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“Fashion is architecture: it is a matter of proportions.” Coco Chanel

In relation of fashion and architecture, they both express ideas of personal,

identity and cultural. They have a symbiotic relationship with each other. The

history of clothing and buildings, they both provide a shelter and protection

for the body. They both create space and volume out of two-dimensional

materials, which make them in common but also intrinsically different. They

are both address to human body scale, but the proportions and size have a

huge different between them. However fashion has a very nature and short-

lived of the moment when architecture are solid and more permanent.

EditoR’s LEttER

PAP E R H | LCREATIVE DIRECTOR

|AMY YuEn

CONTRIBUTING WRITERS|

ALEX buRnsidE-HugHER / PoLLY Wu

CONTRIBUTING PHOTOGRAPHERS|

AustEJA sciAVinsKAitE / ALEX tsoi / oscAR tsE / YuLiA tsEzAR / KEnJi WAi cHAng

CONTRIBUTUNG ARTISTS|

RonniE cHAn / biAncA cHong / FionA tsEE / cHRistoPHER gEoRgE siMs / JAnicE cHAn / LisA MARiE JoHnson / RobERY Wun

Surface Design by Janice Chanhttp://www.janicechan.com

8 | to You, FRoM Hong Kong

22 | cHRistoPHER gEoRgE siMs

28 | JEXtA

30 | tHE citYscAPE

40 | 10 YEARs

42 | FionA tsEE

44 | biAncA cHong

48 | innoVAtiVE ARcHitEctuRE

52 | RonniE cHAn

54 | tHE oRAngE boX

68 | tHE suit

70 | bLuE

74 | RobERt Wun

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FRoM Hong Kong

FRoM Hong KongPhotographer | Kenji Wai Changwww.kenjistar.com

cHRistoPHERgEoRgEsiMs

As long as I can remember, I was aware that there had to be

something else to where I came from. Through the pictures

in books and fashionmags of my mums, or the TV. and its

fanciful world of colour, lights, girls, boys, busy cities and

glamorous worlds of intrigue, danger, broken dreams, kitch-

en sink dramas and fruitful pleasures from beyond the ocean

Christopher George Sims | London based Fashion photog-rapher

Creative Director at 55Factory/55 Pages

Q - What were your influences whilst working in Hong Kong and your influences in London?

CHRIS - Thats a bit of a tricky question.. While I was in Hong Kong, my main influences would have been the subculture that was very heavily drug influenced. It was at a time in Hong Kong still under British control, and the English were extremely wild and a lot of time out of control. It was in Hong Kong that I decided I wanted to move in to the arts some how, and become a photographer. This is when I decided to come back to London and clean up my life.

London became an extension of Hong Kong, and I fell heavily into the drug culture. It was kind of what you did as a youth back then. This was also where I began studying photography and moved into the art scene of London. At this time London was a very different place, and the culture of excess and experimentation of was rife. London’s young were not at this time only bothered about gaining a collage degree, diploma or getting a job in Banking. It was a pretty wild time.

My influence have always been what is immediately around me, and where I place my self. This has been generally the urban inner city. I have always found my self by default in the middle of a sub or underground culture living on the fringes of society.

Q - Now you are working in the UK again, do you feel that you have brought any of the experiences you gained whilst in Hong Kong to your working life over here?

CHRIS - Its not that I’m working in London or Hong Kong. Both these cities were my home, and I have grown up in both of them.

Yes, a lot of my spirit and soul is from Hong Kong and South East Asia. Having lived there between the ages of 19 and 23, it was the place that I began my own life, not a life of my family, society or the government. Living in HK and South East Asia, and away from my own environment gave me everything I am today. It allowed my to blossom as a person. When I came back to London, I was a man, and I had a stronger identity of my self. I was actually more advanced than many people my own age due to growing up and surviving on the edge away from home.

Q - Do you feel that there are similarities between your ex-periences in HK and London and if so, what are they? CHRIS - Well yes. Most of them culturally and the society I found my self in in both cities.

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All tho both very different. Ever where on the planet has the same kind of people, and similar cultures, sub cultures, classes, races, sexualities etc. You just find where you fit in and where you have connections.

Q - How did you adjust to the cultural differences when you moved to HK and then back to London? Did anything stand out as major differences in the two cultures?

CHRIS - I was born to adapt very quickly and be in a City. As an animal its what I have had to do. You just have to adjust to your surroundings, and when you are young you have the amazing power to adjust very quickly, or I did any how on many occasions. There are deference’s but fundamentally all cities are the same. Busy, hectic, and general full of lost people who didn’t fit in to small towns or rural areas. Thats the beauty of the city. The oddest and most brilliant people come to them. This creates some very extreme sub cultures.

Q - How do you see the fashion industry in HK developing in the future? Do you think that it will ever be as influential as London or Paris for example?

CHRIS - I think it will always be influenced by London and Paris, but i think it has the possibility to be more financially successful then either. The Chinese are in a frenzy to have western every-thing, and are falling away from there own culture. London as a city is extremely potent. London is a western city, and HK was a british city. It will always be caught between the 2 in the oddest way

Q - Could you please describe the work you are involved in now?

CHRIS - Mixed media, arts, fashion, publishing.

Q - If you were given the chance, would you return to HK again for work?

CHRIS - Absolutely. tomorrow!! but I am not 19teen any more, and its not the HK that I remember as a youth. Do they say you should never go back?

Q - What are your favourite aspects (bits of) British and Chinese design?

CHRIS - British design, the experimentation and extreme of Lon-don’s fashion scene. The almost comedy, aggression and flamboy-ant nature. Chinese design, well its so young really as fashion, and I think it needs to really get its own identity, rather than that of other fashion capitals. Ask me again in 5 years! Q - Are there any up and coming designers from HK you think we should look out for?

CHRIS - There are a few I have seen. I would need to research a bit tho.

Q - We can see from your instagram you don’t just take photos of fashion- you enjoy architecture as well. Are there any buildings in the UK or HK that stand out in your memory?

CHRIS - I love architecture and interior. If I had been more educat-ed, I would have liked to been an architect. Unfortunately I had a terrible education, and my options were very limited. I had to make my options. I am a huge fan of Brutalist Architecture, generally a European Movement. I love cities and the hi rise way of living. HK has the most incredible housing system. Its unbelievable unless you see it in HK.

Q - It has been a while since you lived in HK. Do you still keep up with what’s happening in the fashion industry over there?

CHRIS - I go to HK at times. I was there last year, and will be there in May. The fashion industry is pretty much hi end or cheep copies. Neither are really where I find my self. I am much more interested in the HK and Chinese art market. There are some incredible artist emerging from main land China!!!

