz shepherds. After his return, he spent some time talking to a few of his Kyrgyz friends about what he had seen and found out that the shepherds had played an important role in sustaining the local economy in hard times. For Scott, this was a beautiful story, considering that what he had witnessed was the legacy and heritage of the local culture.


Scott prefers to travel on the ground whenever possible. He says, “traveling slow provides me with an opportunity to observe and connect with the world around me in a way that flying does not.” Both times that he travelled to Kyrgyzstan, he spent three days on a slow train from Shanghai to Kashgar and then crossed the border by foot.


The images that Scott photographed during his travels in Kyrgyzstan now form the basis of his ongoing VSCO Artist Initiative project, which chronicles the situation of the local farming community in the Kyrgyz mountains. Scott notes that there are two distinctly different styles emerging in his work: one is a very graphic travel style which stems from his love of the landscape, while the other is a rougher and more emotionally driven reportage style, reminiscent of photographers like David Alan Harvey. While Scott has always enjoyed both styles, recently he’s been more attracted towards the latter. And in many ways, Scott feels that his VSCO Artist Initiative project is an investigation of this rougher reportage approach.

Scott在吉尔吉斯斯坦旅行中拍摄的照片如今成为了他创作中的VSCO Artist Initiative项目的基础,以时间为线索,记录吉尔吉斯斯坦山区的当地农业社区情况。Scott注意到他作品中呈现了两种泾渭分明的风格:一种是如精致画卷般的旅行记录,源自对山川大地之爱;另一种则受纪实文学影响而表现出更为粗犷和情绪化风格,让人想起此类的摄影大家David Alan Harvey。虽然Scott一直都很喜欢这两种不同的风格,但近来他明显更偏爱后者了。Scott觉得,他在VSCO上的艺术家倡议项目就是从不同方面来探索更为纪实粗犷的摄影方式。

At the moment, Scott is particularly interested in exploring climate issues, and in creating art photography books on specific subject matters. He is working on a book about a sport in Central Asia called Buzkashi, which translates literally as “goat grabbing” in Persian. The national sport of Afghanistan, Buzkashi is a game in which horse-mounted players attempt to place a headless goat in a goal. While a great deal of documentary reportage has already been done on the subject, Scott is more interested in capturing the emotions and motions of the sport itself, and in a more graphic and abstract way.

目前,Scott对人文风土问题尤为感兴趣,并在相关主题上进行艺术摄影书籍的创作。他正在着手进行书就是关于一项中亚运动,名为“Buzkashi”,用波斯语直译过来的意思就是 “抢山羊”。Buzkashi是阿富汗的举国热衷的赛事,竞技者们骑着马,目标是安放一只无头山羊的尸体,而其他人试图阻止。由于已经有大量的纪实性文章报道过这个活动,Scott更侧重于以图片和抽象的方式,捕捉运动本身所蕴含的激情和动感。

Scott aims to complete his VSCO Artist Initiative project by pairing his photo series from his travels in Kyrgyzstan with a more researched editorial about the local shepherding community. His ultimate goal for the project is “to document the lives of the shepherds, and the issues around modern pastoralism in relation to how it affects the lives of the Kyrgyz people today and for the future, as well as celebrate the deep heritage they have as a people group.”

Scott希望把他在吉尔吉斯斯坦的系列照片与当地牧羊社区深入研究后的文字相结合,用以完成他的VSCO Artist Initiative项目。他对该项目的最终期望在于“记录当地牧羊人的生活,以及围绕现代田园主义如何影响吉尔吉斯人现今的今天以及未来,同时也是对他们作为一个群体所承载深厚底蕴的一种赞歌。”

VSCO: scotturner.vsco.co
Instagram: @stturn


Contributor: Leon Yan

Instagram: @stturn


供稿人: Leon Yan

From Paris to Seoul

November 10, 2016 2016年11月10日

In the eyes of Sandra Meynier Kang, the journey to success is an uncharted one and your best allies are a few simple traits: humility, resilience and a firm grasp on your core values. The French-born designer has been based in Seoul, South Korea since 2010. After graduating from Parisian fashion institute Atelier Chardon Savard in 2008, Sandra went from peddling French leather jackets to being known as a trailblazer of sustainable fashion through her label SMK (named after her initials) in her adoptive city.

산드라 메니예 강의 관점에서 보면 성공으로의 여정은 겸손함, 오뚝이 정신, 그리고 자신의 핵심 가치를 굳게 잡는 것과 같은 몇 가지 간단한 덕목만을 가지고 불확실한 세계로 뛰어드는 것이었다. 프랑스 태생의 디자이너인 산드라 강은 2010년부터 한국 서울을 기반으로 활동하고 있다. 2008 년 파리 패션 연구소 아뜰리에 샤르동 사바(Atelier Chardon Savard )를 졸업한 산드라는 무명의 프랑스 가죽 재킷 행상에서 이제는 그녀의 제2의 고향이 된 도시에서 자신의 레이블인 SMK(그녀의 이니셜의 이름을 따서 명명)를 통해 명실상부한 패션 선구자로서의 입지를 굳건히 다지고 있다.

