David Beckham on life,
family—and next steps
㝕⷟٬鯪⩴實㢯騰⹴气嵛յ

㵶䎂┱勑匡駉⮦

November 2023 MOP/HK$40

40

78

102

32
Painting a New Scene
How Macau went from the Monte
Carlo of the east to an aspiring art city
♈╅做溸諕杅ⷒ羻⯒謿ⲹ䔶⹿溸虪勘㓻䉗
┞鱎䱲筻憬ꬾ㠁✇뎴뎣⪼假麄⚌

Editor’s Note

26 Not Horsing Around
We delve into the illustrious
career of the renowned
horse trainer and former
jockey Tony Cruz

52 On the Ball
Ten years after retiring
from the beautiful game,
David Beckham talks
Netflix, Messi and legacy

詇⻐絋뎢䉞⹴ꃹ䔣돇䉞⼴╅㹹


䭨긯ⶥ䌑▇⻑㝕⷟u鯪⩴實㢯┱

㎈꿨♑㐃兇鰺溸膷╃气布╚鱂ꇄ

膴⯒/FUGMJYյ哝锟⾕♑㐃鳉槊㐙

溸긌⭡偳瓨

┪溸䧯㹧

18 In with the New
How Ines Lam is disrupting
the wellness industry with
Chinese culture and family
wisdom

40 A Happy Medium
Laurinda Ho opens up to
Tatler about finding the
right balance

STYLE

䗪▍溸✇鱪裩婞㐃ⲛⲇ⢳╗


66 Fashion Picks
The latest trends, designers
and collaborations

卲ꂽ䚾㠁✇⡊ⲙ╚㎼倁⾕㵶䎂

䌘琀♃鯵

劅假愲嵤鱶ⲹյ駦駉䉞⾕⻉✑

罒ꀀ溸騅

14

Contributors
杅绢罒ꀀ

152 The Last Word
缏騕
 




THE SCENE

冝䢘駑⫄媨╃侊㝧䰄긖

6

22 New and Noted
The most exciting
restaurant openings in town

68 New Idol
We speak to the creative
director of Seoul-cool
label Recto

♥☭䭈潨♨䔶溸憬ꬾ假넔⸈

┱꼒㎼⿣曵3FDUP⮱䟩䙰漳㸉騅

On the Cover

Outfit 僜逸 Loro Piana jacket 㜔⩡ ;
Hanes tank top ┕辊 ; Celine
trousers Ꝛ選

PHOTOGRAPHY XIAOWEIXU (HO)

12

70
Sister Act
Dive into a spread that
fuses physical fashion with
Midjourney-generated
models and settings
վ5BUMFSտ缏⻉澶㵄ꅐ㒘⾕"*缔㎽
䪫勘䧯㹧ꂘꀀ僓㹀㝕曩

140

116

84

116 The Wish List
Everything you need to
look and feel your best
this month

culinary heritage

䧰♰┱㝕嵤鉿⻑눢姍⯒駧◱嵌溸

94 A Wrist to Watch
Tay Liam Wee gave us an
insight into the life and
times of a diehard watch
lover and collector

겐⻉勔劓䨿劔茤駑✘䠋閚劅㟲

勚㗶✦u觠騢睘㸉騅

⻐銩曄㟲脢⫅侅趴㵶ꋡ䎾㥓


溸⶿⿣

148 Room for Desert
These luxury hotels capture
the magic behind the vast
emptiness of the desert
perfectly

➶葮騎騰

84 Watch Picks
The best in watchmaking
this month
勔劓劅✲菑銩

102 Jewellery Picks
The most dazzling
jewellery launches
寤臔劅脘濤溸榓㵂

90 Dressed to Impress
In an era dominated by
sporty chronographs,
Rolex introduces the
Perpetual 1908
㐃䓝♁♨ꁾⲘ駉僓焺銩╬╭鿣

110 The Crown
Jewels of Asia
These female jewellery
designers are defying
creative norm

溸䌑♣ⲧⲇ㛶䲀⮃官鯵⚳겍溸


㟖駦駉䉞♰䮅䧹榓㵂溸⮱✑閕螅

婞鍯銩䚔Ⲙ㒘
8

FEATURES
132 The Eternal Pioneer
In celebration of 30 years in
showbiz, Karen Mok tells
us about taking charge—
and what’s next
䌳玖⪝鉿⽟䌑裝倁谆鴋䧰♰
騰⯒㠁✇䧯╬栃䓝┞긖溸虪☭

140 Rooting for Change
The future has reserved a
space for Asia’s remarkable

勑匡䉂╬◱嵌ⶽ鱴溸搫뇶⚿缛

汧┞䊛⛻

┞労傱ꮪ溸屧悤⼯楓⮃罡廻疿挺
▇䠋ꂘ◲髀ⶶꏞ䍕㴟耘䯱䯛◗
婟玘㞂때ⲇ

PHOTOGRAPHY AFFA CHAN (MODELS) IMAGE MIDJOURNEY (MODELS)

82 Stepping in Time
We caught up with
Giuseppe Zanotti on his
first visit to Asia post-Covid

EDITORIAL
editor-hk@tatlerasia.com
Editor, Tatler Macau ANDREA

LO

Chinese Editor, Tatler Macau AHY CHOI
Head of VIP Content and Community TARA SOBTI
Translator ROSA CHEN
Sub-Editor RICHARD LORD
TATLER ASIA
Regional Managing Editor, Print KARLY

COX

Regional Fashion Director CHERRY MUI
Lifestyle Editor COCO MARETT
Watch and Jewellery Editor AMRITA KATARA
DIGITAL
editor-hk@tatlerasia.com
Regional Managing Editor, Digital JOANNA

GOH

Digital Editor HEIDI YEUNG
Deputy Digital Editor SALOMÉ GROUARD
Digital Sub-Editor SUCHETANA MUKHOPADHYAY
Digital Chinese Editor TIM KU
Social Media and Branding Manager JERRIE LO
Digital Growth Manager GINIA CHAN
ART AND PHOTOGRAPHY
hkart@tatlerasia.com
Regional Creative Director MIGUEL

MARI

Design Director TERESITA KHAW
Senior Designer MAY LUI
Regional Art Director for Photography ZOE YAU
Senior Photographer ZED LEE
Photographer Assistant NICOLE MA
PRODUCTION AND TRAFFIC
hkprod@tatlerasia.com | hktraffic@tatlerasia.com
Regional General Manager, Publishing Services ANNE

MOK

Production Manager GEMINI HUI
Senior Production Officer SIDNEY KWOK
CIRCULATION
hkcirc@tatlerasia.com
Audience Data and Senior Circulation Officer

WILSON MA

COMMERCIAL
advertising-hk@tatlerasia.com
Deputy Managing Director, Hong Kong RACHEL

CHOY

Regional Business Director STELLA CHAN
Regional Head of Dining ANDY CHENG
Business Director, Hong Kong JANET WONG
Business Director, Hong Kong JOYCE MAK
Business Director, Hong Kong JANE LEE
Business Director, Hong Kong ANN LAM
Business Director, Hong Kong & Macau BILLY CHEN
Assistant Manager, Client Services NATALIE SIU
Branded Content Director MARK GOH
Branded Content Editor GRACE BREWER
Branded Content Assistant Manager WINNIE CHAN
Assistant Manager, Commercial Initiatives EMMA CHAN
MARKETING
hkmktg@tatlerasia.com | hkevent@tatlerasia.com
Regional Marketing Director NICK
Marketing Manager CLAUDIA

WILSON

YU

EVENTS AND EXPERIENCES
Events Director HANN

KWOK

Manager, Event and Projects BARBIE TSANG
Project Manager, Tatler Dining ASHLEY YUE
Project Manager, Tatler Experiences NATALYA XAVIER
Assistant Manager, Events RICCI OWEN
Senior Executive, Events and Projects CHRISTY LI
TATLER ASIA
hq@tatlerasia.com
Chairman and CEO MICHEL

LAMUNIÈRE

Chief Experience Officer SEAN FITZPATRICK
Chief Technology Officer JET CHOY
Chief of Staff and Group Controller MANDY
Chief People Officer MAGGIE SHEN

LAU

EDIPRESSE GROUP
Chairman PIERRE

LAMUNIÈRE

CFO & COO MICHEL PREISWERK
Vice President SEBASTIEN LAMUNIÈRE
Tatler Macau is published by Tatler Asia (Hong Kong) Ltd.
15/F, Global Trade Square, 21 Wong Chuk Hang Road, Hong Kong. Tel: +852 2547 7117 Email: hkinfo@tatlerasia.com
Copyright ©2023 by Tatler Asia Ltd. All rights reserved. Printed by Asia One Printing Limited, 13/F.,
Asia One Tower, 8 Fung Yip Street, Chai Wan, Hong Kong. Tel: +852 2889 2320
Tatler Macau is a registered trademark of Tatler Asia (Hong Kong) Ltd.
All materials published remain the property of Tatler Asia (Hong Kong) Ltd.
Materials submitted for publication are sent at the owner’s own risk and,
while every care is taken, neither Tatler Hong Kong nor its agents accept any liability for loss or damage.