Q - 當你在香港和倫敦工作的時候，對你有什麼影響？

CHRIS - 那是一個有點棘手的問題.. 當我在香港的時候，文化便是對我最大的影響， 這時候的香港仍然由英國政府統治，而當時的政府十分狂野和不受控制，在香港的時候，我決定接觸藝術的世界，並成為一名攝影師。 這是當我決定回來倫敦的原因。 倫敦成為了香港的一個擴展，當時年青的我沉迷藥物，就是那個時候我開始學習攝影和投入了倫敦的藝術場景。此時的倫敦是一個非常不同的地方，大量多餘的文化盛行。倫敦的年輕人在這個時候都不會只理會獲得了拼貼學位，文憑或找工作的銀行。 這時候的倫敦是一個非常狂野的時期。

我一直把自己放在可以影響我的地方，我經常在社會的邊緣子和地下文化的中心找到我自己。

Q - 現在你再次回到倫敦工作，你覺得你在香港帶了一些什麼經驗回來倫敦？

CHRIS - 其實並不是在哪裡工作，這兩個城市都是我的家，我都是在這兩個城市中長大的。

是的，我的精神和靈魂，都是來自香港及東南亞。 在我19至23歲期間，我開始了我自己的生活，不是為了我的家庭，社會或政府的生活。生活在香港和東南亞，遠離自己的環境之下，做就了今天的我。 當我回到倫敦，我是一個有經歷的人，我有我自己更強的身份。由於我的生長環境和經歷不同，所以我相比起同年齡的朋友顯得更加成熟。

Q - 你在倫敦有發生和香港相似的經歷嗎，它們是什麼？

CHRIS - 嗯是的。我大多數在文化和社會中找到我自己。他們都十分的不同，在同一個星球裡面，永遠有相同的人，相同的文化， 階層，種族，性別等，你只要找到可以令你融入其中的地方。

你是如何適應文化差異，當你轉移到香港，然後回倫敦？兩個地方有沒有差異？

我是天生的適應速度非常快， 作為動物的我不得不這樣做， 你只需要適應周圍的環境，當你還年輕你有神奇的力量來迅速調整。 但是其實所有的城市都是一樣的， 忙碌，並有一些不適合在小城鎮或農村地區生活的人， 這就是這個城市的美。最奇怪和最聰明的人都會為他們而來。 這將創建一些非常極端的文化。

Q - 您認為時裝業在香港的未來發展如何？會否像倫敦或巴黎一樣具有影響力？

CHRIS - 我認為它會永遠受倫敦和巴黎的影響，但我認為它有可能更有經濟的成功， 中國人十分瘋狂地希望擁有西方的一切，同時間亦都遠離自己的文化。倫敦是很有權力的西部城市， 以及香港是英國的城市。 它總是會夾在兩者之間。

Q - 能否描述您現在所從事的工作？

CHRIS - 混合媒體，藝術，時尚，出版。

如果給你一個機會，你會回到香港再次找工作嗎？

當然會！但是我己經不再是19歲了，它已經不是我年輕時所認識的香港。難道他們說你應該永遠不會回去嗎？

Q - 你最喜歡英國和中國哪一方面的設計？

CHRIS - 英國的設計，試驗和倫敦的時裝舞台極致。侵略和華麗的性質。 中國設計太年輕了，我認為它需要真正得到自己的身份，而不是其他的時尚之都。五年再次問我！

Q - 在未來，你認為有幾個香港的時裝設計師需要關注嗎？

CHRIS - 有幾個我很喜歡。但我需要研究一下。

Q - 我們可以從你的Instagram的看你不只是時尚拍的相，你同樣喜歡建築。在英國或香港有沒有脫穎的建築物令你有深刻的記憶？

CHRIS - 我喜歡建築和室內設計。如果我被教育得更多，我希望我是一個建築師。不幸的是我有一個可怕的教育，我的選擇是非常有限的。我不得不做出我的選擇。我很喜歡野獸派建築。 我愛城市和生活的喜崛起的方式。香港擁有最不可思議的住房制度。 除非你親眼在香港看到在，否則是令人難以置信的。

Q - 你已經離開香港有一段時間了。你還有跟上香港那邊發生的時尚嗎？

CHRIS - 我常常會去香港，我上年才去了一次，我即將五月會再去。香港的時尚界只有高檔和低檔，在這裡我真的找不到我自己。 我更感興趣的是香港和中國的藝術市場。 有一些令人難以置信的藝術家擺脫中國主要的土地！

REJUVENATIONObsessed and amazed by the arty form of silhouette

Creating bold shape and accentual curve for men and womenWith dedication to ancestral tailoring

Refining it with a fierce and retro touch

JEXTA intended to bring couture to masses and reinvent the classic

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Q- Tell me a little about yourself. Where are you from? What’s your educational background?

JEXTA - I am from Hong Kong and I graduated from High School.

Q - What made you decide to become a fashion designer?

JEXTA - I decided to become a fashion designer as I always have a great passion in fshion and would like to share my design thoughts to the world.

Q - What inspires you when creating your design?

JEXTA - My inspiration always comes from some history or story that I am interested in and there comes my concept as well.

Q - How would you describe your menswear collection?

JEXTA - Classy

Q - Who are your favourites fashion designers?

JEXTA - I haven’t got a favourite Designer

Q - Can you describe the type of men that wears your clothes?

JEXTA - The men who has their own style

Q - How would you define your personal style?

JEXTA - One of a kind

Q - How do you see Hong Kong fashion developing?

JEXTA - It could be better

Q - Where do you see yourself in 5 years?

JEXTA - Still working as a designer

Q - Are you planning to expand JEXTA to other countries?

JEXTA - Haven’t planned that yet

Q - 告訴我一些關於你自己。你在哪裡出身？你的教育背景是什麼？

JEXTA - 我來自香港，我高中畢業。

Q - 是什麼讓你決定要成為一名時裝設計師？

JEXTA - 我決定成為一位時裝設計師，是因為我總是對時裝擁有巨大的熱情，並想和大家分享我的設計和想法到世界各地。

Q - 你的靈感是來自哪裡？

JEXTA - 我的靈感總是來自於一些我很感興趣的歷史或故事。

Q - 你會如何形容你的男裝系列？

JEXTA - 優雅

Q - 你最喜歡的時裝設計師是誰？

JEXTA - 我沒有一個最喜歡的設計師

Q -你會用什麼詞語描述穿JEXTA的人？

JEXTA - 他們都是擁有自己風格的人

Q - 你如何定義你的個人風格？

JEXTA - 獨特

Q -你如何看待香港的時裝發展？

JEXTA - 可以更好

Q - 你認為五年後你會在哪裡？

JEXTA - 仍在工作，作為一個設計師

Q - 您是否計劃擴大JEXTA到其他國家？

JEXTA - 還沒有計劃在尚未

THE CITYSCAPE

PHOTOGRAPHER | AlEx TSOIPHOTOGRAPHER ASSISTANT | OSCAR TSEMAKE UP | JANE SOSTYLING | Amy yUENMODEL | lUkE CHAN

ALL CLOTHING FROM | JExTASHOES | PlACEBO (Hk)

有一天，我的好朋友AMY從遠方發來問候，問我能否為她的雜誌寫一段文字，一段關於香港的時尚十年人和事。我沒有多想，一口便答應了她。原因是我舉指一算，從我被時裝啟蒙，到戰戰競競地第一次當設計師，再到英國進修，再回港發展，這段漫長的日子，的確差不多有十年之久。這段日子不長也不短，或者真的值得坐下來回首總結一下。