Sandra describes her breakthrough as unconventional. Upon graduation, she worked a series of odd jobs before fully transitioning into the fashion industry. The ethics and tenacity that she brings to SMK were built on the invaluable lessons she acquired from being a waitress; moving in sync with your surroundings, managing customers and always appearing presentable were experiences she kept in mind while launching her brand. Sandra’s career in Seoul began as the designer and overseas marketing manager for French label SU75 PARIS. Subsequently, she was also brought on board by Korean labels PLAC and CRES. E DIM. to manage their overseas marketing.

산드라는 자신의 성공 비결에 대해 틀에 얽매이지 않는 것이라고 표현한다. 졸업 후, 패션 산업으로 완전히 돌아서기까지 그녀는 자신의 전공과는 관련 없는 일련의 직업에 몸담아 왔다. 그녀가 SMK에 도입한 윤리의식과 끈기는 그녀의 웨이트리스 경험에서 얻어진 귀중한 교훈에서 기인한다. 자신을 주변 환경과 동화시키고, 고객을 관리하며 항상 자신을 표현할 준비가 되어 있는 것. 이것이야말로 그녀가 자신의 브랜드를 시작하면서 스스로 마음에 다짐한 것이었다. 서울에서의 산드라의 경력은 프랑스 레이블 SU75 파리의 디자이너와 해외 마케팅 매니저로부터 시작되었다. 이후, 그녀는 또한 한국 브랜드인 플랙(PLAC)와 크레스 에딤(CRES. E DIM)에 스카우트되어 해외 마케팅을 담당하게 되었다.

Her work as a designer was thrust into the spotlight after entering Top Designer, a Korean fashion designer contest hosted by local retail giant Doota. With each new job, Sandra was plunged head first into challenging territory, and her persistent acquisition of new skills paved the way for the launch of YESIMFRENCH, her first label. This collection of basic items laid the foundation for SMK, which officially launched in 2014 and debuted Sandra’s collection of sustainable womenswear.

디자이너로서 그녀의 경력은 한국의 거대 소매업의 본산인 두타(Doota)에서 주최한 한국 패션 디자이너 콘테스트, 탑 디자이너에 출연한 이후부터 시작되었다. 새로운 직업을 시작할 때마다 산드라는 새로운 기술을 끈질기게 배워 나가는 자세로 도전적인 영역에 머리부터 들이밀었고 이는 자신의 첫번째 레이블인 YESIMFRENCH의 런칭에 이르기까지 기초가 되었다. 이 베이식 아이템 컬렉션은 2014년 런칭한 산드라의 지속 가능한 여성 의류 데뷔 브랜드인 SMK의 토대를 마련하게 되었다.

SMK represents force, vitality and femininity – the label is centred around creating quality pieces that afford their wearers a sense of casual elegance and all-day comfort. Sandra proudly sources her materials from local Korean manufacturers, knowing the people who are bringing her designs to life is one of the most important production pillars that uphold her label. Each SMK piece is made with sustainable textiles, such as their eco-friendly cotton that is produced in Korea and certified by the Global Organic Textile Standard.

SMK는 힘, 활력과 여성스러움을 상징한다 – 이 브랜드는 소비자에게 캐주얼한 우아함과 온종일 입어도 편안함을 동시에 제공하는 제품들이 주류를 이룬다. 산드라는 원단과 재료를 한국 업체들로 부터 공급받는다고 자랑스럽게 말한다. 왜냐하면, 그녀는 자신의 디자인에 생명을 불어넣을 줄 아는 사람들이야말로 그녀의 브랜드 가치를 지탱하는 생산의 가장 중요한 축이라는 사실을 잘 알고 있기 때문이다. 모든 SMK 브랜드의 상품들은 한국에서 생산되고 국제 유기농 직물 제품 기준에 의하여 인증된 친환경 면과 내구성이 좋은 섬유로 만들어진다.

The sustainability theme is continuously reinforced throughout each of SMK’s seasonal collections. No new materials were purchased to create the 2016 Spring/Summer collection. Instead, stock fabrics were recomposed and repurposed, enforcing a “zero waste” approach. This also marked SMK’s foray into menswear, where they collaborated with Seoul-based French actor and model, Fabien Yoon, who helped in creating this unique collection.

지속 가능성이라는 테마는 SMK의 시즌 컬렉션을 통해 계속하여 강조되고 있다. 2016 년 봄/여름 컬렉션에서는 원단을 새로 구입하지 않았다. 대신, 재고 직물을 재구성하고 용도 변경하여 “낭비 제로”의 접근 방식을 취했다. 또한, SMK는 서울에서 활동하는 프랑스 배우 겸 모델인 파비앙 윤(Fabien Yoon)과 협력하여 남성복 시작에도 진출하였다. 파비앙은 이 독창적인 컬렉션을 만드는데 큰 도움을 주었다.

Sandra’s upcoming Spring/Summer line for 2017 follows suit, with animal friendly pieces made in collaboration with THANK YOU STUDIO. The local studio is famous for photographing animals, and these animal portraits were used as patterns for SMK’s new Speciesism Free collection. Five percent of the profits made from the collection will be donated to CARE, a Korea-based animal rights organization. Despite beginning her career in leather, Sandra has become increasingly aware of the ethical cost that comes with creating fashion – fur and leather will never appear under the SMK label.

