Dis
Editor’s Letter
B
ack in my school days when I had $50 worth of weekly allowance, shopping merely meant dawdling from shop to shop while keeping my wallet in the pocket. I enjoyed it regardless. Without any actual purchasing involved, my attention was often shifted to the attractive window display, thoughtfully positioned mannequins and captivating shop interior. Thanks to all the enticing shop designs, we get to indulge in shopping as if it was a trip to the carnival. To me, as well as many shoppers I know, shopping is an experience in which we act out our aspirations and desires. It is never only about buying what we need.
Hong Kong has always been a massive retail hub. In the recent years, the city’s landscape has inclined towards big retailers. As much as I like designers and high street stores, it is still discouraging to stroll from one district to another only to find the exact same bunch of brands dominating the area. This is why this magazine is giving the limelight to independent retailers that are in a league of their own. It celebrates creative individuals who have engendered diversity in the city with their dreams and effort. Other than retail stores, the magazine also incorporates content on multi-facet creative happenings and artists from across the world. I like to believe that inspiration lies everywhere and oftentimes the best creations stem from the most unexpected fusions. Creating Display magazine is one of the most rewarding challenges I have had. All the innovative and visionary dreamers I encountered had fuelled me with motivation along the way. I am eternally grateful to each and every contributor who made this happen. This publication is dedicated to all the creative minds out there. Thank you for adorning the world with your ingenuity. With love, Zoe
Contributors
Editor-in-Chief Zoe Leung Designer Wa Jai @IntenseCreation Photographer Ming Chan @Doublemworkshop James Chung Lorraine Lai Videographer Caron Che @IntenseCreation Special Thanks Jiupei Heung Haily Chan Contact y.leung6@arts.ac.uk Printed by Page Image Output Centre
CONTENT FEATURES 10 14 38 40 80 86 88
Windows in Bloom Against the Current Less is More The Lost Gem The Rule Breaker Made To Measure Nimble in Style
INTERVIEWS 28 42 62 70
The Trio: Wilson Chan – Cofounder of Ethos Beyond the Visuals: Dan Silby – Visual Merchandiser The Perfect Type: Jiupei – Typography designer Temple of Ink: Joey Pang – Tattoo Artist
EDITORIAL 46 Urban Renewal Done Right 82 Having a Little Fun
Wi n d ow In summer 2015, Selfridges & Co. stole the show in London with its windows in bloom. The massive floral window display embracing the flagship store on Oxford Street had captivated countless pedestrians from August to October. For the first time in more than a century, the second largest store in UK had dedicated all its store windows to a single product – the Apple Watch. Selfridge, a paradigm of exquisite window display, has been renowned for showcasing breath-taking windows since it launched its first ever display in 1909. The Apple Watch display was no exception. The magnificent installation was inspired by the Flower theme user interface on Apple Watch. Featuring a flamboyant array of blossoms including peonies, chrysanthemums and poppies, the windows were transformed into the most enticing kaleidoscope on one of the busiest street in London.
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s in bloom The remarkable floral collection comprised 24 large, 50 medium and 5,525 small flowers. They range in size from 1.8 meters to 20 centimetres. All the variations of blooms were first scaled, hand-sculpted and hand-painted by artists with reference to the original photographs of the flowers. Then, the large and medium flowers were duplicated from cast resin, while the smaller ones were produced by 3D printing. The display was a perfect blend of fine craftsmanship and technology. Apple fan or not, one would agree that Selfridges had certainly reached an apex of its window design.
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Selfridges & Co 400 Oxford Street, London www.selfridges.com
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With chain retailers and shopping malls peppered all over the city, having to run a small independent shop isn’t exactly a walk in the park. That said, a good number of smaller brands have sprouted in the market with creativity and passion instead of big marketing budgets. These retailers have demonstrated their distinctiveness through each and every detail displayed in their spaces. They are greatly appreciated by bored shoppers who crave diversity after continually dawdling among identical-looking malls throughout the city. Here we tell the stories of two different stores, which both have what it takes to steal your heart.
The Florist The Florist Pause Rewind & Fastforward Pause Rewind & Fastforward
They call themselves storytellers. Specializing in preserving flowers, they hope to retain memories by incorporating dried blossoms into accessories and other products. Sometimes, miniature human figures are placed alongside the blooms to recreate a certain scenario. The essence in preserving the perishable is the building block of Pause Rewind & Fastforward’s (PRFF) ideology. Their aim is to provoke reflection on man’s impalpable relationship with time. The brand’s compact shop is named “Hovel”. Located at the entrance of a shady alley in between busy streets in Tsim Sha Tsui, it can accommodate no more than five visitors. All the walls are beautifully embellished with rows of floral products stacked on wooden shelves. Several bouquets of dried flowers are dangling from the ceiling or dwelling inside glass containers as adornments.
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In the summer of 2015, the brand crafted an even more remarkable gem – The Hut. They rented an old apartment in the city’s busiest district. It was originally planned to be a greenhouse where they could grow and dry their own floral supplies. But then PRFF’s owner, Polly, decided she could do better. “The key is to create a space that cannot be defined.” She explains. The Hut claims to be an experiment that serves to stand up against certain trends in society. It is a secret garden open to all. Apart from nurturing plants, they also welcome visitors to spend their afternoon there to enjoy homemade teas and snacks or simply to take a break from the chaos outside with a good book. It is not necessary to make purchases at The Hut so menus are only available on request. The space is a composition of simple, naturals elements, namely brick, wood and of course, flowers. A variety of plants growing in pots, bottles and cans fill the store with a soothing atmosphere. Neutral tone furniture is selected to blend harmoniously with the blossoms. Embellishments such as bird cages and dream-catchers are used to spice up the space . A view of the busy city streets visible through massive windows contrasts with the serene interior, making The Hut an even more tranquil place to be.
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Pause Rewind and Fastforward Hovel - Shop G2, Rise Shopping Mall, 5-11 Granville Circuit, Tsim Sha Tsui, HK The Hut - 2/F, 67 Soy Street, MongKok, HK pauserewindnfastforward.com/ Facebook: Pause.Rewind.Fastforward Instagram: pauserewindnfastforward
There is a corner in The Hut which sells merchandise from PRFF as well as those produced by other designers. The brand also collaborates with artists and musicians to host exhibitions and performances there. They also organize markets and sales for different designers to share and sell their work. There is virtually no limit to the versatility of the space. “Space is a very valuable resource in Hong Kong. Now that we have such a resource, we hope it can help nurture the dreams of those who are in need of it,� says Polly. Because of her noble belief, she has made the city a better place for everyone.