2004年剛好是十年前，我還在高中念書，香港剛走出沙士的陰霾，中小學生都已經復課重新投入學校生活，社會開始回復正常運作，但因沙士的重創，經濟依然一淡死水，很多小商户都關門大吉，香港人為了節省生活上的開支，消費欲大大下降，”衣食住行”最能減省的”衣”成為最被受影響的消費品。於是，當時的中央政府與港府提出簽定一項名為” 內地與香港關於建立更緊密經貿關係的安排 “ （Closer Economic Partnership Arrangement，簡稱CEPA），那年電視新聞及報章幾乎每天都在討論關於CEPA這項能振興香港經濟的安排。曾興旺於八十年代的製衣業更是受惠之一，CEPA令香港的製衣品能以零關稅進入內地，更以其他優惠鼓勵香港品牌北上開店，於國內大城市插旗，為本港製衣業開發更多銷售點。

那個時候的香港時裝品牌，都由一些理工大學畢業生或從海外回流的設計師創立，他們都以自己的名字及獨特風格作為品牌稱號，記憶猶新的有鄧達智，Henry Lau，Kevin Ng，Lu Lu Cheung，Ruby Li 等。那時候的雜誌如Elle 或明報，都會訪問這班出色的本地設計師，而我就是從這些報道，開始認識什麼是本地時裝設計。香港這群出色的設計師，有著本地既有的生產及資源作後盾，應該能發展順利，繼而沖出亞洲，像港產片一樣成為知名的香港製造。但時裝於香港，最缺乏的往往都是一種來自大眾的認同。一種把時裝產業視為本地特式之一的想法。而為何缺乏，當時還是處於啟蒙狀態的我並不理解，到我畢業後工作過，在英國體驗過，我才得到真正的答案。

上段曾提到CEPA在2004年推行，本應跟廣告所說的、報紙所寫的一樣，本港時裝定能在內地闖出一片天。可惜，CEPA不但沒有推動到香港產業，卻使其邊緣化。

據自由時報寫到：「...二○○四年起CEPA實施，商品關稅大幅降至零，吸引港人北上創業。中國廣州「香港城」是首家在政策上扶持創業的港商集中地，但開業不到一年，近半數商家就關門。」「...曾大力宣傳的香港城早名存實亡。」「CEPA將香港產品的關稅降為零，但在中國大陸，任何產品進入銷售都還要交納十七％增值稅。因此，在中國大陸的香港產品價格仍比香港本地高；此外，運費等因素同樣造成競爭力不足的問題。」CEPA不只沒有依計劃所的給予香港產業一個更大的發展空間，反而令其陷於一個不公平的競爭環境之中。

2006年我還在設計學院念書，課餘便在一間設計師品牌店當店員，開始接觸到設計師品牌的運行模式，也了解到在香港一眾的設計師品牌店所站立著的位置。香港從七、八十年代開始興起了買手店的流行，像Joyce，GreenPeace（現名I.T）及D-mop等大大小小的店傾巢而出。大量外國名牌進註了香港時裝市場，加上整個影視娛樂都擁戴歐洲或日本文化的情況下，香港消費者無論對衣、食這兩方面，都變得一致性的國際化。但國際化的另一面，正正對本土文化的傳遞有著一定的負面影響。加上香港一向是以金融及物流為主的城市，對培育本土獨特文化風格或發展創意產業這些討論，一直都沒有被大力推動，也沒有達到任何共識。在這環境下的香港設計師，便成為市場上小眾的一群，他們大部份都是憑著少量的資金及一個小團隊去逐步收納忠心的客顧，繼而維持高昂的經營費用。自由行（CEPA的其中一個項目）的開放令金鋪及藥房需求急增，香港的平均租金被拉高至一個誇張的比例，終於在這十年間，很多設計師店都因租金加價而消失，我所工作過的品牌店便是其中之一。

香港的設計師品牌，都因市場的國際化偏向，歷史所遺留下來人們對本土文化意識的缺乏，及政府的決策，變成被動的一群，其價值都被白白枉費。

經歷了這一段空白期，香港的時裝界於近年也有了一些變化。新進勢力八十後的成長令香港這片單元發展的土地，變得有趣起來。學士畢業後，我在一家香港設計品牌Initial 工作，後來又到英國進修了兩年，因而認識到一群有創業夢的同輩，也讓我走進了這的正在成長中的文化帶動群。每逢週日，上環街頭都會有一群平日有正職在身的年青一輩擺放地攤，購買自己的手作、古玩收藏、舊書舊碟等。在網上也多了不少售買獨立設計的皮革用品、衣物、首飾或甚生居小品等年輕品牌。街頭上最近也多了專門支持本土品牌的買手店Gumgumgum，文化雜貨店及Daydream nation。

政府方面也有了決策上的改善，為了著幫助創意產業，推行了一系列計劃與支助，例如提供JCCAC及PMQ這些以支持文化藝術工作者、時裝品牌的建築。而這些地方都是以舊文物翻新後重開的，意義重大。JCCAC及PMQ也提供了一個設計師品牌與市民溝通的平台，定期會有工作坊及市集開放，令這個城市增添了前所未有的文化氣息。

時裝於香港這十年間的發展，可以說是由一群獨立的小眾，逐步發展成跟這個城市同步及被注視的一群。雖然在歷史上成衣在香港有過重要的地位，後又有買手店的興起，但這一切都跟本土設計發展有著一種本應連繫卻又互不相干的關系。眼看同輩們雖然都身兼正職，但他們都在工餘時間都會經營自己的設計小品牌，希望隨著整個大氣候的良好發展，慢慢札下根來，以設計為本業，繼而讓香港時裝及文化成為歷史中的重要一員。

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Q - Tell me a little about yourself. Where are you from? What’s your educational background?

FIONA - My name is Fiona. I come from HK and studied Interior design as a Bachelor Degree in Chicago.

Q - What made you enter architecture industry / profession?

FIONA - I am born to be loving art and design, especially interior design. That makes me studied interior design and links to architecture field. Q - What is your design philosophy?

FIONA - Design is to make everything functional and beautiful at the same time.

Q - List a few of your favorites architects

FIONA - Santiago Calatrava, Toyo Ito, Zaha Hadid

Q - What is it like working in Hong Kong as an architect?

FIONA - Working in HK is totally different from working in Western Countries. The rhythm in HK is much faster with tons of workload. Working in HK is not easy, but in other words, you can learn more and faster under pressure.

Q - How would you define your city’s architect?

FIONA - Hong Kog has a limited of space. It is a challenge for architects to design building to meet our needs and fulfill our spacious satisfaction. It is a reason to explain why hk buildings are narrow and tall

Q - What made you decide to work in Hong Kong?

FIONA - Just too used to HK rhythm and I need to take care of my parents here.

Q - How do you see the business developing in Hong Kong?

FIONA - Since HK is a well-developed city with lim-ited of space, the land has already saturated. HK projects are usually worked for remodeling instead of new-built buildings.

Q - How do you see architecture and fashion together?