LET TER FROM THE EDITOR 罒ꀀ溸騅
From left:
Macau’s Ruins of
St Paul’s in the
19th century; a
shot of the site in
the present day
䄅颯┪篕氳

㛻└䄘撿㏵㛻└䄘
撿㏵氳朆靏ն

A Modern Renaissance

12

When my maternal grandfather stepped on a sampan in
Macau in 1946, bound for Hong Kong, he could have never
imagined his sleepy backwater of a hometown would
become the world-class art and dining destination it is today.
He would have marvelled at the way it has emerged as a
vibrant hub for local and international artists.
In this inaugural issue of Tatler Macau, we take a deep
dive into the city’s burgeoning arts scene and speak to the
personalities who have worked tirelessly to bring a series
of cultural offerings to the people, especially when borders
reopened after almost three years (p.32).
Macau’s rich history, of course, has always played a
part in how its culinary landscape has taken shape. Turn
to p.22 for restaurant openings of note around town. We
also pay homage to the chefs around the region who are
using innovative methods to keep Asian culinary traditions
alive (p.140).
Elsewhere, we have the privilege of stepping into the
charmed world of Laurinda Ho, daughter of the late tycoon
Stanley Ho (p.40); and celebrate the illustrious career of
Karen Mok, as she reflects on three decades in showbiz
(p.132).
Tatler first met our cover star David Beckham earlier
this year at the opening of The Londoner Macao, where he
designed several suites, including one named after him. The
legendary footballer dives into how his recently launched
Netflix documentary—an intimate look at his family life—
came about, bringing Lionel Messi to Inter Miami and his
favourite role in life (p.52).
Finally, as we celebrate the changing of the seasons, we’re
bringing you the definitive guide to the best in autumn and
winter style (p.116).
I returned to Macau this year for the first time since the
pandemic began. If my grandfather were still around, while
he might have been surprised by its new-found commitment
to art and culture, he would have been delighted to see that
the spirit of the city he knew remains alive and well.

䌑䓝䧰溸㜾率曋㐃憬ꬾ鵕┪┞蘛䐷䔯눥溸薗薣僓

♑♈勑䞰⯒枵㠁媄寊薮屋귿溸㵶▤⚷䧯╬♁傽ꂘ╗┿汕绣溸

虪勘⾕넔뇺苞㐌ն♑㝕嚤□⚷䝫駞憬ꬾ皸⚷䧯╬楓㐃ꂘ╗寤臔
勔㐌⾕㎼ꮪ虪勘㵶溸虪勘厀绹ն
㐃勔劻վ5BUMFS
.BDBVտ⮱⮜⺵䧰♰㸞䊎✘䱲筻ꂘ䍵㓻䉗
溸虪勘⹿㺥潂⬔䌔駧ꭄ┞潳ⲛⲇ䑜ꂛ窢䔅倁嵛Ⲙ溸ⲍ蔙

杅⯋儱缋⸉ꂀ┩䌑泯䝠ꁉ㘷缄◟ꓨ假䐷侒溸婟僓睘뀅ն
䓝撬憬ꬾ╝㶡溸⸉⺮┞潳儱䓺䧯勔㐌栃杅搫뇶倁溸ꓨ锢
⩧筷ն騟脌꭛睘뀅◗闌┞◲⡽䕒汧䟩溸假넔⸈ն䧰♰ꂖ⻔◱
嵌⻄㓻䉗溸⸻䉞蔺俓♑♰⯈氠⮱假做岻⟛㲾◱嵌搫뇶⚿缛
䌔╬㴋♰鰘◙假气⾀睘뀅ն
婟㜾勔劻勵䗅劔䌘鱂ꂛ䉂侚㝕☍✇먩日㟖⩠✇鱪裩溸⫐䖦
┿汕睘뀅䌔┻┱裝倁谆┞鱎㎈뀎㟧䌑捋揈悎虪气布╚
溸걾䗇僓⯤睘뀅ն
脯┯╽⯼
վ5BUMFSտ㐃憬ꬾ⛆俌☭䐷䋜䌳⪿┪눢姍閒⯒勔
劻㸖긖僻儘㝕⷟u鯪⩴實㢯♑掿ꏞ䍕駦駉◗⭠ꭊ㞟䨼⪼╚┞
ꭊ剳♨♑溸⻐㲼⾀⻐նꂘ⛻⚿㞂鳉槊僻儘蕝䧰⠰鞼⯒◗劅ꂀ㐃
/FUJY乨⮃溸┞㞟绦䓡曩ꄺ㞟ꃟ✘笡⮬第ꛈ曩䳺궣◗♑溸㵶
䎂气嵛յ㠁✇㸞哝锟䊎⯒㎼ꮪꁫꮣ㶕鳉槊⟺▍ꌄ♨⹴♑汶气
劅ㄼ姐溸┞╗麄⮕睘뀅ն
劅⻑㐃㳌虹剳ꃆ▇ꮪ䧰♰掿✘⼯棿劅妜㥓溸瑽⬈免㹀䭰
ⷂ睘뀅ն
♁䌑䌑⮵䧰㐃泯䝠晦⹿♨匡눢姍ꓨꂊ憬ꬾն㠁卸䧰溸㜾率
曋ꂖ㐃♑⺪茤⚷㸉ꂘ䍵㓻䉗㐃虪勘⾕倁做긖溸䂃假긖髳䠋
⯒䝫ㄼ┱婟⻎僓♑䖪㴼□䔻둛⪺澚⯒♑䨿斀䛳溸㓻䉗窢玘

❹撬㲾㐃ն

—Andrea Lo, editor

PHOTOGRAPHY ZED LEETS (LO) IMAGES CHRONICLE/ALAMY STOCK PHOTO (OLD ST PAUL’S); TUMJANG/GETTY IMAGES (PRESENT ST PAUL’S)

楓♣倁虪㜩⪺

THE GUEST LIST

NINA MILHAUD
Hong Kong-based
freelance journalist Nina
Milhaud previously worked
at AFP, Monocle and Design
Anthology, covering topics
ranging from art and design
to politics, social issues
and entrepreneurship.
This month, she dives into
the best new restaurant
openings in Macau.
䊬뎱눥溸蔦氮乯畈☭

/JOB
.JMIBVE劁㐃岻假獘յ


վ.POPDMFտ勵䗅⾕




վ%FTJHO
"OUIPMPHZտ



勵䗅䈰✑帏漺虪勘┱駦駉
侓岖յ獘⚷駖뀨♨蔸⮱╃

窢玘ն勔劓㟧㸞广⪝䱲駐

憬ꬾ劅⮃虝溸假넔⸈ն
14

CAROLINE ISSA

MAGGIE HIUFU WONG

Caroline Issa is the CEO
and fashion director of
Tank Magazine in London.
She also has a column in
Telegraph Luxury and is
on the Board of the British
Fashion Council. For
Tatler, she interviews cover
star David Beckham.

Maggie Hiufu Wong is
a freelance writer based
in Hong Kong. She has
covered everything from
the first man who walked
the Great Wall of China to
to Japan’s Kumano Kodo
pilgrimage. Previously,
she worked as a digital
producer for CNN Travel.
This month, she interviews
Ines Lam of Chong Kio
Farmacia Chinesa.

$BSPMJOF
*TTB儱վ5BOLտ

勵䗅溸鉿侓䙰鍧⾕僓㹀䙰漳ն
傶儱վ嬓傽氲駗䫟տ╚僓㹀

ⶶ吡潨溸┺吡✑㵶□儱

蝠㎼僓鍯⶷⚷⚷⽄▇┞ն

㟧╬վ5BUMFSտ駧ꭄ勔劻

㸖긖☭朮㝕⷟u鯪⩴實㢯ն

FRANCESCA FEARON
London-based journalist
Francesca Fearon
contributes to the South
China Morning Post,
Financial Times Watches
& Jewellery and Condé
Nast Traveller Middle East,
among others. For Tatler,
she meets Asia’s most
formidable female jewellery
designers.
뎱⛆俌駘脢'SBODFTDB

'FBSPO╬վⷂⶶ僃䫟տյ

վꓭ鄌僓䫟տꦥ銩┱榓㵂吡


潨⾕╚╅曬վ$POE§
/BTU

5SBWFMMFSտ瞏䫟⮜乯畈ն
㟧╬վ5BUMFSտꓠ駧◱嵌

劅匮⮃溸㟖䙎榓㵂駦駉䉞ն

䊬뎱눥溸蔦氮乯畈☭
.BHHJF
)JVGV
8POH

䫟ꇔ帏漺⻄璀╭뀨♈睘┞╗
溫┪╚㎼┧ꓧꪍ㓻溸☭♨蔸
傽勔敒ꓩ⺜ꇔ溸劸㏼脢㟧☊
劁◟վ$//
5SBWFMտ䬎⚈⯜
✑☭ն勔劻㟧╬䧰♰駧ꭄ╚
➇⹨蟱溸卲ꂽ䚾ն

David Beckham.
Opposite page: The
Chong Kio Exclusive
Wellness Sanctuary
㛻ⶼ٬顄⩡姽㡁ն㵒건
╈❲⹇蓣⪓亍哮䒞狝ꠑն

In our launch issue,
we curate the hottest
Macau restaurants to
book, meet the jockey
Tony Cruz, and dive
into how the city is
emerging as an arts
destination
㐃ꂘ劻⮱⮜⺵╚䧰♰
窢䖦瞬⮦◗憬ꬾ劅搑ꬾ
溸넔⸈յ駧ꭄ◗詇⻐绿
뎢䉞⼴╅㹹♨⹴广⪝
◗闌ꂘ䍵㓻䉗㠁✇䧯╬
虪勘苞㐌ն

THE SCENE | MEET ME AT THE BAR 뇺난☭騕

In with the New
⮱假窢玘
How Ines Lam is disrupting the wellness industry
with Chinese culture and family wisdom
卲ꂽ䚾㠁✇⡊ⲙ╚㎼倁⾕㵶䎂冝䢘駑⫄气☋╃侊㝧䰄긖ն



By Maggie Hiufu Wong. Portrait by Audrey Tam

Ines Lam, CEO of Chong Kio
Farmacia Chinesa, is bringing
traditional Chinese medicine
(TCM) and Chinese wellness
retail into the modern era with the
new holistic Exclusive Wellness
Sanctuary, which opened in July.
What’s your wellness philosophy?
Balance is the keyword of my
philosophy of wellness. There is
no one quick fix towards wellness;
take a holistic approach to balance
your diet and yourself mentally and
spiritually.