산드라는 다가오는 2017년 봄/여름 라인으로 THANKYOUSTUDIO와 콜라보를 통해서 동물 친화적인 슈트 컬렉션을 계획하고 있다. 이 한국 스튜디오는 동물 사진으로 유명한데, 이러한 동물 사진들을 SMK의 새로운 Speciesism Free 컬렉션에 문양으로 사용하였다. SMK의 이윤의 5%는 한국 기반의 동물 보호 단체 CARE에 기부된다. 가죽 제품으로 자신의 경력을 시작하였음에도 불구하고 산드라는 패션의 창조에 수반되는 윤리적 비용에 대하여 갈수록 더 많이 자각하고 있다 – 앞으로도 SMK 제품 중에서는 모피나 가죽 제품은 전혀 찾아볼 수 없을 것이다.

Having just participated in the On Time show, a fashion exhibition in Shanghai, Sandra shared that she intends to continuously work with local Korean suppliers to ensure that each upcoming collection upholds the brand values of transparent production and animal protection. For Sandra, fashion design has transcended beyond a life calling and into a platform in which she can truly do good and inspire others. As South Korea and the rest of the world continue to catch on to transparent and eco-friendly labels, SMK seeks to seamlessly merge the urban lifestyle with quality, sustainable fashion.

최근 상하이에서 개최된 패션 전시회인 On Time show에 참여한 산드라는 자신의 의도를 지속적으로 한국의 지역 생산 업자에게 홍보하여 앞으로 진행될 컬렉션 투명한 생산과 동물 보호라는 브랜드 가치를 유지시키는 것이라는 사실을 확실히 하고 있다. 산드라에게 패션 디자인이란 삶의 소명의식을 초월하여 자신의 선한 의지를 실현하고 다른 사람들에게 진정으로 자신의 영감을 전할 할 수 있는 플랫폼을 의미한다. 한국을 비롯한 전 세계가 투명하고 친환경적인 브랜드를 선호하는 경향에 따라 SMK 역시 고급스럽고도 지속적인 패션과 도시적인 라이프 스타일을 자연스럽게 병합하고 있다.

Facebook: ~/sandrameynier.kang
Instagram: @sandrameynierkang


Contributor: Whitney Ng

Facebook: ~/sandrameynier.kang
Instagram: @sandrameynierkang


기부자: Whitney Ng

Little Bean Roasters

November 9, 2016 2016年11月9日

Present-day Shanghai is at the forefront of China’s booming coffee industry, as consumers become increasingly aware of specialty coffee and gradually move beyond mainstream beverage chains. Today, the city swells with independent cafés and homegrown roasters, big and small, all vying to create a social refuge and the perfect cup for local patrons. Tucked away behind the imposing facade of Shanghai’s Science and Technology Museum, lies a string of restaurants and cafés that line the walkway along the Zhangjiabang River.


Little Bean Roasters is an intriguing double storey structure, painted entirely in black and surrounded by minimalistic alfresco seating. The café’s interiors are composed of clean lines, featuring a clear juxtaposition between industrial charm and minimal chic. These design characteristics are synonymous with the architects who brought Little Bean to life, the Australia-based DesignOffice, who are also responsible for the design of Melbourne brunch powerhouse Higher Ground and Small Batch Roasting Co’s café, Filter. The unique adaptation of the building gave Little Bean the physical capacity to become Shanghai’s first all-inclusive café, bakery, coffee school and roastery.

Little Bean Roasters拥有黑色的色彩基调和极简风格的露天座椅,是一家颇为有趣的双层空间咖啡厅。整个店面的内部设计充满了干净利落的线条,将现代工业的魅力和简洁别致的时尚完美融合,呈现出独一无二的清新气质。这些设计特点均来自为咖啡厅带来生命力的顶尖设计团队。位于澳大利亚的设计公司DesignOffice还负责了墨尔本的早午餐店Higher Ground以及当地烘焙商Small Batch Roasting的咖啡厅Filter的设计。在建筑空间上得天独厚的优势,让Little Bean足以打造上海首家集咖啡、面包、以及咖啡与烘焙学习于一体的场所。

The ground floor comprises of the café, complete with their vintage Probat coffee roasters, which provide an authentic backsplash to the Little Bean coffee bar. The display cases are filled to the brim with fresh daily baked goods and roasted coffee beans perch on built-in displays. The dining space is open and thoughtfully comprised of intimate crevices, sunlit tables and a round standing bar table.

一楼的咖啡厅摆放着Probat复古咖啡烘豆机,为Little Bean的咖啡吧提供了原汁原味的咖啡氛围。陈列台上每日都弥漫着新鲜的烘焙香和在搅拌于烘豆机中的咖啡豆。开放式的用餐区有一个圆形的台桌,配搭上阳光透过玻璃可洒落的小桌子,并以精心设计的区域划分线营造出空间私密感。

There are two stairways that lead up to the office space and coffee school, where bright, clean natural light streams through the entire space. Of the upstairs coffee school, there are two main focal points, which are the two circular apertures that allow visitors to look directly into the café below. The two floors are subtly connected by the large mirrors that are suspended over each opening.


Beyond the space itself, every little detail under the Little Bean brand has been paid considerable attention. Packaging for their retail beans are colour coded according to how they are best enjoyed; a blue label for filter coffee and a gray label for espresso. Filter coffee is expertly made and served in Tim Wendelboe cups. The shape of each cup is moulded specifically to enhance the taste of coffee it holds; the “Splitt” is wide mouthed, designed to house coffees that carry fruity, floral and acidic notes, whilst the cone-shaped “Tulipan” brings out the earthy aromas from El Salvadorian, Brazilian and Indian coffee beans.