FIONA - Yes, architecture and fashion both based on different kinds of design styles. We are apply-ing designs to our daily lives, like buildings and clothes.

Q - How do you see Hong Kong as a city? Likes and dislike

FIONA - I will only like HK when I am still less than 40 years old, since I am sure I cannot stand this fast rhythm when I am getting old.

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Q - 可否告訴我一些關於你自己的事。你是哪裡人?你的教育背景是什麼?

FIONA - 我的名字是FIONA ,我來自香港，我在芝加哥修讀室內設計，程度是學士學位。

Q - 是什麼令你投身建築行業?

FIONA - 我天生便十分熱愛藝術和設計,特別是室內設計。所以便驅使我學習室內設計和鏈接到建築領域。

Q - 你的設計理念是什麼?

FIONA - 我的理念是我所設計的東西同時擁有實用和美觀。

Q - 可否列出一些你個人最喜歡的建築師?

FIONA - SANTIAGO CALATRAVA(聖地牙哥.卡拉特

拉瓦),TOYO ITO (伊東豐雄),ZAHA HADID(扎哈.哈迪德)

Q - 在香港做一個建築師是怎樣的?

FIONA - 香港和西方國家的工作是完全不同的。在香港，工作的節奏很快而且還有很大的工作量。在香港工作不容易，但換句話說，你可以學到更多和更加容易適應壓力。

Q - 你如何定義你城市的建築師?

FIONA - 香港的地方/空間十分有限。所以這對香港的建築師無疑是一個挑戰，因為這些建築要滿足我們的需求，並履行我們對空間的滿意度。所以香港的建築物都是狹窄和高的。

Q - 是什麼令你決定留在香港的?

FIONA - 只是因為太習慣香港的節奏和我需要照顧我的父母。

Q - 你覺得香港的建築企業發展怎樣?

FIONA - 由於香港是一個發達而土地十分有限的城市，土地很早已經出現飽和，。所以現在香港的建築項目通常是重塑，而不是興建新的建築物

Q - 你如何看待建築物和時裝的聯繫?

FIONA - 是的，建築與時裝都是基於不同的設計風格。我們把設計應用到日常生活中，像是建築物和衣服。

Q - 你是如何看待香港這一個城市?喜歡還是不喜歡?

FIONA - 我相信我四十歲前還是喜歡香港的，因為我相信四十歲後我受不了太快的生活節奏。

Bianca ChongStudying Fashion Artefact at London College of Fashion

biAncAcHong

Q - Tell me a little about yourself. Where are you from? What’s your educational background?

BIANCA - I came from Hong Kong and studied Fashion De-sign (Higher Diploma) in HKDI, followed by a top-up degree in Fashion Design.

Q - What made you decide to become a artefact designer?

BIANCA - The love of Fashion Accessories. I took this course because it is the only course that has no limitation in the products I produced. In this course, I can make a bag, jewelry or even fashion documentary film. There is no limita-tion or boundary on imagination, and this makes the most of what an artefact meant to be – to send a strong message to the audiences through fashion.

Q - What inspires you when creating your design?

BIANCA - I like to look at vintage designs because they always carried a lot of fine details that made them so dis-tinctive and unique. I am also aware of what the up-coming trends are, to observe the needs of contemporary design and the latest technology in the industry. I think it’s a combi-nation of both that inspire my design process.

Q - How did you select the materials you used?

BIANCA - I love to use organic materials such as leather and wood because I like their unique texture and patterns. I always look for my own ways to make details on these materials that suits my designs. I also work with brass and copper to give my designs a hint of delicacy.

Q - Who are your favourites designers?

BIANCA - Alexander McQueen is my all time favourite. In every inch of the garment he designed, I can always find lots of interesting details that link back to the core theme but would never be too overwhelming to look at. Simone Rocha is another designer I love. I like the way she place details in an interesting way, challenging the ways things are used to be. I especially love the shoes she design!

Q - Do you consider yourself an artist?

BIANCA - Somehow yes! Because during my design pro-cess, a lot of research were carried out and I let the process lead me to the final piece I produced. There are trial and errors and within the final piece I produced, there is a mes-sage behind. It is somehow like producing an art piece rather than creating mass-produced products to be sold in the market.

Q - How would you define your personal style?

BIANCA - I would say my personal style is rich, contempo-rary and challenging.

Q - What made you decide to study in London instead of Hong Kong?

BIANCA - The main reason is that there are no similar courses in Hong Kong that provide such freedom as Fash-ion Artefact would provide. Courses in Hong Kong are too specific. Apart from that, I would like to experience a different kind of life style, to think differently and to improve my design process.

A - Where do you see yourself in 5 years?

Q - I hope that I will set up my own brand and continue to design artefacts that send a strong message to the audi-ences, at the same time create a line of ready-to-wear fashion accessories for the public.

Q - What do you see in London that Hong Kong doesn’t have?

BIANCA - The peoples’ lifestyle. In London, there are a lot of museums and awesome exhibitions. It will be a very enjoy-able weekend to spend in museums and galleries, looking at others designs, followed by a nice cup of coffee in small coffee shops relaxing with friends.In Hong Kong it would a bit difficult because of the limitation of spaces and it’s always too rush to relax.

Q - Does architecture influence your design?

BIANCA - Yes of course. I always love architecture. I like to look at how the lines interact with each other and the shad-ows created when sun shines on the building. I also love the geometric patterns on the tiles in traditional middle-east architecture. These influence the way of how I calculate the silhouette and patterns of my designs.

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Q - 可否告訴我一些關於你自己的資料?你是哪裡人?你的教育背景是什麼?

BIANCA - 我來自香港。我在香港知專學院修院時裝設計(高級文憑),接著是時裝設計學位。

Q - 是什麽令你決定成為一位假象設計師?

BIANCA - 對時尚配飾的愛。我選擇這個課程因為這是我的生產中唯一一個產品是沒有任何限制的。在課程中，我可以做一個袋，珠寶甚至是時裝的紀錄片。這種想像力是沒有限制或界線的，這便是假像最重要的意思- 通過時尚來發出一個強烈的信息給觀眾。

Q - 你的靈感是來自什麼?

BIANCA - 我十分喜歡看復古的設計，因為他們總是帶來很多鮮明和獨特的細節。我亦知道未來的趨勢是什麼了，在同行業中最新技術的需求和觀察當代的設計。我認為這是雙方的結合繼而激發我的設計靈感。

Q - 你是如何選擇你所用的材料?

BIANCA - 我喜愛使用有機材料，例如皮革和木材，因為我喜歡他們擁有獨特的紋理和圖案。我經常尋找我自己的方式使這些材料適合我設計的細節。另外，我也會用黃銅和銅去令暗示我精緻的設計。

Q - 你最喜愛的設計師是誰?

BIANCA - ALEXANDER MCQUEEN(亞歷山大.麥昆)是我的最愛。在他設計的服裝裡我每一寸，我都能找到很多有趣的細節連接核心的主題，但看上絕對不會過於龐大。SIMON ROCHA (西蒙娜.羅怡)是另一個我很喜歡的設計師，我喜歡她以有趣的方式展示地方細節。我特別喜歡她所設計的鞋子。

Q - 你會否認為自己是一個藝術家?