What’s unique about Chong Kio’s
newly opened Exclusive Wellness
Sanctuary?
Everyone talks about wellness, but
few think deeply about what wellness
means. For our new space, designed
by Neri & Hu, it took us two years to
work on the concept. I hope it’ll give
our customers an idea of how Chong
Kio interprets wellness.
When they walk into the shop,
the storefront is hidden—it doesn’t
have the usual floor-to-ceiling glass
windows. It’s monotone. We curate
it to give our customers the time
The Exclusive
Wellness
Sanctuary offers
personalised TCM
wellness plans
斻攑氳⪴榟⛮뀰䈙䬠
❠╄☕⴬氳╈⵴⢹䉔
阞⮕ն

╚➇ 谁 蟱 䪃鉿 詡 ◜ 卲ꂽ 䚾⭮⡊ 劓䐷
╃ 溸 ⪢ 假 ⫄ 气✅ 돂 䍕╬⚿ 缛╚ⶖ 術 ⾕
⫄ 气관み╃ 峜 ⪝ 楓♣ 溸 假 官 䛉 ն

䜨溸⣍䎙〡㳔儱☴▂
䧰 劅 ꓨ 閗 溸 ⣍ 䎙 槏 䗼 㹧 儱 䌐 銝ն

䧰 駌 ╬ ⣍ 䎙 ┯茤 ┞鸒脯 㹧 䖪 뀋 䭶
ꌄ 㹧 劅 㟲 ꓠ ⺆┞璀 ⪢긖溸 做 岻
ꁒ ⯒ 뇺난յ䖦槏 ⾕窢 玘 瞏做긖溸䌐 銝
뇺난ն
╚➇谁蟱⪢ 假䐷駦溸⫄气✅ 돂䍕劔✇
栃杅▇㜘
㝕㵶ꌬ㐃駚⫄气ⷮ䔻㸵☭茤㝉广⪝
䘽脞⫄气溸澶婞䟩帏նꂘ╗氮㠁䚾駦
駉⪫⺶䩤ꅐ溸⪢ 假疿ꭊ◗═䌑溸僓
ꭊ卐䘽䧰䉤労㴋茤駑뀎㵊◗闌╚➇谁
蟱㸉⫄气溸騈ꓤն
䓝뀎㵊鱂 ꂛ 匡僓♑♰⚷⹿楓䧰♰
屳劔䊬閒ꊙ璀溸訒㐌楣檶ꬾ脯儱 鴋
㙡麄┞呤溸⶿虝騫䠋閚㹧⦑갬趴溸
玘璔ꄽ ꇔն䧰♰溸嚤䗼儱䉤労㵊☭ ꂛ
匡▇⯼⺪♨氠┞掾僓ꭊ䗇䱆㜾긖溸┿
汕귿┬匡⻾⻾麄✅䞰⼴駱♑♰溸⟥
䛉ն䧰♰溸麄✅ 澶溸䔻玘㞂䓝䧰♰劔
僓ꭊ귿┬匡膪⻾溸僓⡀麄✅⚷⼴駱
䧰♰䔻㝃 ⣍䎙做긖溸⟥䛉ն
䧰♰⯈氠窢岓䊜ⲙ뀎㵊侒卄䌔周
䰕♑♰䓝⯼溸괛寛⾕麄✅枱⬔╬♑♰
騫ꏕ蠗勔⫄气蟬ն䧰♰䉤労 뀎㵊茤╭
Ⲙ⼴焒♑♰溸气嵛做䑑⾕䞰锢闌⬑溸
ꭄ뀨♈脯╬♑♰䳀❵⻉ ꃿ溸⣍䎙蒟
난䐮 駖ն
䜨䉤労侊⺈楓㐃☭♰㸉╚ⶖ術溸☴▂
澚岻
氮◟ꂘ┞鉿罼▌劔⪫⟥ⲇ溸吙⬮⾕婞
燛⟥䛉䔻㝃僓⡀☭♰ꄑ鯺術包僓⺢ꄑ
劅缋嵴㵄䞒溸稝⯋ⷮ䘋汻◗泈侞⾕☋

19

to shut off from the outside world
and listen to what their body is
telling them. Our bodies are really
amazing. They can tell us a lot about
what is happening, when we aren’t
too busy to listen.
We use essential oils to help
people relax, and prescribe herbal
tea based on their current needs and
body conditions. Hopefully, they’ll
then be able to talk to us about their
lifestyle and the problems they’d
like to address. Through that,
we’ll provide appropriate dietary
recommendations.

20

What would you like to change
about the perception of TCM
today?
Very often, people look for the
most economical TCM options but

overlook efficacy and authenticity
due to a lack of standards and
information in the market. Because
of climate change, TCM products
are getting more valuable. We need
to educate people that TCM isn’t
something that should be cheap. Do
you know what degree of water or
how much salt to use when processing
a sea cucumber? Do you know why
cordyceps from Tibet are different
from other cordyceps? There’s a lot
of wisdom, craftsmanship and hard
work behind our TCM products. We
hope to deliver this message so people
will appreciate TCM from another
perspective.
What’s your vision for Chong Kio
Farmacia Chinesa?
We need to modernise the industry,

so we’ll be able to pass on the
Chinese culture and wisdom to
the next generations. We keep
looking into ways to make TCM
more lifestyle-related, and how
to integrate technologies such as
medtech and AI to understand
our customers’ needs better
and prescribe a more precise,
personalised TCM diet or
wellness plan.

⿣儱⻲鯴澶⚃㵄նꂀ䌑匡官⡀⺈術
包⺈䕒鱴匡鱴䑾鳉楻鰂ն䧰♰䖪뀋駑☭
♰焒ꇔ術包溸⚃⡽ն✘焒ꇔⲎ䈰嶯⹨僓
锢氠☴▂廛䍳溸寊յ锢Ⲏ㝃㸵漲⻜✘
焒ꇔ匡蔦锟趴溸輮蠗┱⪼♑㐌ⶔ溸輮蠗
劔✇┯⻎⻜ꂘ◲╚ⶖ術☋⿣溸芻⻑箕
璺◗傱俚⯼☭冝䢘յ䈰虪䪫䈳⾕ꀋ⳵ⲛ
ⲇն䧰♰䉤労⚿ꄨꂘ╗⟥䛉駑☭♰♨
⺞┞╗閤䍳姒鰜╚ⶖ術ն

Looking back on your journey
helming Chong Kio for the past
decade, what are some of the
most important lessons you have
learnt?
There’s always going to be someone

䜨㸉╚➇谁蟱劔✇䡇冎
䧰♰괛锢㸞ꂘ╗鉿╃楓♣䩜茤駑╚
㎼倁⾕冝䢘♣♣潸⚿┬⹜ն䧰♰┞潳
㐃煝疵㠁✇❈╚ⶖ術┱傽䊬气嵛剳Ⲏ䛉
䛉潸⪸♨⹴㠁✇俠⻉ⶖ泈䪫勘⾕☭䈰
冝茤瞏䪫勘駑䧰♰剳◗闌뀎㵊괛寛
╬♑♰⯜㴼剳窢燛յ╗䙎溸╚ⶖ뇺난
䧶⫄气駉⮦ն

who does not value what you do. You
just need to do the right things with
good values and good intentions.
Then, nothing else matters.
I also realised how important it
is to learn from mistakes. It’s about
how much you can learn from the
mistakes you made and how fast
you can stand up and move on. My
dad always said: “By the time you
leave this world, your goal is to have
become a better person compared
when you came into it.”

㎈뀎ꁩ⹜ⶥ䌑匡䜨뀖㸍╚➇谁蟱

溸⸉瓨儱⻲㳔▣⯒◗┞◲ꓨ锢溸

╅锟
┿◜䙰┯⚷㹻㠁☭䟩䙰劔☭⚷㸉✘

⢳溸◜㇈▇♨ն䧰㴼⬑䖦⹜⢳蔦䉁
駌╬劔⚃⡽յ♨ㄌ䟩╬⮃⹿掾溸◜

⪼♑溸◜⹹脯┯ꓨ锢◗ն
㐃ꂘ╗ꁩ瓨╚䧰□僻溮◗♈ꨟ騗╚
㳔▣溸ꓨ锢䙎ն⪸ꨴ㐃◟✘♈枩┬溸

ꨟ騗╚㳔⯒◗㝃㸵ꂖ劔✘⺪♨㝃䗪皭
鱎匡䌔缣缩⻔⯼ꁫꂛն䧰曋☠䊬騜

䉤労⯒◗瑠┿溸僓⡀⺪♨⼴駱蔦䉁
✘儱嬠匡⯒┿汕僓剳㟲溸☭ն

Clockwise, from left:
The space is designed
to offer a warm, intimate
atmosphere; dried
bird’s nest in the shop;
ingredients on display
include wild cordyceps
and dried antlers
걹休Ꙟ亡⺸䄅颯⪴榟⛮뀰
䈙䬠❠峪껁☆㳢氳妹㍴㷤炐
⺨熨㛿抆免乢䈙⪑氳揔猷
䯹䷒♔⺨牊㞝ꄇ榟谺蔈⹖뛉
蓣璡蕇免ն

21

THE SCENE | OFF MENU 栃杅褺⶿

New and Noted
⼂䭰劻䔶
The most exciting new openings in town—from innovative
Cantonese fine dining to decadent European afternoon tea
♈둛绣⮱䟩穯褺⯒ⶶ姚嵌┬ⶭ蟬䲀♃♥☭䭈潨♨䔶溸憬ꬾ假넔⸈ն
By Nina Milhaud

CHEF TAM’S SEASONS
The name and concept behind
Wynn Palace’s Chef Tam’s Seasons—
which is helmed by chef Tam
Kwok-fung—comes from the 24
solar periods in the lunar calendar.
The dishes, including Cantonese
classics like baked stuffed crab shell
and wok-fried lobster, are designed
to showcase the seasonality of the
ingredients, which are sourced
from around the world. A selection
of Chinese baijiu is displayed on a
custom-built trolley.