除了空间设计,Little Bean里的每一处小细节都经过精心处理。零售咖啡豆的包装袋根据饮用的最佳方式有不同的颜色区分,蓝色标签表示适合过滤式咖啡,而灰色标签代表最好用于意大利浓缩咖啡。专业冲泡下的过滤式咖啡需要搭配Tim Wendelboe杯,每一个Tim Wendelboe杯都经过专门的铸造以提升杯中咖啡的口感。广口咖啡杯“Splitt”适用于带有水果、花卉和酸味的咖啡,让香气四溢,而收口的咖啡杯“Tulipan”则能保持来自萨尔瓦多、巴西和印度等地咖啡豆的馥郁浓香。

The white coffee at Little Bean receives equal care; they are also one of the few cafés in Shanghai that can sling an authentic flat white. The perfect flat white is a viscous carrier that champions the espresso and is characterised by a thin layer of velvety microfoam. The flat white at Little Bean pays true homage to this classic Australian coffee and is even aptly served in an Acme & Co coffee cup.

Little Bean的白咖啡也是精心制作。在上海,只有为数不多的咖啡馆中能够享受纯正flat white (奥白)。一杯完美的flat white由最好的意大利浓咖啡缀以一层轻薄细腻的奶泡。Little Bean的flat white传承了澳式咖啡的精髓,再配上最搭的Acme & Co咖啡杯, 致敬经典。

It has been a year since Little Bean have opened their doors and they have been thoroughly rewarded for their wholesome approach to premium specialty coffee. Their coffee school holds regular classes that span anywhere from an afternoon to a few days, and their customer base for both dine in and online retail continue to grow by the day. With a new year fast approaching, Little Bean hope to bring their holistic approach to coffee across the river to Puxi punters in 2017.

Little Bean已经开门营业一年,以其高端专业的咖啡调配和完善的设备广受赞誉。他们的咖啡课程安排也相当灵活,从一个下午到几天,让客户有更多的选择余地。客户还能选择外卖,线上的销售也在日渐发展。随着新一年的临近,Little Bean有望在2017年将其咖啡链全方位扩散过河,为浦西顾客带来新的选择。

Website: littlebeanroasters.com
Instagram: @littlebeanroasters


Jinyan Road 235-237
Pudong New Area, Shanghai
People’s Republic of China

Daily, 8am ~ 8pm


Contributor: Whitney Ng

网站: littlebeanroasters.com
Instagram: @littlebeanroasters



周一至周日, 早上8点至晚上8点


供稿人: Whitney Ng

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Japan, Pixelated

November 8, 2016 2016年11月8日

Since 2011, Japanese illustrator Toyoi Yuuta has been posting animated GIFs on his Tumblr under the moniker 1041uuu. Finding beauty in simplicity, he’s translated his vision of life in Japan into gorgeously animated pixel art. The highly approachable style of his pixel art has allowed his work to be widely praised and shared by netizens from all over the world. At the same time, Generation Xers, millennials, and gaming enthusiasts are able to more deeply appreciate the nostalgic qualities of his retro aesthetics.


Originally born in Fukushima, Toyoi is currently based out of Kyoto, preferring the quiet pace of life there compared to the sensory overload of Tokyo, where he had previously lived for six years. In those six years, Toyoi found solace and inspiration in different aspects of the Tokyo that many might not immediately associate with the city, such as its rivers. “I think I’ve been influenced by the unique rivers of all the cities I’ve lived in. In particular, Tokyo’s Sumida River had a profound impact on me,” he says. From a cityscape reflected on the rippling surface of a river to koi fish idly lazing beneath a lotus leaf-covered pond, water makes frequent appearances in Toyoi’s work and is often one of the most noticeable animated elements.


Another big influence for Toyoi is the popular arcade-style fighting game, The King of Fighters. The different two-dimensional background scenes in the game clearly lends inspiration for his animated GIFs. These in-game backgrounds range from forests with falling rain and leaves fluttering in the wind to industrial settings with machinery bellowing out clouds of steam. Some other scenes might depict more mundane moments of city life, such as lovers interacting in the background and blinking traffic lights. These little moments stuck in an infinite loop fascinated Toyoi. “To an art geek like me, these elements sparked something within me and I became interested in these realistic backdrops,” he says. Similar to the aesthetics of The King of Fighters and other retro fighting games, animating select details in a mostly still frame has become the trademark of Toyoi’s work.


For many artists, figuring out how to make sustainable income while pursuing their creative vision can be problematic, and Toyoi isn’t an exception. He revealed that his initial decision to create pixel art was in part due to to the restrictive nature of the tools he had access to. “I was poor and unemployed. I didn’t have a pen tablet and only had a PC track pad. But to create pixel art, I don’t need a high-resolution computer or much special knowledge and training,” he recalled. Despite garnering high praise for his GIFs, the popularity of his work still hasn’t translated into any money-making opportunities. “I still don’t have any money at the moment, so I’m trying to sell some of my artwork now,” Toyoi candidly admitted. “I’m looking into selling silkscreen prints in the near future.”