BIANCA - 會!因為在我的設計過程當中，做了大量的研究，讓過程帶領我到最後的生產。最後的過程當中有錯誤和試驗。背後當中的訊息是好像是製作一件藝術品多於大量生產在市場上銷售。

Q - 你如何定義你的個人風格?

BIANCA - 我的個人風格是豐富的，現代和具有挑戰性的。

Q - 是什麼令你決定留在倫敦而不是香港?

BIANCA - 最主要我原因是因為在香港沒有類似的課程和自由。而且香港的課程太具體。除此之外，我想體驗一下不同的生活方式，不同的想法可以令我的設計有所提升。

Q - 五年後你認為自己在哪裡/做什麼?

BIANCA - 希望到時候會有屬於自己的品牌，並不斷設計一些可以帶給客人強烈信息的藝術品。同時希望到時候有現成的衣服和飾物供給大眾。

Q - 你有否看到有什麼是倫敦有，而香港沒有的?

BIANCA - 人們的生活方式。在倫敦，有很多很棒的博物館和展覽。在週末可以花費在畫廊和博物館，一邊在享受別人的設計，一邊在享受咖啡。反而在香港很少有這些東西因為空間很少，而且香港總是太難去放鬆。

Q - 建築有否影響你的設計?

BIANCA - 當然有。我很喜歡建築的架構。我 喜歡在太陽下看線條和陰影如何互相影響， 同事我也喜歡中東的建築磁磚的幾何圖案。 這些都會影響我所設計的論廓和圖案。

Surface Design by Janice Chanhttp://www.janicechan.com

L n - c cFashion and architecture are two artistic outputs that are inextricably linked. The use of architecture within fashion is ob-vious in the structural components of a garments composition. Whilst architecture’s use of fashion is slightly less obvi-ous, it is undeniably present all the same. Trends in architecture come and go much like fashions do. As with fashion trends, architectural trends will not only advance and move forward but you will see them re-emerge and be reinvented. More and more architecture is being used in fashion spaces to add inter-est, make an impact and take the customer on a journey through the fashion space.

InnovatIve archItecture In hIgh fashIon spaces

WRITTEN BY | ALEX BURNSIDE-HUGHER pixie-city.blogspot.co.uk

InnovatIve archItecture In hIgh fashIon spaces

時裝與建築兩者之間是擁有不可分割的關係，許多時裝設計裡面都明顯地含有建築的元素和結構在裡面，相反的是建築裡面卻很少可以找到時裝的影子。但有一點是相似的，建築的潮流趨勢與時裝一樣來得快，去得快。其實和時裝設計一樣，建築發展的趨勢不會只是進步和向前邁進，但是你看到的會是他們重新改造。 越來越多的建築正在使用中的時尚的空間增添樂趣，給人眼前一亮的感覺，令客户可以通過時尚空間的旅程。

Two buildings which truly evidence this synergy between fashion and architecture are London’s LN-CC store and Shine Store in Hong Kong. It is clear that the architects, who ‘fashioned’ these spaces, wanted the structural design of the space to make an im-pact and embody their brand and concept.

Gary Card, the London set designer who completed the interior of East London bou-tique LN-CC has transformed the store into a visually stimulating place. Garments are framed by house like structures, or suspend-ed overhead; adding interest and excitement to every different section of the store.

So what is LN-CC? It is an East London retail concept with 50000sq ft store space and an online selling platform, with equally pleas-ing visuals. The in-store design could be described as more of an installation, compa-

rable with an art exhibition it is certainly not your average shop fit.

The store has recently been renovated and is due to re-open on 15th March 2014. The space is made up of three concept rooms, a book and record store, a club space for private events, a working photography stu-dio. There is even an indoor forest and an innovative skeletal tunnel to link the rooms together. Large branches and thin planks of wood intertwine one another; it has a rustic feel which contrasts faultlessly with the futur-istic tunnel made from raw wood and orange acrylic.

The brands LN-CC stock are reflective of the architecture meets fashion fusion, with the likes of Yohji Yamamoto and Jill Sander, whose designs reflect definite influences from architecture in their structure.

From clothing, to books and music, every element in LN-CC is curated flawlessly. This store is more than a retail space, it is a platform which encompasses and com-bines fashion, architecture, music and art in a physical space which has also been cap-tured and translated to digital form. Hong Kong’s Shine Store in Causway Bay is a contemporary concept store, which has been described as avant-garde and inspiring. The space, fashioned by architect Nelson Chow was inspired by the shape of a star and has a chic monochrome colour scheme which is consistent throughout the space.

Chow has created a range of interesting architectural elements to the fashion space; the most significant being the store ceiling where over 900 glistening white cords have been woven into overlapping planes that

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create Moiré patterns against a black backdrop to create a rippling effect.

With a range of original design concepts the store exudes exclusivity and intimacy. Concealed behind a continu-ously folded black steel wall, resembling a dressing screen are the fitting rooms and storage entrance. This design element forces a more personal shopping experience as trying on garments requires the assistance of a sales con-sultant.

The flagship store showcases how architecture can be reinterpreted in a fashion space using contemporary tex-tiles and patterns effortlessly fused with fashion retail, creating a captivating yet extremely functional concept store. In contrast to London’s LN-CC, the architectural elements in Shine store standalone from the garments, although visually the design of the store makes a definite impact the space is appreciated together as a whole rather than for each room individually, it less art installation and more showroom. The store is seamless; every element is cohe-sive with another, undoubtedly on brand and true to its luxurious, high end offerings.

The Shine Fashion Store shows how original large-scale effects that surface from the creative use of textiles and innovative techniques can effortlessly be combined with retail functionality.

The spatial efficiency of both stores confirms the concept of retail functionality whilst architectural features ensure the fashion space is visually stimulating for customers. In conclusion architecture and fashion simulate a harmoni-ous couple feeding off one another for creativity and originality.

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s H i n E有兩個建築物可以真正證明時尚和建築之間的協同作用這一點，便是倫敦的LN-CC店和香港的SHINE。因為很明顯的是，建築師利用一些建築的元素和結構去展現該時裝品牌的概念和風格。

GARY CARD，他將位於東倫敦的LN-CC改變了成一間視覺刺激的店鋪，店鋪內的服裝好像被一間屋所包圍，店鋪裡的每一個角落都加了一些很有趣和刺激眼球的元素。那麼，什麼是LN-CC？他是一間位於東倫敦一間五萬尺的服裝店和網上銷售的平台， 店內的設計讓人感覺到好像去了美術館，絕對不是一般店鋪可媲美的。

該店最近經過重新裝修，將於2014年3月15日重開。店鋪內的空間主要由三間不同概念的房間所組成，第一間是賣書和賣黑膠碟的，一間是可以讓人辦私人派對的房，最後一間是攝影房。 甚至還有一個室內的森林和創新的骨骼隧道和所有的房連接在一起。大樹枝和薄木板木材相互交織彼此，它有一個質樸的感覺它完美地對比與從原料木材和橙色亞克力製成的未來隧道。在LN﹣CC內的服裝是反映了建築和時尚的融合，好像YOHJI YAMAMOTO AND JILL SANDER，他們的設計裡完全反映了建築的結構。從服裝，書籍和音樂，在LN-CC裡的每一個元素都十分完美。