驕ⶮ

ANDAZ KITCHEN
Offering all-day dining, Andaz
Kitchen—which is at Andaz Macau—
serves Chinese, Portuguese and
other western cuisines. The menu
features the likes of sautéed prawns
with chilli and garlic, and African
chicken, a Macanese signature.
Inspired by old Macau shophouses,
the decor evokes the city’s maritime
history and European heritage, with
evocative details such as wooden
archways, Portuguese azulejos tiles
and ceramic plates.

㴘ꁒ♐⸻衂

22

⛻◟憬ꬾ㴘ꁒ♐ꏞ䍕㴘ꁒ♐⸻衂䳀
❵⪢傽넔뇺❵䍎╚褺յ詞褺⾕憬ꬾ
㏸气褺ն褺⶿┪溸䬲曵倣槏䭇♨詞
䑑ꧢꨋ潂鿬溸詞㎼捰㝕轈⾕勔㐌詇⻐
溸긌嵌먋㺥楓鉿侓䙰⸻묰㴘䖎溸㝃
⩧倁芻冎ն넔⸈溸㵎⫐鍯愡♨憬ꬾ
䍕㺒╬挺䠋㹻兇꼣⽱溸勏⯜䭍ꬾյ
詞覟朓뎢鰨⩴殰煟⾕䩘缔譻溮꯺殰
漽㲳⻔憬ꬾ薨嶯⸉⺮⾕姚嵌⚿缛蔺
俓նgalaxymacau.com

寏⯈溽㵜溸驕ⶮ♨穯褺㝕䉞驕㎼ꨑ╬
⻐䌔⭙臔◗♑㸉╚ⶶ⚿缛◝ⶥ㎃虹官
溸搫騫槏䗼ն驕䉞⤅窢䖦搫騫溸褺䑑
䭇摥ꐴ釗漺⾕捰봅轈瞏缋⪿穯褺

㐭♨匡蔦┿汕⻄㐌溸䓝㳌劅⚳鯵난包
⪝눠䌔♨杅⯜ꏞ鿕╬㵊☭⼯㞆♈╚
㎼⻄㐌䵎羻脯匡溸╚㎼楻ꐴ

溮ꏞնwynnresortsmacau.com

CHIADO
The brainchild of chef Henrique Sá
Pessoa, who runs Michelin-starred
Alma in Lisbon, Chiado—which
reopened in August and is
now housed within The
Londoner Macao—offers
modern Portuguese
classics. Expect crowdpleasers like suckling
pig confit, braised
seafood rice with
lobster, and salt cod
à brás, best paired
with picks from
Chiado’s extensive
Portuguese wine
cellar.

䉤겍䍳詞㎼넔⸈
匡蔦詞覟朓溸儘绣⻐⸻)FOSJRVF
4Ÿ

1FTTPB儱ꓧ偅勔稌⪼卲넔⸈"MNB溸

䱌藂脢♑㸞窢弸⸻虪䊎匡憬ꬾ⛆俌☭
溸䉤겍䍳詞㎼넔⸈ն넔⸈◟劓⫙䍳⼯桬
楓♣詞䑑耘눠䭇㜜⺇ꃰ䰋溸╭⸻䭡
䩘㟲褺㠁岓㸖►桧յ봅轈☴ꨬ嶯랓損
뇹⾕詞䑑럌띳䵴ꏕ넔⸈窢ꄑ溸詞㎼

✲ꐴ剳怂⽱նlondonermacao.com

RAFFLES LOUNGE &
TERRACE AND BELVEDERE
Raffles at Galaxy Macau brings
new dining options, like the Raffles
Lounge & Terrace in the lobby,
which offers European afternoon
tea with a twist—including an éclair
trolley that gets wheeled around.

Steps away, nestled in an intimate
Mediterranean-inspired garden by
an infinity edge pool, Belvedere is
exclusively reserved for guests of
Raffles, offering light refreshments
like Japanese fruit.

裨✐㛶㝕㕔⻳
⾕ꮒ⩱尊江넔⻳
憬ꬾꧼ岉裨✐㛶╬憬ꬾ䊎匡假溸넔뇺
㟲⹜㜘㶅㵊⺪◟裨✐㛶㝕㕔⻳☑氠
裨✐㛶姚䑑⚿缛┬ⶭ蟬♨⹴杅虝氎
⿣鿕ꃼ┪溸ꭀ氲蚤ն婟㜾┺╬┬園
裨✐㛶溸㶅㵊脯駦溸ꮒ⩱尊江넔⻳
㑀䬿㐌╚嶯낊䝠溸疿╚㎢䌔嬧ꊿ瑮
㺲傱ꁉ峯尊❵䍎傽䑑窢ꄑ寊卸瞏鿪
난նgalaxymacau.com

DIVA
Perched on the 40th floor of
W Macau—Studio City,
contemporary Cantonese restaurant
Diva pairs modern Cantonese
cuisine with a selection of teainfused cocktails. The restaurant’s
bold art deco theme is inspired by
the charm of silver-screen divas.

㯯

㑀訒◟憬ꬾ假戂䔕寤8ꏞ䍕嚜楓
♣穯褺넔⸈㯯㸞楓♣穯褺䵴ꏕ┞笡⮬
♨蟬╬㕈騫溸먋㹼ꏞն⩪怮閗閚侞卸溸
鍯뇼虪勘╭뀨挺䠋匡蔦때ⲇꃟ☭溸䔕
㑐㝙⻑նstudiocity-macau.com

23

Effortless
Style for
Miles
鿪卄僓㹀

傱ꮺ낊ꓠ
The timeless, celebrity-favourite travel
companion that’s always on point
56.*┞潳儱⻐☭ㄼ曄溸偳⛘
㢽缄鱂㐃僓㹀⯼岛ն

U

24

nlike the throngs of candyshaded micro totes and
slouchy hobo shoulder bags
that come and go with every
season, a great piece of luggage should
stay around long after the trends fade.
In the realm of luxury travel,
Tumi luggage has long reigned as an
emblem of impeccable craftsmanship
and premium design. This reputation
has helped garner an impressive list
of fans, including football legend Son
Heung-min, singer-songwriter and
actress Reneé Rapp, F1 superstar
Lando Norris and Hollywood A-lister
Chris Pratt, to name just a few.
While it’s no easy feat to narrow
down Tumi’s diverse portfolio of
travel cases to just a few standout
styles, it’s difficult not to be drawn
to the iconic, perfectly sculpted 19
Degree collection, which comes
in both aluminium and recycled
polycarbonate versions.
Here, discover some of Tatler’s
favourite 19 Degree features, and find

out why the jet set has fallen hard for
these always-in-style travel cases.

STYLE POINTS
When you look at the 19 Degree
collection, the first thing that stands
out is its strong aesthetic appeal.
Beautifully contoured, fluid angles
fuse with luxurious finishes and pitchperfect colour combinations. More
covetable than your latest handbag
purchase, you’ll want your Tumi
in-frame for every travel photo.

SHOPPING SPACE
It’s never fun when your overseas
shopping has to end simply because
you’ve run out of luggage space. That’s
one of the perks of travelling with 19
Degree luggage. Travellers can opt for
one of the expandable styles that offer
a few extra inches for any unexpected
purchases.

STAY CONNECTED
Anyone whose phone has run out

of juice on a travel day can relate to
the stress of not having a reliable
charging port within close reach.
19 Degree carry-on styles fix the
dilemma, thanks to a discreet and
dependable built-in USB port and
easy access pocket for a power bank.
While it’s a relief when you do need
to recharge, just knowing it’s there
for emergencies also offers priceless
peace of mind.

LOOK CLOSER
Just like so many things in life, the
beauty often lies in the finer details—
and the same rings true for every
Tumi creation. There isn’t an element
of the 19 Degree collection that
hasn’t been masterfully thought out;
from the smooth-gliding wheels and
ergonomic three-stage telescoping
handle that adjusts to your height, to
the thoughtful, bottom grab handle
that allows each bag to be lifted off
the carousel or out of the overhead
locker with ease.