Introverted by nature, Toyoi tells us that people aren’t of much interest to him. Instead, his interests lie in the intangible, such as the feelings and smells of a place, holding the belief that these are the elements that truly make up the essence of a city. “The world is filled with rules that aren’t explicitly written out, and it feels like I’m not very good at reading them, because I don’t understand these unspoken codes. I find society to be a scary place,” he says. Toyoi’s work is a tranquil respite from the whirlwind of unpredictability, volatility, and anxiety that plague our modern lives. His gift lies in the way that he’s able to invoke a blissful sense of tranquility by simply presenting the nuanced beauties of life that many overlook, rendering these ordinary moments into gorgeous works of art.


It generally takes Toyoi two days to complete a GIF. The preliminary planning stages are admittedly much more difficult, he says. It’s crucial for him to avoid repetition. “Sometimes choosing the idea can take up to two weeks. Even now, two months can go by without me drawing anything,” he says. “For example, if I have already drawn a picture of a businessman asleep in a in a bus, then I would not draw a picture of a student asleep on a train.  There is no essential difference in my mind between the sleeping businessman and the sleeping student, or a train and a bus.”


“For now, I’ll be content if my work allows people to better appreciate the world around them. Japan has many problems, such as the threat of earthquakes, nuclear power plant accidents, distrust of the government, overworked people suffering from work-related stresses, and so on.” As if to counterbalance these large scale, hard-to-solve problems that trouble his mind, Toyoi’s charming GIFs instead hone in on the simple beauties of everyday life in Japan. “Regardless of some of the country’s issues, I want people to visit Japan. I certainly recommend Kyoto.”


Tumblr: 1041uuu.tumblr.com
Instagram: @1041uuu


Contributor: David Yen

Tumblr: 1041uuu.tumblr.com
Instagram: @1041uuu


寄稿人: David Yen

The Aesthetics of Hip-hop

November 7, 2016 2016年11月7日

Kenny Kong is a Chinese American illustrator and video game artist based in San Francisco, California. His illustrations bring us into a world that transcends place and space, blending together diverse cultural, spiritual, and religious elements to create images that exist between the past, present, and future. Recently, Kenny created the cover art for American hip-hop group Zion I’s newest album, The Labyrinth. In the interview below, he shares with us his thoughts on culture, creativity, and how hip-hop has influenced his work and philosophy.

Kenny Kong是来自旧金山的美籍华人插画师和游戏设计师。他的插画带领我们进入一个穿越地理和空间的世界,混合不同文化的,精神的和宗教的元素,去创作存在于过去,现在和未来之中的图像。最近,他也创作了美国嘻哈组合Zion I的新专辑《The Labyrinth》的封面插画。Kenny跟我们分享了一些他对于文化,创意和嘻哈文化的想法,以及这些如何影响他作品和人生观。

Neocha: How did you get started as a visual artist?

Kenny: I got started the same way most kids get started – drawing Ninja Turtles and Voltron in front of the TV. However, when of all the other kids moved on to basketball or riding bikes, I just kept drawing. I draw my ass off, even to this day. It’s become a way of relaxing and daydreaming. I get really irritable when I don’t sketch for a few days. Thankfully, all that drawing has opened a lot of doors for me professionally. I’ve been working as a video game artist for six years now, in addition to doing freelance illustrations and designs.

Neocha: 你是怎么成为一名视觉艺术家的?

Kenny: 我就像大部分孩子一样,从对着电视画一些忍者神龟和战神金刚开始。但是,当其他小孩跑去打篮球和骑单车时,我还在继续画。直到今日,我每天都玩命儿的画,庆幸地是我画的这些画,也为我创造了很多专业机会。我已经从事游戏设计师的工作六年了,偶尔也做些自由插画师和设计工作。

Neocha: Can you tell us about how hip-hop and growing up in the Bay Area has influenced your work?

Kenny: I grew up in Oakland, California and the first song I ever memorized was “The Humpty Dance” by the Digital Underground. In Oakland, you couldn’t go anywhere without hearing Too $hort being blasted from car speakers, or kids doing MC Hammer dances on street corners. I learned how to moonwalk on the school playground in kindergarten. Hip-hop was all around me as a kid, and I soaked it all in.

It wasn’t until middle school that I saw b-boying live and up close. It was at a school dance somewhere – dark, with a bunch of sweaty teenagers awkwardly standing around. In the middle, a circle had formed, and when I peeked in, I saw these older guys busting windmills and flares and I was mesmerized. They were like superheroes, flying on the floor. There was no internet at this time, so I didn’t even realize these moves existed or were even possible. It was incredible – it was like watching the X-Men, except they were Filipino and wore baggy clothes. I quit basketball and started b-boying after that. I love the energy of the dance and how it relates to the music. Getting down in a circle, feeling the rhythm of a funky ass tune, and expressing that energy through your body is one of the best feelings in the world. It’s like poetry in motion and I try to capture a lot of that essence in my visual work.

Neocha: 能跟我们讲讲嘻哈文化和在旧金山湾区长大对你的作品有什么影响吗?

Kenny: 我在加利福尼亚奥克兰长大,我能记起的第一首歌就是Digital Underground的《The Humpty Dance》,在奥克兰,大街小巷都能听到汽车喇叭里放着Too $hort的歌,或者孩子们在街角跳着MC Hammer的舞步。我在幼儿园的游乐园里学会了怎么跳月球漫步。嘻哈陪伴着我长大,我也对其耳融目染。


Neocha: We love the color schemes in your work. How does color inspire you, and how do you use it to express your creative vision?