這家店是一個多零售空間，它是一個時尚，建築，音樂和藝術的結合。

香港的時裝鋪SHINE位於銅鑼灣，是一個當代的概念店，它被形容為前衛，令人振奮。該空間內，由建築師NELSON CHOW設計的，他的靈感來自於恆星的形狀，並具有一個別緻的單色配色方案是整個空間保持一致。

NELSON CHOW創造了一個革新性的建築元素，以時尚的空間，最顯著是店裡的天花板由900粒閃閃發光的白色線所組成，在店鋪的黑色布景下形成飛機重疊的效果。

隨著一系列原創設計概念店散發著親切感。試衣間和存儲的入口，背後隱蔽著連續折疊黑色的鋼鐵牆，特別在客人需要售貨員的幫助下， 這種設計元素可以增加客人的購物體驗。旗艦店展示了建築師怎樣利用現代紡織圖案毫不費力地融合了時尚空間， 營造出迷人而又非常實用的概念店。而相比在倫敦的LN-CC下，香港的SHINE的建築和服裝是分開的，但是在整體上，SHINE所有的空間都融合一體，比較少藝術裝置但有更多的陳列室。這家商店是無縫的;每一個元素是凝聚力與另一個，無疑是對品牌和忠實於它的豪華，高端的產品。

香港的SHINE展示了如何從創意使用說明紡織品和創新技術的表面原來的規模化效應可以毫不費力地與零售的功能相結合。這兩家店的空間效率證實了零售功能的概念，而建築特色保證時尚空間在視覺上刺激顧客。

總括來說，建築和時裝的關係就好像一對夫妻一樣，密不可分。

Q - What made you decide to become a jewelry design-er?

RONNIE - This is my interest. I like small and delicate objects, and want to wear on my body.

Q - What inspires you when creating your design?

RONNIE - Historical insight. Because it contained mean-ingful story and development of humanity but aesthetic appearance. My current project was inspired by the Baroque period.

Q - How did you select the materials you used?

RONNIE - It is hard to give a conclusion. Mostly you will figure out the limitation of different materials after failures of several experiments.

Q - Who are some other jewellery designers you admire?

RONNIE - A British jeweller, Shaun Leane. He truly knows

what fashion jewellery and fine jewellery is.

Q - Do you consider yourself an artist?

RONNIE - Yes, because I did something without considera-tion of market.

Q - How would you define your personal style?

RONNIE - Exaggerate but humble, complicated but simple. Everything is in contradiction but still in harmony.

Q - What made you decide to stay in London instead of Hong Kong?

RONNIE - I like to stay here because of the variety of cultures. Here always happens something surprising you. For example, you can see some so called ‘strange’ people walking on the street. They will be appreciated with their brave but not in Hong Kong.

Q - Where do you see yourself in 5 years?

RONNIE - I think I am just at the beginning of jewellery making. I still have many things to learn. Perhaps I will be a successful jewellery maker.

Q - What do you see in Hong Kong that London doesn’t have?

RONNIE - Hong Kong is a very convenient place. I can collect all materials in a short time. As geographic reason, I can get cheaper materials from Mainland China. I think it is a benefit for this competitive jewellery market.

Q - How do you see the lifestyle in London comparing to Hong Kong?

RONNIE - London is modern and vigorous; Hong Kong is speedy and material.

RonniE cHAn

Ronnie Chan graduated from MA Jewellery of the Central Saint Martins College in 2013. Now is London-based jewellery de-signer and maker. His collection executes how an interest in the contrast between the extravagance and opulence of the 17th

century Baroque and the clarity and deceptive simplicity of 20th century Modernism. While contrasting in their expression both share an interest in conveying often idealized ideas through heightened visual sensation that can lead to spiritual association.

It becomes a strong design language in Ronnie’s design.

Q -是什麼令你決定成為珠寶設計師?

RONNIE - 這是我的興趣,加上我很喜歡小而精緻的東西，並想穿上在我身上。

Q - 你的設計靈感來自哪裡?你的設計靈感是什麼?(唔知邊個好啲，您自己再簡)

RONNIE - 歷史洞察力。因為歷史裡包含了有意義的故事和美觀的人類發展。我現在這個系列的靈感便是來自於巴洛克時期

Q - 你是如何選擇你所用的材料?

RONNIE - 很難給你一個結論/答案。大多數是經歷實驗失敗後你會找出不同材料的限制。

Q - 有沒有一些珠寶設計師是你欣賞的?

RONNIE - SHAUN KEANE。一個英國藉的珠寶設計師，他真的知道什麼是時尚首飾什麼是高級珠寶

Q - 你有沒有認為自己是個藝術家?

RONNIE - 我認為是。我會不考慮市場去做一些東西。

Q - 你是如何定義你的個人風格?

RONNIE - 誇張但謙虛， 複雜但簡單的，一切都是矛盾但是處於和諧。

Q - 是什麼讓你決定留在倫敦，而不是香港?

RONNIE - 我喜歡留在倫敦是因為這裡有不同品種/種類的文化。在這樣，總是會發生令你驚喜的事，例如你會看到一些所謂”奇怪”的人走在街上。他們會欣賞他們的勇敢，但香

港卻不會。

Q - 五年後你認為自己在哪裡/做什麼？

RONNIE - 我想我現在的珠寶制作還只是屬於剛起步的階段。我讓有很多東西需要學習。希望/也許我會成為一名成功的珠寶設計師。

Q - 你認為有沒有什麼是香港有的而倫敦卻沒有?

RONNIE - 香港是一個十分方便的地方。我可以在很短的時間收集我需要的材料。由於地理的原因，我可以從中國大陸獲得更便宜的材料。我認為這是在競爭激烈的珠寶市場中的一個優勢。

Q - 你會怎樣比較倫敦和香港的生活方式?

RONNIE - 倫敦是現代和活力，香港是迅速和物質。

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ART DIREACTOR | lISA mARIE JOHNSONPHOTOGRAPHER | yUlIA TSEzARSTYLIST | Amy yUENHAIR AND MAKE UP | ROSANA VIlElAMODEL | NATAlIE NG

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TOP/SKIRT | JAmIE WEI HUANGSHOES | ASOS

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THIS PAGEJACKET | A-lINESHORTS | HANGER INCSOCKS | TOPSHOPSHOES | RIVER ISlAND

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OPPOSITE PAGEHEADPIECE | JAmIE WEI HUANG

OPPOSITE PAGETOP | HANGER INC

A place where the link between fashion and architecture is extremely profound is in the creation of the suit. Tailoring is an art form, with the first reference to the word ‘tailor’ cited in the oxford dictionary as early as 1297. With modern day men dressing better than ever be-fore, the architecture of the suit and bespoke tailoring has made its way back to mainstream men’s fashion.