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The Collector The Collector Collector The The Storerooms The Storerooms The Storerooms “Wesell sellbeautiful beautifulthings.” things.” “We Themotto mottoofofStorerooms Storeroomsisissimple, simple,direct directand andhonest. honest.Eden, Eden,the the The founder,used usedtotobe beaafashion fashionbuyer buyerwho whocollected collectedbits bitsand andbobs bobs founder, from across across the the globe globe while while travelling travelling for for work. work. InIn 2013, 2013, he he from launchedStorerooms Storeroomsasasaavintage vintageshop. shop.ItItthen thenmetamorphosed metamorphosed launched intoan anall-rounded all-roundedlifestyle lifestyleselect selectstore. store.He Henamed namedhis hisassemblage assemblage into productsRooms RoomsCollect, Collect,which whichconsists consistsofofthoughtfully thoughtfullycurated curated ofofproducts home accessories, accessories, stationary, stationary, daily daily necessities, necessities, jewelleries, jewelleries, home fragrances,garments garmentsand andmany manymore morefrom fromdifferent differentcontinents continentsofof fragrances, theworld. world.The Thebrand brandalso alsocarries carriesitsitsown ownfashion fashionline linecalled calledRooms Rooms the Wear.You Youcan canfind findanything anythingranging rangingfrom fromdecade-old decade-oldantiques antiquestoto Wear. productsby bycontemporary contemporarydesigners. designers.Everything Everythingininthe thestore storeisis products beautiful,functional functionaland andinspiring. inspiring. beautiful,
“I want people to come in and immediately feel at home” Eden states. He personally designed and renovated the interior of his two shops, Storeroom no.1 and Storeroom no.2. Storeroom no.1 is situated among the noisiest streets in the city. However, nothing but calming music can be heard inside the store. Guest are greeted by the phrase “We sell beautiful things” which is visible through a illustrated glass door at the entrance. White is adopted as the interior theme colour, evoking a sense of simplicity and neatness. Decorations are kept to the minimum. Countless variety of products are displayed but none of them is battling for space. They are neatly arranged in different sections, allowing customers to check out everything with ease. The display desks and clothes racks in the shop possess the simplest designs. As a result, the merchandise is allowed to speak for itself without distraction. In fact, the products are mesmerizing enough to act as the sole embellishments in the retail space.
Storerooms Storerooms No.1 - 3/F, 44 Sai Yeung Choi Street South, Mongkok, HK Storerooms No.2 - 1/F, 5 Tai Ping Shan Street, Sheung Wan, HK storerooms.hk Facebook: Store.Collector Instagram: store_svl
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Located in a much quieter neighbourhood, Storerooms no.2 concentrates on selling “Everyday’s Good”. It is approximately half the size of no.1. Compared to the down-to-earth design in no.1, no.2 has a sleeker vibe. A statement black tone is complimented with gold hardware to create a urbane ambience. A gigantic hand sculpture before the window has become the centrepiece decoration and the dark hexagonal tiles which fill the lower half of the wall is discreetly sectioning up the shop. The store may be compact but it does not feel packed at all. Crockeries and vases are displayed in an elegantly neat manner against the walls. Wooden coffee tables in the centre complete the space by drawing attention to the signature products.
“We love, we found, we share, and we sell beautiful things.”(sic) The brand undoubtedly lives by these words.
The The Trio Trio
If you love food, home goods, fashion and all things art, I guarantee you will fall in love with Ethos at first sight. It is hard to define it with a single word for Ethos is a blissful trio embodying a lifestyle store, a multi-purpose venue and a cafĂŠ. In hopes of advocating diverse artistic cultures and a minimalist lifestyle, its founders established a platform to assemble creative talents as well as visitors who appreciate a sublime way of living. Wilson Chan, one of the founders, sheds light on the philosophy behind Ethos and how they have prospered this distinctive space in an interview with us.
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How did the name Ethos come by? One of our founders, Lee, came up with this name. The word “ethos” means a belief that denotes a nation or a community. We hope to establish a brand that adheres to a similar idea, one that represents an exquisite lifestyle.
Tell us more about the founders of Ethos. There are four of us, including Lee, Jacky, Sunny and me. Lee is a fashion designer while Jacky is an interior designer. Sunny and I do not come from a creative background. When we first founded Ethos, Lee and Jacky were the ones who brainstormed ideas whereas Sunny and I would take care of the operational aspect.
So how did it all started? We started off with just a concept of creating something under the name Ethos. After that, we discovered this amazing space in a posh but quiet neighbourhood right beside the University of Hong Kong. The location was perfect for opening a lifestyle hub.
Why opened three spaces? It is very rare to find such a massive space in Hong Kong. The three adjacent store spaces provided us with ample room to make all our ideas happen. We thought it would be nice to sell lifestyle products with quality designs here. But we figured it would be excessive to use the entire space for retail. So we came up with an idea to host events and offer a platform for different artists and designers to exhibit their work. Such physical platforms are scarce and in high demand in Hong Kong. Lastly, we reckoned this neighbourhood is lacking a good coffee shop. So, to encompass all of the above under one roof, we created a retail space, a multi-purpose space and a café. The combination generates an interactive flow among the spaces. Say people come here to see our exhibition, they can then chill in the café with a cup of coffee and stop by our shop before leaving. Things can apparently work the other way round as well but you get the idea.
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Is Ethos targeting any type of customers in particular? We are not aiming to serve a specific age group or solely people in this neighbourhood. Ethos is targeting customers who is after a quality lifestyle and people who are on the hunt for nifty products. Those who appreciate a minimalist ambient will enjoy visiting Ethos.
Can you describe the aesthetic of Ethos? Our platform evolves around a Scandinavian, minimalistic aesthetic. We work with different creative minds whose work is akin to this particular flair. Everything you see here including the dĂŠcor, interior design and the merchandise we sourced all gravitate towards this style.
Tell us about your collaborators. We are very selective with the artists and designers we work with. Be it for an exhibition or for products we curate for our shop, we hope to collaborate with talents who truly put their heart and soul into their work. It doesn’t matter where they come from. We have worked with people from Hong Kong, Taiwan and different places in Europe. They include a wide array of talents, such as fashion designers, homeware designers, illustrators and photographers. The variety of our exhibits and merchandise are constantly growing as more people get to know this platform via different channels. Some of the brands would even take the initiative to approach us for collaboration.