Kenny: Color is great. You can take a shitty drawing and make it look good just by adding the right colors. That’s because you can create entire moods and emotional landscapes with the right use of color. With my own work, I approach color like the time of day. Early mornings are bright with some blues and yellows. I’m more of an evening person though, so my work tends to use more sunset colors, like pinks, oranges, and purples. I also like getting down in grimy night clubs, so sometimes I’ll use neon colors with a darker tone to capture that vibe. Color is complex, and I’m still figuring it all out.

Neocha: 我们很喜欢你作品中的色调。颜色是怎么启发你?你是怎么运用颜色去表达你的创意想法的?

Kenny: 颜色太牛逼了,只要加对颜色,你能把屎一样的绘画变的好看。只要用对了颜色就能让作品带有情绪。在我的作品中,我运用颜色就像时间一样,明亮的清晨是蓝色和黄色的。我是一个夜猫子,所以我的作品更多是日落般的颜色,像是粉色,橙色和紫色。我也喜欢去脏脏的夜店玩,所以我会用霓虹色和深色调去捕捉那种气氛。颜色是复杂的,所以我还在不停的研究。

Neocha: Can you talk a little about your creative process? How is your creative process for visual arts the same or different from your process for dance?

Kenny: Like Bruce Lee says, “Don’t think. Feel!” I approach the page, canvas, and dance floor the same way, by trying to feel my way through the creative process, using intuition and spur of the moment decisions to create something interesting. Most of the time, I have some sort of inspiration going into it as well. Like Bruce Lee also said, you need emotional content. Another one of his quotes goes like, “It’s like a finger pointing to the moon – don’t concentrate on the finger or you will miss all that heavenly glory.” In my case, the moon is the initial inspiration, feeling, or idea that I’m trying to convey, and the finger is the form and technique used to convey that idea. A lot of times it’s like digging for gold. I’ll find some dope music that inspires me, and start freestyling. There’s a lot of garbage that comes out of this, but sometimes you need to dig in order to find the gold. Eventually, the good stuff emerges, and when it does, it’s like discovering Jesus or something.

Neocha: 能跟我们讲一下你的创作过程吗?你作为视觉艺术家和作为一个舞者的创作过程有什么不同吗?

Kenny: 就像李小龙讲的:“不要想,去感受!” 我对纸张,画布还是舞池的态度都是一样的,通过创作过程去感受我的方法,用直觉很即兴地去创作有趣的东西。很多时候,我好像有点灵感了,我也会开始创作。李小龙也说过,你需要有情感的内容!“就像用手指指向月亮-别只专注在手指上,不然你会错过所有迷人的壮丽。” 对我来说,月亮就是我试图去传达的最初灵感,感觉还有想法,手指就是转化想法为作品需要的技法和形式。很多时候就像掘金一样。我会听些很屌的音乐,给我找些灵感,然后就开始随心所欲的画。大多时候画出来的都很垃圾,但是有时你真的需要深挖才能找到金子。最后,好东西终究会浮现,就像发现了耶稣一样。

Neocha: Your work blends the traditional, the modern, and the futuristic to create worlds that are transcendent and timeless. How does your own cultural identity influence your work, and what does culture mean to you?

Kenny: Culture, to me, is the soul of the people. The values, beliefs, traditions, and styles of a group of people are all manifested through their culture. The type of music they play, their style and how they dress, the food they eat, and how they treat one another are what makes them who they are as a people. There is such richness and depth in these cultural expressions and it inspires me, endlessly.

I often think about how we are living in a specific global culture that’s becoming more and more homogenous. It has largely been shaped by a Western, colonial, and capitalist point of view that, while it’s introduced many conveniences and modern living, it has also produced an imbalanced and spiritually deficient culture. There is so much to be learned from other cultures, whether it be from hip-hop, or Chinese and Eastern philosophies, or indigenous peoples. It’s crucial to explore and learn more about these ideas in order to find a greater sense of balance and to reconnect us with ourselves, with each other, and with the world. There are many different ways to live, and many philosophies that may contain much more wisdom than the American or Western philosophy that we’re given by default.

Neocha: 你的作品混搭了传统,现代和未来的元素,创造了这些穿越且永恒的世界。你自己的文化身份怎么影响你的作品的?文化对你来说意味着什么?



Website: kendobi.com
Instagram: @kendobi


Contributor: George Zhi Zhao

网站: kendobi.com
Instagram: @kendobi


供稿人: George Zhi Zhao

A Mellow State of Mind 让人犯懒的音乐是怎么懒法

November 4, 2016 2016年11月4日



Linfeng is a Shanghai-born independent electronic music producer whose music has been self-described as “music to get lazy to.” The signature sounds he’s known for can be best described as a mix of downtempo chill-out and vintage funk, a style that’s able to ease listeners into a rhythmic world of blissful relief. Laid-back and mellow, Linfeng’s music almost feels like a direct extension of his personality. His drive to making music is simple and pure; he hopes his music can help people slow down and listening to it can become a form of momentary respite from our frenzied, fast-paced modern lifestyle. “I want people to relax,” he says. “I want to give them a chance to enjoy the two or three-minute duration of the song, to be fully immersed in my music and feel completely at ease.”