For 21 year old London College of Fashion tailoring student Danny McDonald, the world of architecture and fashion often collide. Away from his board and drafts* Mr. McDonald took the opportunity to reflect on ‘The Architecture of the suit’ for Paper H|L.

Q: What are the links between architecture & tailoring?

DANNY: About 60% of a bespoke suit is what you can’t see rather than what you can. The prep work that goes into tailoring is where the real skill comes in. Very much like architec-ture it all starts on paper, millimeters lost or added here can throw the whole equilibrium out which makes the pattern cutting integral to the finished garment.Afterwards it’s all stages and process, making sure that everything is finished, sealed and locked of is the difference between a good suit and a great suit.

Q: What is the most important part of a suit?

DANNY: Aesthetically speaking the shoulders, front edge and waistline are the most impor-tant parts of a suit as they are the three aspects that create the ‘illusion’. Personally I prefer shoulders that sit just off the shoulder point, a front edge that grades back on itself slightly and a pulled waist to create the athletic figure.However internally it has to be the body and chest canvas, this is what creates the structure and shape of the coat. Without the canvas the suit would just be a pile of cloth.

Q: Bespoke tailored or Ready to wear?

DANNY: Ready to wear is underused and bespoke is misunderstood, probably down to years of invitation only tailoring houses and sartorial rulebooks the length of the Old Testa-ment.For me it has to be bespoke, the skill and craft that goes into a true British bespoke suit is incomparable and it’s because of this that they last for generations.

Q: Two Button, Three Button, or Double Breasted?

DANNY: Two-button single breasted or double breasted, depending on the occasion and mood I’m in.The last suit I made was a beautiful navy double-breasted number.

Q: The suit has been described as sartorial mastery: what is the key to great looking suit?

DANNY: It’s a tough one as it is completely subjective. The Italians do it well, navy flannel two piece with a light blue shirt and knitted tie. However someone I admire greatly is Prince Charles who screams sartorial elegance. Charcoal two-piece, double-breasted coat cut by Mr. John Hitchcock MD and head cutter at Anderson and Sheppard. Who as it happens knows how to throw a suit on himself also.

Q: Best way to accessorize a suit? Pocket Square? Tie? Cravat?

DANNY: Well-made silk tie with silk pocket square, never let them match... It screams Top-man. I admire a man that has the respect and stature in the industry to wear a pearl tiepin in fact I will base the success of my career on it.

Q: Single Vent, Side Vent, or No Vent?

DANNY: Sports coat – single ventDouble breasted or suit jacket – double vent For fear of crossing the paths of smart casual too much. I have however recently gone against my rule and used a box pleat in place of a double side vent.I don’t know why…. It worked.

Q: Top tips for mastering the suit?

DANNY: Point one, Confidence is the key. Whether it be off the peg, made to measure or bespoke you MUST wear the suit and not the other way round.

Point two,Fully commit, if you’re going to do something do it properly and do it with intent. Even if you feel ridiculous, you’re still the best-dressed person in the room.

一套西裝能夠反映時裝和建築之間的關係，”裁縫”是一種藝術形式, 早在1297年於牛津詞典被受引用。隨著男裝時裝日漸成熟，西裝訂製剪裁的架構返亦逐漸普及化。對於倫敦時裝設計學院的21歲學生丹尼麥當勞而言，建築和時裝的世界是不可劃分的。 遠離他的董事會和草稿*, 麥當勞先生藉此機會反思載 於PAPER H|L 的文章，” 西裝的建築”。

Q - 建築與裁縫之間有什麼聯繫?

DANNY - 約60% 訂製西裝是你無法看到的。和建築師一樣， 所有準備功夫都是一絲不苟，從一開始畫圖，每一分每一厘均對有莫大的影響， 最終階段的處理是製成一套偉大的西裝關鍵。

Q - 一套西裝最重要的部分是什麼?

DANNY - 從美學角度看，肩膀，前緣和腰圍是西裝最重要的部分，因為他們是創造”幻覺”最重要的三方面，我個人比較喜歡的肩膀稍微離開肩點，而前緣漸漸拉後及拉腰來創造健碩的架構。 但是在內部必須是胸部的位置，因其會造就一件外衣的成形。沒有架構一套西裝亦只是一堆布。

Q - 該選擇訂製西裝或成衣?

DANNY - 成衣不被充分使用而訂製西裝不被理解，歸咎於剪裁屋和裁縫手則多年的制肘，於我而言，一套英式的訂製西裝所需之工序無比繁複，使其永垂不朽。

Q - 兩鈕，三鈕還是雙排扣?B- 我會根據場合和心情去選擇兩鈕，單排扣或雙排扣。上一套我親自剪裁的西裝是一件深藍色的雙排扣。

Q - 西裝被形容成裁縫的發跡：一件美觀的西裝中的關鍵是什麼?

DANNY - 一個很難回答的問題，因為它完全是主觀的。意大利人做得很好,深藍色絨布兩件頭外衣內裡配襯淺藍色襯衫和針織領帶。然而，有人我很佩服的是優雅的查理斯王子，炭灰色兩件頭，雙排扣的剪裁出自MR.JOHN HITCHCOCK( 約翰.希契科克)和首席裁縫師ANDERSON(安德森)。 Q - 你認為配襯西裝最好的飾物是什麼?口袋巾?領帶?領巾?

DANNY - 絲質的口袋巾和領帶只是TOPMAN的打扮。我很欣賞一種會帶上珍珠領帶夾的人。對我來說是很成功的例子。

Q - 單叉，雙叉還是不開叉?

DANNY - 運動形外衣-單叉雙排扣和西裝外衣-雙叉不過最近我打破了我的原則，用了工字褶 代替了雙叉。我也不知道為什麼可行的。

Q - 裁縫一套高級西裝有任何提示嗎??

DANNY - 第一，信心是關鍵，你要表現得你穿西裝，并並不是反過來西裝穿你。第二，無論你正在穿著什麼，你都要認為自己是著得最好的。

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bLuEPHOTOGRAPHER | AUSTEJA ŠCIAVINSkAITESTYLIST | Amy yUENMODEL | OmAR mAJIAUk@TIAD

ALL CLOTHING FROM | mAN mAk

R o b E R tWun

R o b E R tWun

Q - Coming from Hong Kong to study Fashion Design in one of the top London art school, how did you feel about it?

ROBERT - I graduated two years ago. London is definitely the best city to do any sort of creative areas, especially for studying and for young designers, no matter what area you are in, the whole city and the culture here. I feel lucky and blessed to get the opportunity to study at London College of Fashion. It really expended my views in terms of the industry.

Q - Why did you decided to come to London to study instead of staying in Hong Kong?

ROBERT - No, it was when I was sixteen; my mum said I should come over to the UK to study. I wasn’t sure back then, because everything I had was in Hong Kong. But then I decided to come to London as Hong Kong didn’t have the sort of creative industry London had.

Q - Do you recommend younger designers from Hong Kong to come over and experience what you have experienced?

ROBERT - Definitely, it changed me so much that I came over here, not only in terms of the view of fashion but also the idea of art and culture, the standard of sociality and the way of acceptance from people, and how the entire thing works that can change the art and the whole industry. In Asia, they don’t consider the creative industry at a serious matter, but in London is a big business. You can get the respect from what you do in London. Comparing from other cit-ies, London has always been the best place that provides the need for the creative industry.