I noticed an interesting phrase saying “Hi. I’m a glass.” on the glass door. Whose idea was that? I heard that you designed and renovated Ethos yourself. Can you tell us about its design? Obviously, we hoped to create a space with a design that coincides with the brand’s Scandinavian style. We went for a subdued layout with black, grey and white as the major tones. Both the façade and interior of our three spaces share a similar design so it gives a sense of unity. However, we wanted the café to appear warmer and more cosy so we added a good number of wooden pieces there. We installed white lights in the retail shop and exhibition space but we switched to yellow lights in the café. We also never over flourish the space. Sticking to a minimalistic design, we eliminated anything unnecessary or distracting so the interior remain spacious. Everything you see here serves the purpose to create that Ethos ambient we discussed earlier. We sourced everything from furniture to décor ourselves. For instance, the potted plant in our café was a delightful discovery we made in a random homeware store. Some of the items are custom-made. They include the grey concrete blocks and display desk in our retail shop. The shape of the display desk is tailored to be parallel to the triangular retail space so the entire room looks more commodious.
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It was Lee’s idea! There is an anecdote behind this. You see, we installed a full-height glass door at the café entrance and it looked almost transparent from the outside, especially at night. Hence, people kept bumping into it. The door was made of toughened glass so it was intact, but not as much for our unfortunate visitors. Lee then suggested we should put something on the glass panel. He came up with that humorous phrase to make it a little more fun. Customers have stopped walking straight into the glass since we put on that phrase and people seem to really like this little addition.
Tell us more about the products you sell in the retail store. We sell a selection of thoughtfully curated products crafted by designers from around the globe, including home goods, accessories, garments, magazines and furniture. We do not limit the variety of our products and we will sell them as long as they match our aesthetic. Frama is one of our collaborators that possesses the essence of our style. It is a Danish label from Copenhagen and the brand produces very practical homeware with impactful and minimalist designs. Its collection ranges from a 9.5° tilted chair to a diamond-shaped light bulb. We are now the brand’s exclusive retailer in Hong Kong.
How did the idea of creating a pop-up space come along? It would be bland if we only focus on selling merchandise in this space. It possesses more potential than that and we felt like we should fully utilize it. So we decided to make one of the rooms a multi-purpose space and rent it out to different collaborators for creative uses. There is no limitation on the nature of the events we organize here. We have held art exhibitions, pop-up stores, charity events and even conferences. Be it private or open to public, we are up for hosting anything meaningful and interesting. Our room is well-equipped to accommodate different functions. We have got everything from picture display rails to basic facilities such as in-house sound system. We once organized a Print Market, which displayed and sold artwork created by nine artists.
There were free-flowing beer and live band playing indie music at the launch. I found that really fun. I think as long as we have a space like this, people will come up with creative ideas to use it for something exciting.
What is the most challenging thing about operating such a space? When several events take place back to back, things can get a little tricky. Our events usually last till 8 in the evening. Thus, that leaves us only one night to change the set up of the room for the next function. Of course, the time needed for setting up varies for different events. It depends on the nature of the activities and how much manpower we have.
So what is taking place now? We are currently working with a fashion label called #nude MADE BY SUOI. The label’s minimalist aesthetic accords well with the style of Ethos. Our event space is turned into a pop-up store which showcases the brands Spring 2015 collection. The creative mind behind #nude is a Taiwanese designer who is also a fashion blogger renowned in both Taiwan and Hong Kong. It is the brand’s first time organizing a pop-up store in Hong Kong and that makes this collaboration very special.
Do you have any future plans for Ethos? At this point we want to simply focus on fostering Ethos. I hope as we continue to develop our brand, more people will find it of value to them and appreciate its worth.
Ethos 93, 97, 99 Hill Road, Sai Wan, Hong Kong ethosstores.com Facebook: ethosstores Instagram: ethosstores
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LESS IS MO 38
Step 1 – Colour Spice up a wall with a bold colour. The bold colour will create the illusion of receding space, making the entire store appear larger. You can simply paint the wall or, alternatively, you could dress it with flamboyantly patterned fabric or wallpaper.
Step 2 – Delude Living in a city with skyrocketing rent and very limited space, many retailers in Hong Kong are in a perpetual struggle to make the most of every golden inch in their compact stores. Here, we present the definitive guide to maximizing retail spaces in the most cost-effective manner. Keep it simple, stupid. The solutions are easier than you imagine.
Utilize windows to open up a small space. Simply cut window spaces in partitions between rooms to increase airiness in the shop. If carving windows isn’t an option, you can create counterfeit windows by hanging drapes around mirrors to create a window effect.
Step 3 – Stack Think vertically when displaying your merchandise. Showcasing items on different levels can maximise space while making the products visually appealing to customers. Achieve this by using ledges on various levels as well as suspending items from the ceiling.
Step 4 – Scatter Space out your merchandise because nobody likes looking at a cluttered mess. Less is more, so be selective with what you display in a limited space.
Step 5 – Illuminate
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Anywhere that is not well lit in a retail space is as good as lost. Hence, lighting is especially important in compact shops. Use a blend of track lights, picture lights, lamps and sconces to ensure that every corner is well illuminated. This will also add layers to the lighting.
The Lost Gem Ever wonder what shopping was like in the swinging sixties? Ask any baby boomers in London and the name Biba is bound to come up. The legendary brand had defined retail and fashion in both 60s and 70s since its founder, Barbara Hulanicki, started the BIba’ Postal Boutique in 1964. By selling affordable outfits with celebrity appeal, Barbara made high-end fashion assessable to the general public. Thousands of young girls would flock to her store for newly released dresses that would sold out in an hour. After opening a couple of boutiques, the business of Biba flourished and gave rise to its crown jewel – the Big Biba. Taking up all seven stories in the former Derry & Toms department store on Kensington High Street, the Big Biba was essentially an extravagant Barbie Doll house. The store design gravitated towards the Art Deco style as well as old Hollywood glamour, and each floor was dedicated to a particular theme. The entire space was dim with mirrors and peacock feathers everywhere. Visitors would find themselves surrounded by the iconic Biba logo, which was stamped on virtually everything in the store.
Aside from the lavish display of garments and shoes, young ladies were also obsessed with the brands’ mascara and lipsticks available in over 20 shades. Biba was the first store that allow customers to try makeup on before purchasing. So tons of bare-faced girls would visit the store in the morning and leave with a full face of makeup before heading to work. Another popular section was nightwear. The lingerie was displayed on a boudoir platform with a massive bed wrapped in leopard print duvet. The section was completed with lush Egyptian themed communal changing rooms to add a touch of exotic vibe. The children floor in Big Biba was another spectacular. Accommodating sections for babies, children, teenage girls and pregnant women, the entire space was designed to be fun. There was a storybook village with a castle, a saloon, a carousel and a kid’s café with mushroom tables. Old childhood favourites such as Snoopy and Peter Rabbit were also there to lounge around with the kids.