⺇姐ꁹ溸竒卸虝鱪ꃟ✘䩘䳀
⾕卄㓋溸⶿艶嬓㳌䲀ꮭ
⮃假娉䑑┯偃⺈⛰┞娉
㟲溸偳鉿硟ⷮ缋䕒鱎僓ꭊ溸
脞돂ն
㐃ⶶ偳鉿뀖㔔5VNJ偳鉿硟ꪍ劻
♨匡錻閗╬傱⺪䮅Ⰷ溸窢弸䈰虪⾕둛盛
駦駉溸骮䔰նꂘ㛽霶╬5VNJ鰯䕒⚱㝃
䗘㵄뀎㵊䭇⚿㞂鳉槊⽄㲿⪺䢂 4PO

)FVOHNJO յ⮱✑娬䩘⫅悎⽄蛗㡭u䬕
册 3FOF§
3BQQ յ'鰨鿕䩘⪳㝃u騢ꓧ偅
-BOEP
/PSSJT ⾕㟲裨㑓䈵儘⩴ꓧ偅u䉱
䬕杅 $ISJT
1SBUU 瞏瞏ն
5VNJ偳鉿硟娉䑑㝃呤䔻걾♈╚

ꄑ⮃劅⮃虝溸낊呬⛰✘缙㸉⚷錻⪾劔

⿣曵吙䗅䙎յ䬿劔겱⯤薮㴟耘绻匜溸


%FHSFF笡⮬䨿⼕䑜ն婟笡⮬㜜劔ꧣ⻉
ꓭ⹴⫙气臔牕ꐧꐔ═璀包鯵⯜䧯溸娉䑑ն
㐃ꂘꓧ䧰♰㸞♃缉վ5BUMFSտ劅ㄼ

姐溸
%FHSFF笡⮬偳鉿硟溸┞◲杅虝
ꂘ□㸞闌ꓤ╬☴▂ꂘ◲僓㹀溸偳鉿硟

⚷⺇⯒⻐嵤♰溸귱瀃ն

㜜


낊呬때ⲇ
䓝✘澚⯒
%FHSFF笡⮬僓눢⩰儙⪝

濤䉶溸儱⪼䒩揓溸閗閚耘䠋ն⚳耘鿝䏔յ
嵤Ⲙ薮溸绻匜銱䩬ⶶ溸䫔⩱⾕㴟耘溸
虝䔅缀⻉ն嬠鱎✘劅假鯺▷溸䩘䳀


%FHSFF笡⮬剳寏䚔缋⪿✘㸞⚷

䉤労嬓䑳偳鉿攍曩┪ꌬ劔5VNJ溸麄䔕ն

From top: Son Heung-min
with the 19 Degree Aluminum
Rolling Trunk in silver;
19 Degree International
Expandable 4 Wheeled CarryOn and 19 Degree Extended
Trip Expandable 4 Wheeled
Packing Case in hunter green.
Opposite page: 19 Degree
Aluminum Extended Trip 4
Wheeled Packing Case in
matte black
┕颯
㰈⪪䛻┚
%FHSFF
"MVNJOVN
硍⮜ꛌ荈辊ꠑ亹车畴
%FHSFF硍
⮜叜冷簪㎁ꡮ亹车⺎䣲㷤䣆䬠亹车畴
⹖Ꝛ鵎⺎䣲㷤㍌鯺㳞芡亹车畴ն㵒건



%FHSFF
"MVNJOVN硍⮜⿔⩞랫Ꝛ
鵎㳞芡亹车畴ն

鯺朮虙⛘
䓝✘溸嶯㜾鯺朮▇偳㎌╬偳鉿硟疿ꭊ
┯㝉脯錻ꃀ冩⢷僓✘┞㴼⚷閚䕒긌
䊬ꇟ䥐ն
%FHSFF笡⮬偳鉿硟溸⚳
掾▇┞㹧儱✘⺪♨ꄑ䭃笡⮬╚溸⺪䪆
㺥娉䑑㴋茤╬✘䳀❵뀭㜾溸䪆㺥疿
ꭊ♨㵽绯⚈✇┯劻脯ꆱ溸䖦㝧㟲ն

⟛䭥ꂞ绻
偳鉿ꄬ╚ꆱ┪䩘勨氲ꓪ腅㹻ꮩꂀⷮ
屳劔⩪氲駦㜜僓 騩ꌬ⚷䠋⯒⸐ⲇ⠩
㙨ն
%FHSFF笡⮬偳鉿硟╬✘闌⬑
ꂘ┞걾뀨 
㎼ꮪ偳鉿⺪䪆㺥㎃鿝䩘䳀
偳鉿硟㜜劔⫐翞64#盛⺛♨⹴鰁䖦
溸㸰⺛鋶⺪❵侒翞⩪氲㊮做➬┞鴤
┪╬갫麄氲㲳♭㊮⩪氲⩹ⷮ┱羱缘
┿汕㝤臅溸搊䛛ն

峜ꓨ缂虹
气嵛╚駠㝃◜朮溸耘㠺▇㜘䔯䔯㐃
◟缂虹5VNJ溸嬓┞⚂☋⿣□儱㠁
婟ն
%FHSFF笡⮬溸䨿劔缂虹ꌬ缋

ꁩ窢䖦駦駉䭇뀊汉怑Ⲙ溸鿝㲳⾕

睋⻉☭✅䈰㳔溸┩绣⛞罥䬕勹 ⺪周
䰕麄둛ꂛ鉿騫虹 鰁䖦溸䍐ꌄ䫈䩘
駑✘⺪鿪卄䳀鱎㐃鉿匃⚿ꃼ䊎┪䧶
㐃㝧뀆翞朮取⫐溸偳鉿硟駦駉ⵟ䖦
栃ꁾն

25

Tony Cruz at home in Sha Tin,
Hong Kong, with his custommade Bearbrick. The orange
silks represent Co-Tack, which
Cruz rode for his first Hong
Kong Derby victory in 1983. The
black and green silks represent
Silent Witness, which Cruz led
to 17 consecutive wins during
his career
⼔┱㶻⛤◇꺜婻榹㳄╈氳㲋⯆撷燠儒
挫ն噸荈┲䅠♏辑⼔┱㶻㏇䇗꺙埠
颉䐂꺜䣒⻏㛻颂氳颂뀝⺱䐼ն랫荈
⽰簪荈┲䅠♏辑⼔┱㶻䥵♳篮뀐䄳僿ꠑ
⹧䐂鳀羿氳颂뀝瞿葏㛻䄳ն

SCENE | THEN & NOW ♁儆㸉攍

Not Horsing
Around
虙뎯⛒▍
In this exclusive interview, we delve into the illustrious career
of the renowned horse trainer and former jockey Tony Cruz,
who reflects on his remarkable journey, unpacks the grueling
regime behind the lives of jockeys and trainers—and reveals
why retirement isn’t on the cards
詇⻐絋뎢䉞⹴ꃹ䔣돇䉞⼴╅㹹䱹⺇䧰⠰栃㵶ꓠ駧㎈꿨♑㐃兇鰺溸膷╃
气布╚鱂ꇄ溸긌⭡偳瓨╒䳺궣돇䉞⾕絋뎢䉞气嵛芻䕀缙┯⺪卄䥥溸硅
槏✅⯜♨⹴♑掿✇ꃹ脯┯⚪նBy Tara Sobti. Portraits by Zed Leets

27

From left: Cruz with Queen
Elizabeth II when she visited the
Sha Tin Racecourse in 1986; Cruz
salutes to the crowd after he wins
his last race as a jockey at the
Sha Tin racecourse in 1996
䄅㎂颯䇗葏㝶曓⚊╜薇氫◅┪阼
ꠋ婻榹뀐㏜⼔┱㶻┚㝶曓⺭䏆⼔┱㶻
◇䇗㏇婻榹뀐㏜颉䐂뀵䄳榟尐僄⺵
┉㏜奃颂⺵⺸鈸⚜舚丒ն

ony Cruz began his
racing career in 1973,
and was among the
first apprentices of the
Hong Kong Jockey
Club’s Apprentice
Jockeys’ School when
it opened in 1972. He went on to win
a whopping 946 races in Hong Kong
and remains a record holder on this
front, and is a six-time champion
jockey in Hong Kong.
Upon retiring from riding in
1996 he transitioned into a trainer
role, which has proven to be equally
prosperous. Cruz famously trained
the great Hong Kong champion
Silent Witness to win 17 consecutive
races. Here, Cruz talks about the thrill
of the ride, common misconceptions
about the racing world and his hope
for the future of the sport.
My father [the renowned jockey
Johnny Cruz] got me into riding
at a young age. When he saw that
I had some talent, he encouraged
my passion for racing, so I guess you
could say I became a jockey in large
part thanks to my father. He was a
very big influence on me.
28

Racing is definitely in my blood.

My father and my uncle [Mac da
Rosa] were both jockeys in the
amateur racing days, so I grew up
watching them race horses. It was
always very exciting and my interest
in horse racing grew from there.
Being a trainer is obviously very
different from being a jockey.
I was very fortunate to be licensed
by the Hong Kong Jockey Club as a
trainer after hanging up my boots
as a jockey. I travelled to the US, UK
and France to observe and learn
from some of the top trainers in the
industry. When I came back, I had
a lot of confidence to start my new
role in Hong Kong.
I absolutely miss the thrill of the
ride. If I could continue my days as
a jockey, riding winners, I wouldn’t
think twice about doing anything
else. Due to the numerous injuries
I sustained as a jockey over the
years—some quite serious—it made
me change roles in my racing career
to become a trainer.
The day usually starts around
4:30am at the stables, when the
horses do their morning trackwork.
We watch the horses go to the track

from the stables in batches while
the racing team carry out their daily
duties. This usually finishes at 9am.
In the afternoon, it’s back to the
stables again to oversee afternoon
training activities for the horses.
We have two race days a week—on
Wednesday nights and Sunday
afternoons.
As a jockey, we want to try and
get on the best horses that have the
most chance to win a race, but this
isn’t always possible. Sometimes
you will be approached by a trainer
or an owner to commit to a ride [a
horse that does not necessarily have
the highest chance of winning]
beforehand. As a trainer, we always
try to book the most suitable jockeys
to ride a particular horse in an
upcoming race, but jockeys too will
sometimes approach us early on to
try and secure the ride.
If I could pick all the horses I
wanted to train, it would be an
absolute dream come true, but
that isn’t always how racing works,
so you have to always do your best
with the horses you have, and try
to get every horse to perform to the
best of their ability. Looking back at