Q - How do you feel about the fashion industry in Hong Kong developing in the future?

ROBERT - I am not so sure, I have a lot of friends that are studying in fashion in Hong Kong and if I am being honest, I don’t see it going the right way. Because the entire city would dictate what it is, in terms of art or in terms of commerce. Fashion is always a bit confusing and everybody has a different point of view to it, it can be very commerce or it can be very artistic; but it is always about being yourself and that is something Hong Kong is lack off.

Q - Do you think that it will ever be as influential as London or Paris for example?

ROBERT - I really hope it will, I want to be proud. But I can only say there is still a long way for Hong Kong to get there. The other thing I want to say is fashion is not an isolated thing at all, it is so relevant to other things. Also the trend following in Hong Kong is one big thing, especially the Korean (K-pop) has influenced the entire Asia industry which is tasteless for me and I don’t see it going any future.

Q - We know that you have just been to Paris showing your FW 14 collection, where did you get your inspiration for the collection?

ROBERT - It’s about energy, the exploring of the energy. The idea of energy influence people’s culture. For example the Japanese and the Africa’s. They have a very spiritual meaning towards energy, like the ‘sun’, the biggest source of energy that we known in our universe. How they use things in nature to be a spiritual meaning in their culture practices and in their behaviour. So that’s how I expended the collecting with the kimonos and the colours, you can see the sun expending. The shoes were influenced by the architect design of the ice skiing boots. How they spread the energy into one single thin blade. So the whole entire collection is about exploring the energy around us and how energy can influences us naturally.

Q - Does architecture inspire you in any way when you are designing your collection?

ROBERT - No, because I love nature. I am very inspired by nature, because those are the things it has been untouched. The only designer to them is God. By adding your own knowledge, experience, exploring and experimenting, you would develop more personal ideas from them.

Q - Comparing Hong Kong and London, which city do you prefer and why?

ROBERT - Of course London! I love living here, everything about here is beautiful. I can’t find myself doing what I’ll be able to do now in Hong Kong.

Q - We know you fly back and forward from the two cities, how do you adjust to the cultural differences?

ROBERT - Yes, quite a lot, especially when I get jobs from both cities. That’s a very interest-ing question, I guess I am used to it, because I am used to both cities. However you see their differences everytime you go in between.

Q - Is there anything stand out as a major difference in the two culture?

ROBERT - There’s a lot. For me what I like London the most, when you go out into the street, everybody is just being themselves. I love going on underground tube in London, you see all different people, they dress differently from a different background, doing different things, and they don’t give a damn, and that is beautiful. People on that level has already accepted what is around them. Q - Do you feel that there are similarities between Hong Kong and London and if so, what are they?

ROBERT - I don’t think there are any similarities between the both cities. They are both very different.

Q - 從香港過來就讀倫敦一所有名氣的時裝設計學院，你有什麼感覺?

ROBERT - 我在兩年前畢業。倫敦絕對是一個 適合從事任何創作的城市，特別是對於年輕的設計師，無論你在哪整個城市都充滿的文化。我對於我能在倫敦學習感到很幸運，這對於我的事業有很大的幫助。

Q - 是什麼讓你決定來到倫敦讀書，而不是香港?

ROBERT - 沒有。當我十六歲的時候, 我媽媽說我應該來倫敦留學, 但當時我十分猶豫，因為我所有東西都在香港。 但最後我來到倫敦, 因為香港沒有創意產業，而倫敦有。

Q - 你會否建議香港的年青設計師過來倫敦體驗一下嗎? 你有什麼體驗?

ROBERT - 當然。這裡令我改變很多，不僅僅只是有關時裝上，同時對藝術和文化的想法都有改變，社會的標準和接受人的方式,這些東西如何可以改變藝術和整個行業。在亞洲， 他們不認為創意產業是一個重要的行業，但是在倫敦卻是一門大生意，你做的東西在倫敦都可以得到專敬，相比起其他城市，倫敦是最好的地方去提供創意產業的場所。

Q - 你覺得香港的時裝產業在未來發展是如何?

ROBERT - 我不是太確定。我有很多朋友在香港就讀時裝，但坦白的說，我看不到任何將來/正確， 因為是藝術還是商業 是又整個城市來取決的，時裝總是有點混淆的，因為每個人有不同的觀點， 可以是十分藝術亦可以是十分商業， 不過一定要忠於自己，但這正正是香港所缺乏的。

Q - 你會否認為將來的香港會和巴黎和倫敦一樣具有很大的影響力?

ROBERT - 我真的希望會有這一天，我想這是很自豪的。 但我只能說還有有很長的路要走， 另外我想說的是時裝不是獨立的，時裝是與很多東西聯繫著。另外，追隨潮流是香港一件大事，尤其韓國風(K-POP), 韓國風氣影響了整個亞洲, 但對我來說是沒有品味的，我亦看不到有任何將來。

Q - 我知道你剛剛在巴黎完成你2014秋冬季的時裝展， 你今個系列的靈感是來自哪裡?

ROBERT - 今個係關於能量/能源，力量/能源的探討。 力量/能源的 理念影響著人們的文化，例如日本和非洲， 他們對於能量有心靈上的意思，像”太陽”, 我們宇宙中已知的最大能源/力量, 他們用自然流露出，他們文化上的實踐和個人行為有著一種精神意義， 所以我便是這樣去利用顏色和晨衣去擴展我的系列，你可以看得到擴散的太陽，而鞋子的靈感是來自溜冰鞋，他們是如何將所以力量集中在一片刀片上。所以，整個系列是關於力量的探討和力量如何影響我們的自然。

Q - 請問建築有否影響你的靈感?

ROBERT - 沒有。因為我喜愛自然， 我的靈感都是來自於大自然，因為大自然是原樣，沒有被接觸過，唯一的設計師是神。通過增加自己的知識，經驗探索和實驗，你會從中去開發更多個人的想法。

Q - 香港和倫敦，你比較喜歡哪一個?為什麼?

ROBERT - 當然是倫敦。我喜歡住在這裡，這裡的一切都是美麗的。我在這裡所做的東西是香港做不到的。

Q - 我知道你會經常來回倫敦和香港，你會如何適應文化上的差異？

ROBERT - 真的是相當多。特別是我在兩個地方都有工作的機會的時候。這是一個十分有趣的問題，我想我已經習慣了，但是每一次回來都會看到他們之間的不同。

Q - 兩個地方最大的文化差異是什麼?

ROBERT - 有很多的差異。對我來說，我最喜歡倫敦的是當你去到街上 ，每一個人都是做自己的。我喜歡坐上倫敦我地下鐵，你會看到不同的人，不同的背景穿著不同的衣服，做不同的事，他們不當是一回事，這是美麗的。他們的接受程度是任何東西都可以。Q - 你覺得香港和倫敦有什麼相似的地方?

ROBERT - 我不應為兩個城市之間有任何相似的地方。香港和倫敦是完全不同的。

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