The store housed a food department that was sectioned into various units. A gigantic can of baked beans and a Warhol’s Condensed Soup can erected to hold rows of canned beans and soup respectively. There was a dog food unit guarded by Barbara’s own dog, Othello. Visitors could also find a soap bar with different cleaning products on this floor. Big Biba’s most iconic floor was the Rainbow Room Restaurant. It’s rainbow-colored celling created the ideal site and ambient for celebrities to host concerts and record music videos. It used to be a regular hangout spot for stars like David Bowie, Mick Jagger, Twiggy and Julie Christie. The Biba brand was targeting at a very specific market – young, skinny and pale girls. Barbara once stated that her ideal customers were “postwar babies who had been deprived of nourishing protein in childhood and grew up into beautiful skinny people: a designer’s dream.” All the sale-girls in Big Biba fitted the above description. Even Anne Wintour, the current editor-in-chief of American Vogue, once worked there as a Biba Saturday Girl. Giving in to Britain’s falling economy, the Big Biba closed a year after its grand opening. Despite multiple attempts to rebuild Biba, it never ascent back to its fullest glory. The Big Biba was much more than a store. It was offering a certain lifestyle, a fabulous shopping experience which shoppers yearned for beyond pretty products. Regardless of its demise, the fallen icon had certainly left a permanent mark in the course of retail history. 41
BEYOND THE
VISUALS Visual merchandising is a wonderful profession that entails both facets of creative design and strategic retailing. Dan Silby, a visual merchandiser based in London, shared with us his story as a creative professional and his take on retail design. With more than a decade of experience in the retail industry, Dan is currently the Art Director at Oliver Bonas, a British lifestyle brand selling an electric mix of homeware, fashion and accessories.
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Can you describe you path to becoming a visual merchandiser? I didn’t know the job even existed until I moved to London and worked for Habitat (European household furnishing retailer). I saw these people on the shop-floor moving the furniture around so I asked about what they were doing. I then applied for a job to do the same thing and have loved this part of my job ever since. My job has changed and evolved over time but it has been a great experience and something I have loved and still love doing.
I understand you are now working at Oliver Bonas. How long have you been working there? Yes, 13 years!
Can you tell us more about what you do? My role has changed over the time I have been in Oliver Bonas. Now I am the company’s Art Director. I oversee the look of the brand and direct all photoshoots for every product group. I also help with all new shop designs and the visual merchandising team. Being in the company for so long, I have been taking a hands-on approach and been up for anything. This means I am involved in many areas of the the business through natural progression. I have only recently become the Art Director so over the next few months I will be focusing more on one area of the business, which is all the photoshoots.
What is the most enjoyable part of your job? Being creative, putting things together, having fun, working with new people, being set new challenges, not knowing what I might be doing tomorrow…… those kind of things. As opposed to the reality, which is lots of meetings and paperwork!
What are some of the toughest challenges? Staying calm when you have so much to do and with all the work in a different nature. This is partly due to my history with the brand. At times, the amount of jobs in hand can be immense.
Where do you usually draw inspirations from? The street, exhibitions, photography, books…… and also through meeting new people and during trips.
In your opinion, what is the key to creating a strong visual identity for a brand? Knowing what you are all about and being unapologetic. It is also key to know what the core of the business is centred around. In my case, I know Olly (Oliver Tress, owner of Oliver Bonas) very well. This means I am in tune with him so I can create work that reflects what he is about as it is his business.
Can you describe the style of your work? Free, bold, contemporary, fresh and modern.
Is the style of Oliver Bonas in line with your own? If not, how do you represent the brand with your design without compromising your aesthetic? Yes and no. My taste is more random and less thought out at its core. But this is my style and I am not the owner of the company. I represent the brand using my core ethics like having a sense of freedom in the work I produce photographically. I may not want the product I am using but I am imparting my style and taste into how the idea or concept is put together and is in line with the brand. In reality, this is more complicated but it’s very hard to put
into words. I would only produce work I am truly happy to do and happy to use when I get to see the final outcome. Are you creatively satisfied? No. That is because at my core I feel like a frustrated artist but that is not my work’s fault. I have to pay the rent so I need a good job and I love the job I do so it works for me. I have always left a job if I haven’t enjoyed it or loved doing it.
In what sense do you feel like a frustrated artist? My background is in ceramic design. I was trained to create objects, art and installations and I never lose this urge to create. Unless you are super committed to making a career out of your degree from the moment you leave university, most people get a job after graduation. I am one of those people who got a job and didn’t stay freelance or make a career out of making ceramics as I was worried about how I would pay my way. In turns, this means I want to create “art” or ceramics every day rather than having a full time job, hence I’ve been a frustrated artist! But as I have said, I am very lucky to have a super creative job. I have managed to have a job that is close to what I would love to be doing (creating looks, styles and schemes) all of the time. This means I feel secure in my everyday life and I’m able to afford to do what I love without worrying.
What are the things you have learned over the years that have really stuck with you? You must work hard, not moan and not be ill. Get on with your work with passion and drive and know what you are about. Always listen and ask if you do not understand something. What advice would you give to someone who is starting out? Go for it. Be passionate and be up for anything. I think this is what I was like and I am happy with where it has got me and with what I am now doing. Anything is possible if you go for it. Describe a typical day at work – from getting up to going home. I am in the office at 7 in the morning. I will have meetings and ongoing work to do. I have a large team to manage but it is spread across different departments, so I need to check in with them all and make sure all work is going well. I may then have another meeting or lunch. Then the same happens again in the afternoon. Some days I may be out of the office visiting a new shop. If we are very lucky, we will be going to a trade show or exhibition. Apart from those, there are more work, more emails, more drawings and occasionally I get to do some paintings or make stuff, which is wonderful. I normally leave the office in the evening at 6 or 7. I head home, sleep and do the same all over again the next day. But as my role is so varied, no day is identical. Also, when we are shooting, it’s on location and it is great to be out of the office and be somewhere wonderful!