Originally, Linfeng’s foray into the world of music was as the bass player for a local garage band. “For me, wanting to perform music was such a primitive thing at the time. I was really into the idea of looking cool and being on a stage,” he recalls. The younger him was drawn to the aggressive and rebellious energy of rock-and-roll music. As he grew older, his taste in music naturally began to shift and he started to grow out of the angst-driven sounds that previously interested him. Nowadays, his musical preferences are R&B, soul, and funk; with his new seven-track EP, the influences from these genres are even more obvious.


Listen below to our favorites from the Sometime EP and the new Soft Smell EP:

Linfeng – Cloudy Afternoon

Linfeng – Palm Talk

Linfeng – Golden Pineapple

以下的精选曲目来自《Sometime》和最新的《Soft Smell》,欢迎试听:

Linfeng – Cloudy Afternoon

Linfeng – Palm Talk

Linfeng – Golden Pineapple

The new album, Soft Smell, radiates an infectiously jubilant energy. Beginning with “Palm Talk.” a hypnotic intro track that eases listeners into “Golden Pineapple,” a funk-filled dance track that demonstrates the versatility of his production prowess. Using vocals from Cassie’s “Me & U”, the third track is an uplifting summer anthem dubbed as “Ice Cream Girl.” The rest of the album is a whirlwind of feel-good vibes and danceable tracks, all sprinkled with nods back to the chill-out sounds of his Sometime EP. “With the new album, I’m kind of attempting to return to my band roots. I want to use more guitar and bass sounds. Even though my previous EP used some bass sounds, they weren’t prominently featured,” Linfeng says. “I want people to dance and move. The bass line and guitar are more pronounced in the album. It’s also funkier, and I incorporated some elements from house music.”

新专辑《Soft Smell》散发出一种能感染人的欢快能量。从《Palm Talk》开始,催眠般柔缓的音乐让听众接着听《Golden Pineapple》,这是一首带着Funk 乐的舞曲,展示了Linfeng音乐上的多元性。第三首歌是与Cassie合唱的《Me & U》,这首令人开怀起舞的夏天赞歌也被誉为《Ice Cream Girl》。专辑里其他的歌曲都是节奏动感的舞曲类型,同时,也都点缀着呼应他之前EP《Sometime》舒缓的音乐元素。“在新专辑里,我有种想回归乐队寻根的尝试。我想更多地运用吉他和贝斯乐。虽然我之前的专辑也有贝斯乐,但那并不明显,”Linfeng说。“我想让人们动起来,跳起来。所以在新专辑中,贝斯乐和吉他也更多地体现了进来。更具有Funk乐风格,我还融入了‘浩室’音乐的某些元素。”

Despite having released two EPs, Linfeng has yet to release a physical album. “My creation process is actually quite chaotic,” he says. “I’m a spontaneous person; I’ll think about something and then do it right away. It might take time to actually finish my initial concept, but once it’s done I want to share it with everyone immediately. That’s why I’ve never turned my music into a physical tangible product and it all only exists digitally.”


Surprisingly, from searching for inspiration to the production process, Linfeng often prefers to work outdoors, a departure from many people’s preconceptions of music producers being locked away in soundproof rooms. Despite having a wide range of equipment available in his studio, he’ll instead equip himself with a simple production set-up consisting of a laptop, an OP-1 portable synthesizer, and a pair of headphones, and retreat to one of his favorite outdoor hideaways.


“I think taking the time to enjoy life is important. Enjoying music is important. When you go out and have fun, it can also be considered as work, and when you’re working, it can also be considered as fun,” Linfeng said with a grin. “I hope that my work can continue to progress in this direction, where what I consider to be work and what I consider to be fun all blends into one another.”


Soundcloud: ~/linfeng-lee
Bandcamp: linfeng.bandcamp.com
Weibo: ~/1747079737
Douban: ~/djlinfeng


Contributor & Photographer: David Yen
Videographer: Gerhan

Soundcloud: ~/linfeng-lee
Bandcamp: linfeng.bandcamp.com
微博: ~/1747079737
豆瓣: ~/djlinfeng


供稿人与摄影师: David Yen
视频摄影师: Gerhan

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Moments in Motion

November 3, 2016 2016年11月3日

The creations of Han Chenxu often leave an observer wondering if they have chanced upon a series of hyperrealistic paintings or surreal photographs. Chenxu describes himself as simply an ordinary person who works at an ordinary job, but with an innate liking for photography. “Initially, I was aimless and experimented with a simple camera. I remember my first camera was the Olympus μ [mju:]300 DIGITAL. As time went on, I gradually began to learn my way around the camera. Soon, it seemed like photography had simplified before my very eyes and the repetitive process filled me with a sense of urgency to create outside of the box.”


Before Chenxu began to observe Chinese-style paintings, he felt that he was not particularly driven to broaden his senses or ideals. With a genuine lack of overall direction, his creative journey was filled with detours as he attempted to hone his artistic vision. Serendipitously, Chenxu stumbled across a WeChat article that detailed differing photography styles of various countries from across the world, including Japan, America and Russia. But he found that there was no distinctive Chinese style of photography. There were no clear influences or representatives. Even with the emergence of photography greats such as Lang Jingshan or new wave photographer Sun Jun, he still felt that when it came to photography, there wasn’t a true pioneer of an aesthetic that could be considered Chinese.