╅㹹5POZ
$SV[
◟䌑婞䑑㺥䐷
瞬돇气布ն♑儱눥
鰨뎢⚷◟䌑⮱
皒閒▣돇䉞㳔吿溸눢
䪟裯⺆䓡㳔⽄▇┞ն
♈◜돇䉞劻ꭊ♑劁
⪮姍㝰䕒눥⫵⫯돇䉞衇銌䙰⪴鰯
䕒㐙⫵⫯⮱┬蔸♁傱☭茤熏溸鿸
擏绦䓡ն
♑◟䌑䭨긯ꃹ䔣⪼⻑鿛⚈绿
뎢䉞䧯缥⻎呤䔇掱♥☭⯎潨潸澚ն㐃
♑駕绿溸鰨뎯╚♨劁缋ꂞ苞㐙溸눥
뎢椟窢蝠㝕䉞⻐官劅㝕ն⼴╅㹹
┱䧰♰汉騰瞬돇䊎匡溸⪺㞉⯢應䠋յ┞
薮☭㸉鰨뎢汕溸騗闌♨⹴♑㸉鰨뎢勑
匡⹿㺥溸劻労ն

䧰曋☠詇⻐돇䉞⼴띸㛶㐃䧰䌑䌟僓
➬駑䧰䱹闒鰨뎢ն♑⹿楓䧰㐃ꂘ做긖劔
◲㝙鰘➬믈Ⲥ䧰㐃돇뎢做긖溸⪺鲨
䨿♨䧰䞰✘⺪♨騜䧰䧯╬┞⻐돇䉞䔻
㝕瓨䍳锢䓛ⲍ◟䧰溸曋☠ն♑㸉䧰䔕
⿱䔻㝕ն
䧰芆㴼麄┪嵤濫돇䉞溸鉩ն䧰溸曋☠⾕
⺃⺃.BD
EB
3PTBꌬ儱╃✍鰨뎢䌑
♣溸돇䉞䨿♨䧰♈㸰澚濫♑♰돇뎢皶
ꄢն楓㐙溸官客䙰儱♥☭⪺㞉駑䧰㸉
돇䉞溸⪺鲨┱傽⪾㙨ն
䬎⚈绿뎢䉞⾕돇䉞兇撬㝕潸ꃔ䎂ն䧰䔻
䌘ꁾ돇䉞䭨긯▇⻑裯䕒눥鰨뎢⚷

溸绿뎢䉞曵攍ն䧰⯼䔯耘㎼յ蝠㎼⾕岻
㎼鴋갫䓝㐌鰑广绿뎢䉞㳔▣ն㳔䧯㎈
⯒눥僓䧰⩪怮⟥䖦ꁹ䱹蔦䉁㐃눥
溸假膷ⲏն

䧰䓝撬䔻䘑䗼瞬돇溸⯢應䗪䠋ն蝄茤
缣缩돇䉞气布돇濫⫵⫯鰨뎯뎦돁䧰
缙㸉┯✑♑䞰ն⺪䞊♈돇溸劻ꭊ䧰劁
㝃姍ꆱ⯒㕰뎢䟩㜾劔◲⛄ⲹ潸䓝║
ꓨ駑䧰┯䕒┯鿛䰄膷╃鳷ꇔ䧯╬┞
⻐绿뎢䉞ն
䧰ꄽ䊬嬓㝙┪ⶭ㝕绢僓⮕鰨뎯ꂛ

鉿冂亣僓䐷㢽㐃뎢䨼䈰✑ն䧰♰澚濫鰨
뎯⮕䪟♈뎢䨼ꂛ⪝鳷ꇔ撬⻑鰨뎢㎑ꭶ
㹧䐷㢽♑♰溸傽䊬⚈ⲏ冂亣ꄽ䊬㐃┪
ⶭ掾缏匙ն⯒◗┬ⶭ䧰⚷⫙姍㎈⯒뎢
䨼漳瀥뎢ⶑꂛ鉿┬ⶭ溸亣绿ն䧰♰┞
儘劻劔═╗鰨뎢傽⮕⯋儱儘劻┩兰┪
⾕儘劻傽┬ⶭն


✑╬┞⻐돇䉞䧰♰䓝撬䉤労瞬돇劅劔
苞砯溸鰨뎯⛰┯⺪茤寏ꂜ㹻㠁☭䡇ն
劔僓⺪茤绿뎢䉞䧶뎢╭⚷㐃鰨⯼匡駧
䉤労䧰♰瞬돇勑䖪䬿劔劅둛勨椚裯苞
溸뎢ն⹹▇✑╬┞⻐绿뎢䉞䧰♰䙰
From top: Cruz with Betty Da Silva and
Felix Coetzee, owner and jockey of Silent
Witness, who won Horse of the Year in
2005; Cruz signing autographs for racegoers after winning the 2005 Chairman’s
Sprint Prize
┕㎂⼔┱㶻┚┼㷐꺜뀐曓瞿葏㛻䄳氳뀐╚
顠蜎㜦⽰뀵䄳냖꥕䑪ն┖㎂⼔┱㶻㏇䇗颉䐂
╚䅫湿鵎㝂╯⺵╙뀐鴀甌⺳ն

29

some of the amazing horses I have
trained in my career, I can only say
that I feel blessed.
With every new horse that comes
to my yard, I assess their physical
and mental state and programme
their training schedule according
to their needs to make sure they are
well-conditioned to reach the peak
of their performance.
Safety is always the number one
concern for everyone involved
in the racing industry. It may not
look like it on television, but this is
still a very dangerous sport, and if
not conducted properly, can have
very serious consequences.
As a jockey, preparation for
the race starts long before you
actually get up on the horse.
It’s the lifestyle you choose, the
discipline and sacrifice you make
to ensure that you are in the best
condition physically and mentally
to win. As a trainer, of course
the physical requirements don’t
compare to when I was a jockey,
but mentally, you have to be just as
tough, if not more.
Building a strong relationship
with the horses I train comes
quite naturally considering I am
around them all the time—as is
the same with humans, I suppose,
when you spend so much time
together. You are able to observe and

30

understand more about the horse,
see how they progress or react to the
training—and that leads to a deeper
understanding and a stronger
relationship.
The biggest misconception
people have about jockeys is that
all jockeys are very, very short
[laughs]. Maybe also that jockeys
live a glamorous, celebrity-style life.
Most people only see jockeys on
race days, so they may not realise
the commitment, dedication and
sacrifice it takes to be a jockey.
Over the years, the racing
industry in Hong Kong has
attracted the best jockeys,
trainers and racing professionals
from around the world. The level
of competitiveness only increases
every year. We have seen immense
changes and upgrades in the
facilities since the days when I first
started out as an apprentice, and
this is thanks to the club’s focus on
making sure Hong Kong racing
stays at the highest level.
The most memorable moment of
my career as a jockey was perhaps
the first time I won the Hong Kong
Derby back in 1983 on Co-Tack.
It was a very special year for me
because that is when I also married
my wonderful wife Paulene. As a
trainer, I would have to say it was
when Silent Witness broke the world
record after his 17th consecutive win.

These were two magical moments
from different stages of my career
that I will never forget.
My advice to someone interested
in pursuing a career in racing is
that Hong Kong’s racing industry
is highly competitive, whether for
a jockey, trainer or vet. You have
to always be very focused and
dedicated to your profession and
have the discipline to do it day-in
and day-out.
As for which jockey I admire
today, I think one obvious choice
I have to mention would be the
British racing legend Lester Piggot,
a legendary jockey who rode almost
to the age of 60—almost unheard of
for a jockey. It’s an amazing feat and
I am most definitely envious of that.
I haven’t given much thought to
retirement yet. Thankfully, I am
still fit and healthy and there are still
many things I want to achieve, so I
guess we’ll just see how things go.
Hong Kong racing speaks for
itself. With so much success both
locally and overseas, and at the
highest level, Hong Kong racing
has really made its mark on the
global stage. I would love to see
more local jockeys and trainers
continue to carry this mantle,
competing at the highest level to
make Hong Kong racing, and its
many supporters, proud.

Paulene and Tony Cruz
at their home in Sha Tin.
Opposite page: Tony Cruz
in 1983 riding the legendary
horse Co Tack at the Hong
Kong Derby
⼔┱㶻┚㜁㜁㏇婻榹氳㳺䢦ն