Image courtesy of Oliver Bonas
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Urban Renewal Done Right 46
Oftentimes than not, Hong Kong is labelled the creative desert. Yet within the number-driven metropolis, PMQ stands to prove otherwise. Housing a large variety of design galleries, shops and eateries, the heritage-converted structure in Soho is now an innovative hub for creative talents to share their passion to the city. It is undoubtedly the go-to spot for art-lovers, designers, shopaholics and foodies to have fun and be inspired. PMQ, which stands for Police Married Quarters, was exactly what its name suggests. It was constructed in 1951 as a residence for police officers serving at the nearby Central Police Station. After the quarters were cleared in 2000, they remained empty until they were repurposed into a creative space 14 years later. PMQ incorporates two major blocks, namely Staunton and Hollywood, and a roof garden called Plateau that serves as a linkage between the blocks. The modest building layout offers a stage to any vibrant display or exhibit in PMQ. Behind the clean, white corridors in the blocks are rows of compact creative spaces. With 168 former residential units renovated, the buildings now accommodate over 100 galleries, stores and cafes. The complex also comprises a restaurant situated right beside Staunton and Hollywood. It used to be a clubhouse for Junior Police Call before its transformation and its original architectural features are still intact after the makeover.
Trust me when I say the creative diversity offered by PMQ is rich enough to keep every visitor entertained.
b e i t fa s hio n, a r t, p h o to g ra p hy, h o m ewa re, b o o k s o r fo o d, th e re is so m e thi n g exc i ti n g fo r you r ex plo ra tio n n o ma t te r w h e re you r i n te re s t li e s. Aside from the staple shops, 15 pop-up units in the buildings are reserved for seasonal design exhibitions and functions. A wide array of work by local talents as well as those from abroad is showcased on rotation. Different workshops for painting and jewellery-making are also available for those who like to be more hands on. On top of these, boisterous creative happenings in larger scale usually take place on a monthly basis at the spacious central courtyard. They include night market, outdoor exhibitions, music performances and many more. The conjunction of restoring heritage and supporting young talents has fabricated a beautiful space that holds more significance than a commercial complex. Thanks to the wealth of local creative talents, PMQ never cease to surprise its visitors with a refreshing design perspective.
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Art Director & Stylist: Zoe Leung Photographer: Ming @Doublemworkshop Model: Alina Lee
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PMQ S614, Block A, PMQ, 35 Aberdeen Street, Central, HK pmq.org.hk Facebook: PMQHK Instagram: pmqhkdesign
The Perfect Type Typographic designs are fun, expressive and beautiful. I must confess I am a complete typography junkie and I savour my sans and scripts like I indulge in multiple ice cream flavours. As much as I adore English typefaces, I believe that the ones from my mother tongue, Chinese, deserve some love as well. Believe or not, currently more than 1.2 billion people are native Chinese speakers according to Ethnologue. That’s 17% of the global population! So I guess it justifies the need to make Chinese characters a little more intriguing to read.
Due to the complexity of Chinese language, creating a Chinese font is far more challenging than producing an English one. First of all, we have Traditional and Simplified Chinese, meaning designers normally have to create two sets of characters to accommodate both in a professional typeface. A Traditional character set comprises a glyph count of at least 30,000 while a Simplified one requires a minimum of 20,000.
As complicated as they sound, the classification of Chinese fonts actually work similarity to English fonts. We have our own versions of serif and sans serif. Obviously, with all the creative typefaces out there, not every single one can be categorized under the headings covered here. But they are the basic categories embeding the most commonly utilized fonts.
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哈囉
Songti This is the serif in Chinese typography. The early Songti (宋體) scripts were used back in the Song Dynasty and reached its golden age during the woodblock printing era in China. Due to the horizontal wood grain of woodblocks, horizontal lines were far easier to carve on than vertical lines. The former thus appeared to be thinner than the latter. The end points of horizontal lines were also prone to wearing away, so flourishes were added make them more durable. It was almost like adding serifs to the characters. As a result, Songti ended up with flawlessly straight horizontal strokes, weighty vertical lines and regimentally flourished end points.
哈囉
哈囉 64
Heiti You guessed it, it’s the sans serif. Heiti (黑體) fonts are relatively modern as it only emerged in the commercial press around the early 20th Century. All the embellishments at the end points vanished in Heiti and contrast in thickness between horizontal and vertical strokes became non-existent. The original web standard of Heiti is named SimHei. It was, however, substituted by MS YaHei in the recent years in various web layouts. Interestingly, the latter is very similar to Helvetica, which some like to call the world’s favourite typeface.
Kaiti Kaiti (楷體) is somewhat similar to the script type. It was evolved from one of the ancient Chinese calligraphic styles called Regular Script, which emerged somewhere from 151AD to 230AD. Mimicking the forms and brush strokes of Regular Script, Kaiti possesses an upright structure and was constructed within certain parameters.
哈囉 哈囉
Fangsongti This is a hybrid created by fusing the base structure of Songti with the handwriting element of Kaiti. It may be challenging to tell Fangsongti (仿宋體) and Songti apart at first sight but there are always quick tricks to differentiate them. Begin by studying the horizontal lines. The ones in Songti are always perfectly straight while those in Fangsongti are slightly tilted. The next distinction lies in stroke contrast. Difference between the thickness of vertical and horizontal lines are more apparent in Songti than in Fangsongti. If all else fails, pay attention to the endpoint flourishes. “Serifs” in Fangsongti are subtler comparing to those in Songti.
Yuanti Yuanti (圓體) is a sub-class of Heiti. In Chinese, the word “Yuan” means round. Judging from the name, one can already infer the distinctive feature of the Yuanti. It is basically a sans serif family with soft curves and rounds corners.
The composition of Chinese characters itself is an expansive and profound art from the ancient days. With Chinese typography progressing and evolving over the years, designers got extremely innovative and their designs are no longer bound by the elementary types mentioned above. In retail design, a brilliant use of typefaces allows a store to shine among a muddled sea of shops that adopted the most common fonts. Be it Chinese or English, a well selected typeface with a witty twist empowers the words to convey another layer of message and enable a brand to accentuate its identify in the competitive market. Nothing hurts my eyes more than seeing a shop logo in SimSun, Kaiti, Times New Roman or my wrost nightmare, Comic Sans. It is worthwhile to invest in the typographic design of a brand’s logo as well as any typefaces used in other areas of the store. Visitors will appreciate the attention to details within the design and thus leave the shop with a decent impression. Consumers, including myself, are probably tired of the mundane Chinese fonts found everywhere in the city. Chinese typography possesses such a colossal potential. All it needs is a little more creativity!
A number of designers have already been exploring the potential of Chinese typefaces. Jiupei is a multi-media designer from Hong Kong who shares my love for Chinese typography. He believes in the significance of passing on the legacy of the Chinese culture while being creative with it. Ba Yun TI, which can be roughly translated as “majestic cloud font”, is one of his creations. In his interview with us below, Jiupei elucidated his passion for typography as well as the creation process of his own designs.