Stylistically, Chenxu states that Chinese paintings carry a heavy contrast with a characteristic emphasis on using negative space. “Artists manage emptiness with intention, adhering the same care and attention that they would give to the focal subject. If one were to paint a school of fish swimming through cascading water, the fish might be painted in black and the water would simply be blank negative space. This makes it so that the placement of each subject becomes of utmost importance, in order to ensure that the observer can feel the moment in motion,” he says. “Negative space is essential. It’s the subtle implications that lie in the words unspoken. It’s about looking beyond the surface. It’s supposed to be freely interpreted and carry an infinite number of meanings.”


Despite having no theoretical knowledge of photography, Chenxu had always believed that painting and photography were inextricably linked, with both mediums utilising a two-dimensional plane to create art in a three-dimensional space. “I began to wonder how I could play with shapes and create a photo that would represent my subject’s true colours. More often than not, my photographs become a reflection of my thoughts – they wholly influence how I capture and edit my photographs.”


“I find that I draw a lot of inspiration from this traditional painting style, especially when I‘m photographing subjects like lotus flowers. I take everything into account, from composition to shutter speed, to ensure that I achieve a hazy mood, which allows my photographs to appear dream-like and understated. Contemporary image post processing adds another dimension, allowing my photographs to become as multidimensional as a traditional Chinese painting, fluid yet cohesive.” Chenxu cites that the empty spaces within each of his photographs pay homage to the nuances of Chinese paintings and he’s still constantly looking for ways to create more images that he can be proud of.

“当我在拍摄像荷花为主题的作品时,借鉴了国画中的表现手法。从开始构图、拿捏快门速度实现照片的简洁和朦胧,到借助现在数码暗房的处理,力求画面开合争让,有开有合。”  韩晨旭照片中较大面积的留白就是为了营造这一画面效果,竭尽创造满意的摄影作 。

The Post Town of Tsumago-juku

November 2, 2016 2016年11月2日

Lasting between 1603 and 1868 was the Edo era, one of the most prosperous periods of time in the history of Japan. During this time, Japan was under the rule of the Tokugawa shogunate, the last feudal Japanese military government, and the country’s 300 daimyō, the all-powerful feudal lords who ruled most of the land. Characterized by intensive economic growth, an excessively strict social order, isolationist foreign policies and a flourishing art scene, the Edo period played a profound role in the industrial, artistic and intellectual development of Japan.


Located in Nagiso, Nagano Prefecture, Tsumago-juku is the 42nd of the 69 post towns on the Nakasendō, a trade route that stretched over 530 km and connected modern-day Tokyo with Kyoto during the Edo period. As one of the most well-preserved towns in Japan, people stopping by Tsumago are usually visitors looking to experience an authentic slice of Japanese history and soak in the ambience of a historic Japanese post town.

長野県の南木曽町(なぎそまち)に位置する妻籠宿(つまごじゅく)は、江戸時代の商業街道として現在の東京と京都を結ぶ530 kmに渡って栄えた中山道六十九次のうち42番目の宿場でした。日本国内で最も保存状態に優れた町である妻籠宿を訪れる観光客らは、歴史的な日本の宿場町の雰囲気に浸り、日本史の真の一面に触れることができます。

Before becoming a part of the Nakasendō route, Tsumago was part of the Kisoji, a minor trade route running through the Kiso Valley. The town fell into poverty after the construction of the Chūō Main Line railway, which bypassed Tsumago. As a result, the town ended up being neglected for over a century. Yet, with enough dedication and effort from locals, over 20 houses were restored by 1971. Five years later, Tsumago was deemed as a Nationally Designated Architectural Preservation Site by the Japanese government and has since then become a fairly popular tourist destination.


It only takes a short ten minutes to go through the entirety of Tsumago on foot. A myriad of wooden Edo-style temples, shrines and two-story inns are scattered along the street. Cars are strictly prohibited on the main road during the day, and all the power cables along with the telegraph lines are concealed. It’s details like these that brings forth the feeling of having traveled back in time for visitors.


Different kinds of accommodations are available for travelers, including a rebuilt version of the town’s honjin, which used to be a major way station for government officials. It was the place where only feudal lords and other representatives of the shogunate would stay during their travels. Originally destroyed, the inn was reconstructed in 1995, but the new building still manages to retain the sense of charm that it once held during the Edo era.


The waki-honjin, which is a smaller version of the honjin, is the secondary inn. In the past, it accommodated travelers of lower status and retainers of the feudal lords. Reconstructed in 1877, the waki-honjin was rebuilt with Japanese cypress, which was actually prohibited by the government during those times. According to the rules, when two official parties were traveling through Tsumago, only the most powerful of the two could stay in the main honjin, while the other party must reside in the waki-honjin.


The government has a set of stringent laws that prevents any of the buildings in Tsumago to be rented out, sold, or demolished. The town remains uninhabited nowadays, and its only the traditional craft shops and inns crammed with people during the tourist season that brings the sleepy town to life. But for people looking to experience a piece of Japanese cultural history, this quaint little town is a must-visit destination.


Contributor: Anastasia Masalova
Photographer: Tutu

寄稿者: Anastasia Masalova
カメラマン: Tutu

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