㵒건⼔┱㶻◇䇗㏇꺜䣒⻏
㛻颂╈瓀꽞⚩㜦颂뀐⺱䐼ն

ꁩ駕绿䕒⯒溸ꂛ婢䧶⹹䍎♥䧰剳槏闌
㴋յ⪸笡剳朤㎷ն

☭♰㸉돇䉞劅㝕溸騗闌儱䨿劔돇䉞 ꌬ
긌䊬긌䊬焟眞ն䧶駠ꂖ劔◲☭駌╬
돇䉞ꁩ詇劔㠁⻐☭溸ⶶ气嵛ն㝕㝃俚
☭⺢劔鰨뎢傽䩜⚷澚⯒돇䉞䨿♨㝕㵶
⺪茤屳劔䟩駮⯒䧯╬┞⻐돇䉞䨿괛锢
溸䪩騢յ㞆桬⾕杇朷ն
㝃䌑匡눥鰨뎢⚷⼕䑜◗⪢槊⻄㐌劅
⚳瑫溸돇䉞յ绿뎢䉞⾕╃⫐┺㵶ն皶◚
寊䌐┞䌑嬠┞䌑둛ն♈䧰⪝鉿䓝閒▣㳔
⽄♨匡눥溸鰨뎢駦偢䉂缋劔◗䈵㝕
侊⺈⾕ⶬ绣ꂘ◲ꌬ锢䓛ⲍ◟鰨뎢⚷蔺
ⲇ燛⟛눥鰨뎢⟛䭥劅둛寊䌐ն
㐃䧰䬎⚈돇䉞劻ꭊ劅걾䗇溸僓⯤ 䥧霃
儱䌑瞬돇⻎䖎눢姍鰯䕒눥
䩤⻬㝕鰨ն㸉䧰匡騜ꊙ儱긌䊬杅媗溸
┞䌑㎌╬䧰㐃ꊙ┞䌑ꁹ㧏◗䮖曄卲㵂
裩ն蔸◟绿뎢䉞劻ꭊꊙ┞㴼儱窢蝠
㝕䉞♨ꂞ苞䩤熏┿汕绦䓡նꂘ儱䧰
缄气걾䗇溸膷╃气布═╗ꮕ嫙溸玘㞂
僓⯤ն
㸉◟劔⪺鲨䫌麄鰨뎢╃溸☭䧰溸䐮駖
儱눥溸鰨뎢╃皶◚應揓傱駢돇䉞յ
绿뎢䉞ꂖ儱⫆ⶖꌬ儱㠁婟ն✘䖪뀋⪢䖦
⪢䟩䫌⪝◟ꂘ╗膷╃䌔┻ꈯ㴖绦䔾
┞㝙ꌬ┯茤卄䥥ն
儱㹅駽╬ⷬ㸞匡╤溸嬠鰨朮虝劅⻉ꃿ
叄鰨뎯溸돇䉞⻎呤㐌돇䉞劔僓□⚷
뀔⩰鴋䧰♰䱹嵝䞰锢燛⟛⺪♨瞬돇叄
鰨뎯⹨鰨ն

㠁卸䧰茤䮅ꄑ䨿劔䞰駕绿溸뎢ꊙ缙㸉
儱耘唙䧯澶⛰鰨뎢䌔긌㠁婟䨿♨✘
䖪뀋㹻ⲇ⾕鰨뎯ꏕ⻉駑朠㹻ⲇ⹿䮢愗
茤ն㎈뀎䧰膷╃气布╚駕绿ꁩ溸┞◲
缙뀆⮃虝溸鰨뎯䧰⺢茤騜䧰䔻䌘ꁾն
㸉◟嬓┞ⶑ匡⯒䧰溸뎢䨼溸假뎢䧰⚷
⩰駬⛓㴋♰溸麄✅ ⾕窢玘枱䘒䌔周䰕
㴋♰溸괛寛⯜㴼駕绿駉⮦♨燛⟛㴋♰
ꌬ㜘◟⹿䮢劅✲銩楓溸虙㟲枱䘒ն

㴘⪢儱♈◜鰨뎢溸☭劅⪸䖦溸ꭄ뀨ն轇

撬㐃氲閗┪澚┯⮃匡⛰ꂘ燛儱┞뀉긌
䊬ⷩꯟ溸ꁾⲘ㠁卸ꂛ鉿┯䓝⺪茤⚷
☋气긌䊬║ꓨ溸⻑卸ն

✑╬┞⻐돇䉞䧰溸⬮㜜䈰✑ꂜ僃偠돇
㐃뎢芻┪նꂘ儱✘ꄑ䭃溸气嵛做䑑✘
䖪뀋ꈯ㴖绦䔾⾕杇朷䩜茤燛⟛蔦䉁溸
✅茤⾕窢玘ꌬ㜘◟蔺苞⪸ꨴ溸劅✲枱
䘒ն撬脯䬎⚈绿뎢䉞▇⻑轇撬✅茤
做긖溸锢寛ꂜꂜ┯⹴돇䉞⛰窢玘䖪뀋
⻎呤㑏䒩氋蔸剳䒩ն
䧰⾕䧰䨿駕绿溸뎢ⶑ⪸笡箄㶕䧰䞰
㹧⦑☭┱☭▇ꭊ溸⪸笡䓝✘⾕叄╗☭
ꪍ僓ꭊ㐃┞鱎蔦撬⚷䧯╬㶕⹵䧰⾕뎢
ⶑꪍ劻潸㜘☊䐮皒鱎甯㎷溸⪸笡ն䧰劔
剳㝃僓ꭊ間㷌⾕駌駮┞ⶑ뎢澚⯒㴋ꄟ

騜⯒劅♥䧰ꦬ✦溸돇䉞䧰劅⩰䞰⯒
溸㹧儱蝠㎼鰨뎢汕⚿㞂裨偅杅u滽呬杅
-FTUFS
1JHHPU♑⯒◗䈽┯㝃
㻹ꂖ㐃뎢芻┪뎦돁㐃돇䉞汕♈勑⻾ꁩ
⚈✇☭茤㝉㠁婟脚䓝漩㛺նꂘ儱긌䊬◗
┯鱎溸䧯㹧䧰긌䊬耼䡵ն
䧰㹀勑䞰⯒ꃹ⚪ն⡽䕒䌳䌘溸儱䧰ꂖ
劔✅ⲇ麄✅□䔻⣍䎙♇撬㸉䔻㝃◜
䝠⩪怮⪺鲨䨿♨䧰䞰㹧뀊⪼蔦撬⻳ն
눥鰨뎢汕溸閕埛傱䎜翞沼ն┯☹
㐃勔㐌⾕嶯㜾ꌬ⺆䕒⚱㝃䧯ⲍ✲缥脯
┻ꁒ⯒◗劅둛寊䌐㐃⪢槊薌⺬汧┬ꓨ
锢溸ⷧ駘ն䧰䉤労澚⯒剳㝃勔㐌돇䉞⾕
绿뎢䉞缣缩艶鯬婟┞ꓨ⚈♨劅둛寊䌐
┱⪼♑⹨鰨脢皶◚駑눥鰨뎢汕⹴⚱
㝃佻䭥脢䠋⯒뎺⥛ն

31

PAINTING

䔅缔戂尉假髳

From the Monte Carlo of
the east to an aspiring art
city: here’s how Macau is
navigating its new identity
♈╅做溸諕杅ⷒ羻⯒謿ⲹ䔶⹿
溸虪勘㓻䉗䱲筻憬ꬾ㠁✇뎴뎣
⪼假麄⚌նBy Zabrina Lo

acau has been one of the
biggest gambling meccas
in the world since the
Portuguese government
legalised gaming there in
the 1850s. Over the past few months,
however, signs of a different industry
have been proliferating around
the lavish casinos and maze-like
shopping malls: a giant, inflatable
Bearbrick (styled Be@rbrick) figure
stood in front of Galaxy Macau; giant
Mickey Mouse-inspired statues
lurked at The Venetian Macao, The
Londoner Macao and The Parisian
Macao; planetary installations that
celebrate Chinese ink art master
Hsiao Chin hung at the entrance to
MGM Cotai’s theatre.
This is just a tiny fraction of Art

M
32

Macao, an international art event
initiated by Macau’s Cultural Affairs
Bureau in 2019, the main agenda
of which is to rebrand the city as
the World Centre of Tourism and
Leisure through city-wide art and
cultural exhibitions, activities and
workshops.
This move came after Beijing’s
2014 direction that Macau accelerate
economic diversification away
from the casino industry. Since
then, efforts have been made to
steer the city towards developing
its cultural, heritage and tourism
sectors. In 2022, chief executive Ho
Iat Seng officially announced the
city’s adoption of the “1+4” policy, a
five-year blueprint to develop the
city as the “one centre” of integrated

詞覟朓侓䍠◟䌑♣㸞

憬ꬾ⷇䔅⻉岻♨匡憬ꬾ

┞潳錻閗╬⪢槊劅㝕溸⷇䔅
苞㐌▇┞ն撬脯㐃ꁩ⹜ꂘ⭠
╗劓♨匡髀ⶶ檔╰溸鰙㐙⾕
ꃟ㵜薮溸鯺朮╚䖦⽟㎭ⷮꁣꅌ⮃楓◗
㝕ꓪ⛤▊┱⷇䔅╃傱⪸溸冎骮❛㠁皭
㐃ր憬ꬾꧼ岉ց⪝⺛溸䈵㒘⩪官璺勏敒
#F!SCSJDL趴麄◟憬ꬾ㥓㹹偅☭յ
憬ꬾ⛆俌☭⾕憬ꬾ䉄묰☭溸䈵㒘稌㞂
脚믣겱⦑♨⹴㐃耘栅耘둛哝╱鉿溸
杅㺥վ鱪⩧˙┧骮觟⳵溸虪勘տն
♨┪嵛Ⲙ⺢儱♁䌑虪倁衂憬憬ꬾ
㎼ꮪ虪勘⹷䌑㺥溸┞ꌄ⮕ն✑╬憬ꬾ
倁㹾◟䌑⹿鱎溸┞뀉㎼ꮪ虪勘
嵛Ⲙ虪倁衂憬僁㐃ꄽꁩ⪢㓻閕埛溸虪
倁㺥閙յ嵛Ⲙ⾕煝駐⚷㸞憬ꬾꓨ假䩤
ꅐ╬┿汕偳廷⚪ꭈ╚䖦ն
周䰕ⵌ☓䌑溸䭰獏憬ꬾ䍎㐃

⷇䔅╃▇㜾ꃿ䍳㝃⩧⹿㺥缋嵴ն蔦婟

蔦

IMAGE ALEXANDRE CHON (ICY FIRE)

THE SCENE | ARTS 虪勘疿ꭊ

Icy Fire by Lampo
Leong, featured at the
main exhibition of Art
Macao 2023. Inset: A
Mickey Mouse statue
by Jason Naylor at The
Parisian Macao
匛衹嫧氳վ*DZ
'JSFտ◇荔乄
蔵徦╚金㷤鈾◾注ն㵸
㎂+BTPO
/BZMPS⮡⛼氳眦
㜦縏롔◇徦ꠅ䄘랣☕㷤炐ն