Tell me about your style and designs. My work gravitates towards a multi-disciplinary approach, which involves different media and Typography is merely one of them. In my projects, different media will compliment each other to effectively communicate the message behind the entire design. I like to communicate beyond a verbal level through the things I create; with visuals the audiences can instantly perceive the message I am conveying. Also, I am often trying to simplify a complicated message and reduce it down to a simple impression so as to bring out its essence. Design entails psychology so I always try to provoke sentiments with my work using only colours and visuals. It’s not about being precise.
What and where do you usually take inspiration from? I like to wander around and observe. And then I would fathom a lot regarding my observation. I have a habit of investigating reasons behind the existence of different objects and designs as well as to find out what is being neglected in our surroundings. Being curious at all times, I am very much into digging into various cultures. Which is why I like browsing the internet to discover current design trends and innovative ideas worldwide. Pinterest and Behance are my favourite sites. After assembling all my research, I would attempt to build on existing ideas to create something new or take note on what hasn’t been done before and try to do it myself.
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Jiupei Heung workofjp.com
How did you translate the majestic dynamics in clouds to a font in your Ba Yun Ti? I always like to take inspiration from elements in the nature, and that led to the birth of this typeface. It was created during the Umbrella Movement in Hong Kong. Back then I spent a good chunk of time lying on my back without anything better to do and I got inspired while gazing at the clouds. Their unpredictable forms were beautiful while possessing a majestic appeal. I then tried to apply that quality into my font design, utilizing the elements of traditional cloud patterns in Chinese paintings. I figured that the characters can actually express a sense of potency. It can thus be used to deliver a powerful message and empower the verbal content itself. It is almost like giving the message a louder voice. I thought it’d be perfect for protesters to type their slogans with on banners during the movement. I want people to feel the energy of the typeface, that is the sole purpose of it.
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Can you describe the font a bit more? It is important to maintain the sense of proportion within the font family. Unlike English, Chinese characters are made up of countless different characters with diverse stroke count. It is essential to ensure that each Chinese character possesses a similar “weight” so the ones with more strokes do not appear thicker or heavier. This is the challenge of designing Chinese typefaces, to maintain visual harmony within the page. In a typeface, form always comes before accuracy. I eliminated components in certain characters to retain thickness of the strokes so the words remain majestic looking. Readers can still comprehend the meaning behind the words with a few alterations
What is the most fun thing about designing it? The most enjoyable thing is to be able to express myself with typography, to combine graphic elements with words.
What about your other typeface design collection? I have designed a Neon Sign font. I actually interviewed a neon sign craftsman beforehand to learn how a neon sign is crafted. He utilized merely one single neon tube to create a character. I applied this concept to my typeface and tried to complete each character in one stroke. It wasn’t easy obviously. A good portion of the characters is eliminated but readers should still be able to instantly understand the words. I also created a font which I named Smell The Words. I transformed the strokes into wacky forms of powder or substance that appeared to be “sniff-able”.
What is so fascinating about Chinese typography to you? The Chinese language is a legacy being passed down in the course of human civilization. It embeds immense historical values. I hope to be a part of this legacy and contribute in passing it on to the coming generations by infusing a piece of my creation into it. I wish to leave my mark on this trail of typography development, as if to acknowledge the world my existence through my design. I feel that there is a strong need to preserve the traditional Hong Kong as well as Chinese cultures. The Chinese Language is one of the treasures we have. I would like to let the world know that Chinese characters can actually be as fun and playful as English letters.
Imagine you are opening a shop/boutique; how would you decorate it with your design or any other form of typography? Personally I am very into vintage aesthetic and I like the hybrid of styles from Hong Kong and overseas. Like the bars in Sheung Wan, which were opened by foreigners, they have injected the essence of Hong Kong culture into their interior design and at the same time infused elements of their homeland. I like the concept that a completely new product is built on something people are familiar with. It gives the feeling that we welcome
different cultures and inspirations. If I were to decorate a shop with typography, I would blend the elements from both Chinese and English typography. For instance, using the wiggly strokes in English calligraphy to write Chinese block characters, and then perhaps plaster them all over the walls.
What do you think of the current design/creative industry in HK? Designers or creative professionals are usually not respected, especially the young ones. It is very upsetting that even the more experienced designers are undermining new bloods. Sometimes I don’t even feel respected within my own industry, which can be extremely discouraging.
People have been drawing artistic references from abroad a lot, do you prefer that or the local design and style? I am a firm believer in fusing cultures. I believe it is an awesome way to retain the essence of the traditional goodness while creating something completely new. It also helps us spread our culture across the globe. I like to draw references and take inspiration from the western aesthetics, as it is always refreshing to look into designs and styles you aren’t used to see. I guess that’s the same reason why foreign designers love incorporating oriental elements into their work.
Can you share your design journey with us? The concept of design never come to my understanding until I was in high school. Before that I only knew arts and crafts from school. Fast forward a few years, it came to a point where I needed to choose between art and design, I picked the latter as I felt like it matched my personality more. I started with a diploma in Multimedia Design and Technology. I learned virtually the foundation of all the design media back then. Then I realized I wanted to go multi-disciplinary in design.
What is your future aspiration? My ultimate goal is to pass on local cultures to the coming generations. At the same time, I hope to preserve the passion for design in young designers like myself. To achieve this, I hope to build an online platform or create a campaign for young designers to showcase their designs that are associated with Hong Kong traditional culture. I long to see how they present the beauty of it via their work.
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Temple of
Ink
A tattoo is a unique form of body modification that transforms its bearer into a living piece of art. The creation of a tattoo involves ample mutual trust between the tattoo artist and the client. The process is almost like a serene ritual. Joey Pang, a world-renowned tattoo artist, found her calling at the age of 25 and has been devoting her life to tattooing since then. A decade ago, she harnessed her passion into establishing her own sanctuary for tattooing and founded Tattoo Temple in Hong Kong. Back then, Tattoo Temple was the first tattoo studio to offer custom tattoo design in the region. As the world’s only professional Chinese calligraphy tattoo artist, Joey’s oriental aesthetics resonates with thousands of local clients as well as tattoo lovers from across the globe. She also specializes in Asian art design and is a leader in a range of styles. Due to her massive number of current clients, she now only accepts Chinese calligraphy commissions and any new clients of hers will have to wait for at least three years on the waiting list. Joey’s work is not solely limited to body art. Over the years, she has channelled her love for tattoos into various fields, including interior design, product design and a number of fascinating art forms.
Never have I been to a tattoo studio, so I did not know what to expect before stepping into Tattoo Temple for Joey’s interview. I was astonished by how neat, spacious and tasteful the studio looked when I first laid eyes on it. Its interior was very dim with slick black glass partitions and the entire space was furnished by oriental décors and furniture. The studio has a sleek and classy ambient yet it still felt very cosy. Joey greeted us with the warmest smile. Affable, collected and modest, she was one of the most approachable and talented artists I have ever met. She gladly opened up on her artistic journey and other achievements that stemmed form her passion for tattooing in her conversation with us.
As a tattoo artist, what significance does tattooing have to you? Tattooing occupies a very special place in my heart. I found my passion in tattooing and it motivates me to achieve much more beyond body art. This resulted in the multi-faceted Tattoo Temple you see today. Tattooing has become a part of my lifestyle. It is also a profession that allows me to dedicate myself to others who require my service. I am not an artist that merely expresses myself, but one who helps people express themselves through my aesthetic and expertise. When you have reached an artistic level as a tattooist, you are expressing both yourself and your clients. I am approached by very diverse people daily and hence am constantly exposed to different life stories. This, in my opinion, is one of the gratifying perks my career comprises. I have noticed a lot of tattoo trends out there. Will you incorporate the trends in your work or do you just stick with your own style? Never. I have insisted not to make tattoo copies or follow any trends from the first day I began tattooing. Tattooists who do are not original with their work or representing their own aesthetic. There should not be any tattoo trend because trends are bound to fade but tattoos are meant to last a lifetime. The fleeting nature of trends and the permanency of tattoos conflict each other. Sadly, plentiful people in Hong Kong tend to be trend followers. For instance, a couple decades ago people were obsessed with getting
tribal and thorn tattoos. It is such an improper attitude. The so called “trends” you mentioned are only popular replicas that a certain bunch of tattooists copied and stamped on their clients. In the old days, most of the tattooists were technicians with only tattooing skills but without artistic background. They would simply tattoo patterns and template off picture books on their clients. It wasn’t until a couple decades ago when real artists who can actually draw and design chose to illustrate their art in the form of tattoos. A majority of the local tattoo shops nowadays still run simply as a technical tattoo house, only a few true art houses provide original custom tattoo designs. What do you think of the tattoo culture in HK nowadays? It has definitely revolved from the stigmatized sub-culture it used to be. I noticed that the way people look at me and my tattoos have changed. They used to have so much disapproval in their eyes! Eventually though, I began to receive appreciation regarding my body art. People would be curious about the designs, their unique strokes and artistic finishes. I also spot a lot more visible tattoos on the streets recently. People are no longer concealing them and their sizes and placement have also become larger and bolder. That said, Hong Kong is still considered conservative and is behind many places in terms of people’s acceptance in tattoos. There are tattoo exhibitions and magazines around the globe but not here in Hong Kong. We are lacking a media to advocate this type of art so there is no means for people to be exposed to it. Thus, it remains a taboo and even a mystery to the general public.
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Any challenges in running a tattoo art house in Hong Kong? Discrimination is an obstacle I have been struggling with since I opened my first tattoo house. My neighbours did not appreciate having a tattoo shop in the building, thinking that it would draw troublesome visitors to the area. I had to move my shop every two years because of all the complaints I received. The landlords simply wouldn’t prolong my tenancy even though I never took any problematic clients. No one believed in us until we had made a reputation for ourselves with years of honest hard work. Now our business isn’t limited to the local market. A good number of our clients would approach us
from around the globe to have their body inked. We really appreciate it and we learned that there is no geographical boundary in the tattoo industry. As long as people resonate with your style, there really is no second choice for them but to come to you. A true tattoo lover will understand the value of tattoos and go great lengths to attain the tattoo they desire. These are the clients Tattoo Temple are marketing in. Both the tattooist and client need to treat tattooing as an art and nothing less.
I understand you had been through challenging times while learning how to do tattoos; is providing high quality tattooing training in Hong Kong one of your top priorities as a tattoo artist? Absolutely! I first took an interest in tattooing in New Zealand and then I made my way to Thailand to learn it. Yet back then, all I did was pay for a month-long apprenticeship, which mostly just allowed me to observe. I travelled around for virtually two years from one tattoo house to another to figure out a way to learn tattooing. That was an extremely tough journey. Of course, I continued learning through hands-on experience when I finally started working as a tattoo artist. Just because a tattooist is good at what he does doesn’t mean he is good at teaching it to someone else. There was so much those tattooists didn’t teach me and there was much more I had to figure out myself. I was fortunate that I already had an apprentice the first year I started working. It forced me to figure out how to train him while working on various tattoo skills simultaneously. This led me to develop a way of educating my other apprentices who followed me. As you have said, I have been through tough times in my learning journey. I hope, to the best of my ability, to pass on my knowledge to the next generation and offer an opportunity to those who are passionate towards becoming a tattoo artist.
Your style revolves around Chinese brush painting, what are your signature designs? I like tattooing plum flower, koi carp, dragon and phoenix, basically iconic figures you can typically find in Chinese paintings. I am familiarized with these designs so I can tattoo them freehand on my clients. Obviously, I need to have a sketch ready every now and then. It depends on which body part I am tattooing on. The oriental style is loved mostly by foreigners rather than locals; do you think it’s a pity that we rarely appreciate our own Chinese culture? The market of our studio is chiefly made up of overseas customers. We focus heavily on our online presence in terms of marketing and we do not promote ourselves locally. This can be a possible explanation why our style is seemingly more popular among foreigners. But actually, by the time we gradually gained popularity, we did begin to gain an ample number of local clients. They include those who are truly enthusiastic about Chinese calligraphy and Chinese traditional art. Years back when I first came into contact with tattoos, people from the East and West really seemed to exchange admiration towards each other’s tattoo styles. Yet after I made a name for myself in inking Chinese art tattoos in Hong Kong, all the customers who have approached me, regardless of their ethnicity, naturally request my oriental designs instead of anything Western.
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What is the most fascinating about Chinese Calligraphy to you? Chinese calligraphy has always been in my blood. My mom and uncle used to practise it a lot during my childhood. I was often captivated by how stunningly beautiful their writings were. Back then I would even copy the handwritings of my mom. I enjoyed going to Chinese calligraphy classes as a kid and when I was pursuing my diploma in design I also picked it up again. After growing up I travelled to Europe and discovered that westerners were obsessed with Chinese characters. They liked to have Chinese words tattooed on them but the ones they have on were painfully ugly and sometimes even wrongly written. I instantly felt that I bore the mission to create proper Chinese character tattoos for those who desired to get them. In my opinion, Chinese calligraphy is the only art form that can fully accentuate the beauty of Chinese characters. It eventually became one of my signature styles. I am still constantly practising calligraphy. It takes a lot of concentration as well as a prolonged period to master. Most calligraphers do not develop their own aesthetic until after several decades of practising. Now I really wish to perfect my calligraphy skills so I am not accepting any new tattoo commission apart from calligraphy tattoos.
Tattooing Chinese calligraphy is obviously different from writing it, what is the key in illustrating the beauty of it on human skin? It is most essential that I am practising it persistently so that I understand the flow and brush texture of the characters. Hence when I am tattooing the words, all the elements will instinctively come together to create the perfect form. The modern tattoo materials and techniques enable us to create brushstroke-like patterns on human skin. We can essentially ink anything now. Out of all the calligraphy styles, only grass script (草書) and semi-cursive script (行書) can thoroughly express the flow and energy within the strokes. Chinese calligraphy’s essence lies in its brush flow. It is also a form of meditation for the artist. Calligraphers practise in complete silence because it requires their full concentration. This art form compels an extremely deep and expansive knowledge and it can be reflected by the characters explicitly. Calligraphy artists would insert their energy and sentiments into their work in a way that audience can feel as well as appreciate just by observation. We tattoo artists would take a step further to make the strokes and body figure perfectly compliment each other. From where would you draw inspirations from once you had an idea of what your clients want? I would start off with visual research on the subject requested by the client, including real life references and drawings did by other artists. That way, I would know what has been done before and how different people interpret the subject artistically.
I understand that you have experiences in interior designing, can you tell us more about it? I have learned interior design before and then I applied what I acquired to my tattoo studio. I had to move my studio every two years which means it needed a renovation every time I reopened. So I decided to take matters into my own hands and learned to design the interior of my shop. Remember I told you that my passion for tattooing have motivated me to achieve way beyond body art? This is one of the examples. My passion provokes me to try anything that support my tattoo career and basically everything that has to do with tattooing. I ended up learning at least one new thing per year, for instance building websites and taking pictures. Tattooing has inspired me to try a lot of new things. Nowadays you simply cannot rely on a single skill to make a living. You need multiple expertise to construct your unique competence. How did you incorporate tattoo elements into this space? The primary concept of the interior design in my studio is that it is designed for my client, not myself. I am determined to alter people’s outlook on tattoos with this space. Years before when I entered tattoo houses I would be intimidated and I believed many others felt the same. It was hard not to feel otherwise with bulky tattooists acting unapproachable and thunderous music roaring in the background.
That is why I want my customers to feel at ease in my studio. I want them to be comfortable to open up to me about their ideas. Thus, I can genuinely get to know them and hence contemplate on how to express them with my work. So the key is to make the environment as cosy and homey to them as possible. In traditional tattoo houses, there isn’t any partitions at all and everything takes place in the same space. In here, areas with different functions are separated so the clients would not be exposed to the artists’ workspace. I like the place to be spacious so I used tinted glasses as
partitions in the studio. I figured our clients could use a little privacy when being tattooed so black glass panes are used provide sufficient privacy to our clients without compromising the sense of spaciousness. The lighting of the studio is fairly dim because from what I understand, Westerners are more sensitive to light than Asians. That’s why most of the restaurants in the West are dim-lighted. Above all, the studio needs to appear clean, hygienic and neat so people feel safe when getting their tattoos with us. For embellishment, we have incorporated rich Chinese artistic elements to represent my aesthetic.
You have a tattoo interior design collection; can you tell us more? I made two handcrafted armchairs when I was pregnant. It was a challenging task because it took place in the last months of my pregnancy. Nonetheless, it was a worthy experience. We took time to examine how to draw on the leather surface and how to process the leather. The company also applied my designs on other home appliances. As stoked as I was with this collaboration, there were a few bumps along the way. Originally they told me the armchairs would be sold at an auction so I agreed to paint for them despite being heavily pregnant. But that didn’t happen. The chairs collected dust in their store for almost two years and then they sold it at a much lower price than I demanded. The price didn’t even cover my working hours and it was insulting to me as an artist. On the bright side, it was a valuable lesson from which I learned to bargain for my worth with other collaborators. Our first few collaborations also enriched my profile and helped attracted more companies to work with us. Do you think tattoos can be applied to many other artistic or design fields? We are heading to a more artistic direction progressively. We will be working on a project to paint tattoos on half-torso mannequins. They are made with a special type of skin that allows me to directly tattoo on it. The artist, who created the mannequins, used to produce props for Hollywood films and he has been working for years on making mannequins specialised for tattoos. The finished work will be exhibited in the National Gallery in Beijing in the future. We are just starting though, so the concrete schedule isn’t set.
Tattoo Temple 1 Wyndham St, Central, HK tattootemple.hk Facebook: tattoo.temple.hk Image courtesy of Tattoo Temple
The Rule Breaker
As an offbeat talent in window dressing, the Creative Ambassador-at-Large of retail giant Barneys has crafted some of the most eccentrically fascinating window displays in history. His work includes a bloody window display exhibiting mannequin victims and a display featuring former British Prime Minister, Margret Thatcher, who dressed as a dominatrix. There is so much more to this legend than dressing wacky windows. In case you are not familiar with this real life Willy Wonka, here are 8 things you need to know about Simon Doonan.
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Seven years ago, Doonan had a very simple wedding with his husband Jonathan Adler, a potter and designer. The couple are now living together in New York with their dog, Foxy. Doonan grew up in Reading, England, where he got his first ever retail job at a department store named Heelas.
Before moving to the U.S., he had dressed windows at Aquascutum and Nutter of Saville Row in London, the renowned place for bespoke tailoring for men. He was invited to work at Maxfield in Los Angeles and he began designing attractive, unconventional displays.
He is currently a lifestyle columnist at Slate, and online cultural magazine in the US. Before that, Doonan used to write a similar column for the New York Observer. Doonan is the author of six books, including his memoir named Beautiful People. The story was then adapted for TV in form of a comedy drama series by BBC. He has made numerous appearances on TV. Apart from being a guest star on America’s Next Top Model and a judge on Iron Chef, he was also spotted in the fifth season of Gossip Girl. Renowned for dressing up as the UK’s Queen Elizabeth II, Doonan used to impersonate the Queen at public appearances. 81
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Step into virtually any apparel store, you will notice that hangers are some of the most unembellished essentials in a retail space. They are there, they serve their purpose and they are exceptionally inconspicuous. While the majority views fancy hangers as superfluous, with the apposite design, they can in fact give prominence to the garments and make them more enticing. These retro gems, for instance, will compliment any vintage pieces
Sometimes, a touch of
and turn a mundane shopping
playfulness is all it takes to
trip into a frisky experience.
make a store stand out.