Clockwise, from left:
an artwork by Jason Naylor at
The Venetian Macao; Calvin
Hui and Pansy Ho at MGM
Cotai’s theatre; a statue
by Philip Colbert at The
Venetian Macao; To Infinity
and Beyond: The Art of Hsiao
Chin at MGM Cotai
䄅颯걹休Ꙟ◇徦ꠅ㣛㶻事☕㷤炐
氳+BTPO
/BZMPS⛼⿁⛰飃柛┚

阵⯬륱䯷◇紇냖匤Ⰾꢚ㷤炐◇

徦ꠅ㣛㶻事☕氳1IJMJQ
$PMCFSU⛼
⿁紇施紇냖匤攑㷤
վ飃⩕٬┒霅

蛊氳荔儛տն

tourism and leisure with four nascent
non-gambling industries, including
culture and sports, which are
expected to contribute 60 per cent of
the city’s GDP. As for the gambling
sector, when the Macau government
in 2022 renewed casino operators’
licensing agreements for January 1,
2023, to December 31, 2033, the final
six winning bidders were chosen
based on a scoring system in which
non-gaming commitments, such as
investments in art events, were a key
deciding factor.
This year marked the third
edition of Art Macao; this time,
led by Macau’s Cultural Affairs
Bureau, the festival ran from July to
early October. It brought together
the six resort groups—Galaxy
Entertainment Group, Melco Resorts
& Entertainment, MGM, Sands
China, SJM Resorts and Wynn
Macau—as organisers, as well as
consulates general in Hong Kong
and Macau, higher educational
institutions, local galleries and artists,
who hosted 31 exhibitions. More than
200 contemporary artists from about
20 countries and territories took part.
According to Susanna Un Sio
San, Macau Art Museum’s director
and the vice-coordinator of Art
Macao 2023, the event this year
cost MOP$12 million, a significant
amount of which was covered by
the six resort groups. There was a
broad range of genres and artists on
display. Un says there were no set
criteria for selecting artists for the
biennale as long as their works match
the year’s theme, usually set by the
main curator; this year’s was The
Statistics of Fortune, which explored
the relationship between science,
technology and religion. Paintings,
photography, mixed media, AI art,
sculptures and installations are
shown in museums and outdoor
public spaces. Most of them,
especially thoses presented by resort
groups, had broad popular appeal.
Take, for example, MGM
Cotai’s exhibition To Infinity and
Beyond: The Art of Hsiao Chin,
which extended its curatorial
concept beyond merely showing
the Shanghainese modern abstract
artist’s paintings. Curator Calvin

憬ꬾ侓䍠┞潳ⲛⲇ劸倁յ⚿䪩⾕偳廷
瞏뀖㔔⹿㺥ն䌑鉿侓ꪍ㴸鰇┞騂
㵌䉘杅ⶔ侓䍠䲀⮃ ꃿ䍳㝃⩧⹿
㺥瞬汻ꂘ╗╬劻◩䌑溸譻㎽僁㐃㸞憬
ꬾ⹿㺥╬缸⻉偳廷⚪ꭈ╃溸┞╚䖦
⾕䭇倁✅芍㐃⫐溸㎃㝕긌⷇䔅
☋╃뀔駉ⷑ勔㐌气☋䙰⡽⪮䧯ն蔸◟
⷇䔅╃憬ꬾ侓䍠◟䌑䌑䍐㸞⷇䔅
ꁾ觝ガ溸杅駠缋觝劻♈䌑劓傽䐥
ꪍ蔸䌑劓傽䌔周䰕駬⮕笡缛
ꄑ⮃劅缄裯䕒缋觝勶溸⪮⻐╃脢脯婟
笡缛溸⪸ꨴ㎌筷儱╃脢㸉虪勘嵛Ⲙ瞏긌
⷇䔅溸䪩騢ն
㐃憬ꬾ倁㹾溸䊎뀖┬睘┩㺐虪
倁衂憬氮劓蔸劓⮵溫㐙ն♁䌑⫙䍳
┱ꗰ岉㦐垟겐㏬յ假戂⷇◸㦐垟劔ꮺ
⪫⺶յ耘둛哝յꓭ屧╚㏔劔ꮺ⪫⺶յ憬
㦐粂⻉䍳⢏艧⚌劔ꮺ⪫⺶յ寏⯈憬ꪎ
劔ꮺ⪫⺶瞏⪮㵶缸⻉䍳⢏⚪ꭈ⚕╃⻉
✑䌔䶐䩘㝃╗㜾㎼뎱憬䙰뀖◜눒յ

♨耘栅耘둛哝溸杅㺥վ鱪⩧˙┧骮
觟⳵溸虪勘տ╬❛⪼瞬㺥槏䗼┯☹㐃
◟㺥獏ꂘ⛻┪嶯楓♣䬂骮虪勘㝕䉞溸
缔氻剳䐥缩⯒♑溸䘽䞰㴔㴺⾕虪勘
☭气ն瞬㺥☭駠Ⰴ봅ꄑ㐠耘둛哝Ⱖꯗ
✑╬杅㺥㐙㐌間⚱⺪㐃ꂘ╗㝕㒘屋
嶰䑑㺥閙間鰜觟⳵溸ⸯ⮱✑⿣䌔┻
ꄽꁩ⪢假嚤䗼ꓨ假悎缊溸俚㲼겱㗛鍯
翞յ◟┢稌ꪍ㙡┪侒儙溸⪢冎䑑㴔㴺
冎間虪勘䔕曩♨⹴◟輁䬸楓㵄虪勘⹴
㝃㪾✅◧Ⲙⶔ⮱✑觟完낊呬溸俚㲼✑
⿣♈╚䱲筻觟⳵溸虪勘茤ꓪն
駠Ⰴ봅銩獏⯼匡憬ꬾ溸廷㵊㝕ꌄ
⮕儱㵶䎂䧶䍳⢏脢脯긌虪勘⿣侅趴
㵶䨿♨䖪뀋鄌⪝栃杅溸⮱䟩⩧筷ն
♑騜㎼ꮪ虪勘侅趴㵶յ⷇朮눒☭⽄
䧶瞬㺥☭⚷╬◗䉄㗶㸸虪勘㺥┺瓨⯼
䔯눥⛰憬ꬾ㹀勑⹿㺥⯒ꂘ呤溸寊
䌐ն♑銣⩪ꇔ㠁卸窢䖦䮅ꄑ虪勘㵶
⾕✑⿣☊⺪茤⚷⼕䑜☭♰╬婟脯匡ն

“Macau has the ambition
to make arts and culture
one of its main pillars
憬ꬾꨖ䟩❈虪勘⾕倁䧯
╬⪼╚┞╗╭锢☋╃ն”
— CALVIN HUI
勔㐌⹴⫐㐌둛瞏ꯗ吿瞏勨卐⪴⻎⻉
✑剳杅駦㝃╗升㑊❵勔㐌瞬㺥㎑ꭶյ
虪勘㵶⾕⚕╃⹨┱绢㐙㺥閙寤臔
匡蔦绢╗㎼㵶㐌ⶔ溸㝃⻐䓝♣
虪勘㵶ն
憬ꬾ虪勘⷇朮눒눒ꪍ鋣缉䭰⮃
♁䌑嵛Ⲙ腅鰑┧憬ꬾ䉕㝕ꌄ⮕
鰆氠氮⪮㵶⶷ⲋ溸缸⻉䍳⢏⚪ꭈ⚕╃
䪩䬎ն㟧銩獏♁䌑溸⹨㺥✑⿣⻼⻄
璀稝㒘⾕虪勘㵶瞬㺥☭屳劔杅㴼溸
䮅ꄑ⬮⮯☹锢寛睋⻉䙰瞬㺥☭駦㴼
溸╭뀨⾀ꁾ溸缛駉㳔♈╚䱲駐璇
㳔յ䪫 勘┱⟥♸▇ꭊ溸⪸笡նꂘ◲⹨㺥
✑⿣稝㒘䌦峅⻼◗缔氻յ䶢䔕յ庌
⻉㪾✅յ☭䈰冝茤虪勘յ겱㗛⾕鍯翞
瞏⮕⯋◟憬ꬾ虪勘⷇朮눒⾕䨮㜾⪫⪴
疿ꭊ㺥⮃⪼╚㹐♨ꮭ⮬◟䍳⢏ꏞ䍕溸
虪勘✑⿣劅⼕䑜㝕⚱峜䟩ն

匡蔦绹绢溸+BTPO
/BZMPS㹧儱⪼
╚┞⛻錻憬ꬾ⼕䑜脯匡⹨┱ꓭ屧╚㎼
⼯桬溸վ㞂㠺▇绢Մ虪勘蔺俓ꂽ㛶㹹
㞂㠺┞溯䌑տ溸㎼ꮪ虪勘㵶ն♑⾕蝠㎼
䓝♣虪勘㵶1IJMJQ
$PMCFSU䍎ꉐ♨愲
嵤虪勘낊呬騈ꓤ㵶ㅶ䨮兦溸稌㞂脚믣
◟憬ꬾ㺥蔸劓傽ն♑駌╬憬ꬾ劔┞
璀愲嵤虪勘溸气䘒笡缛╱⭡㧅▍
㐙⾕鯺朮╚䖦ꮩꂀꌬ茤䪨⯒虪勘⿣┱
♑溸虪勘槏䗼┯騳脯⻉ն♑騜㸉䧰
匡騜虪勘䍎騍駑嬓╗☭ꌬ茤䱹闒⯒ն
䧰㐃◱嵌溸缋돂儱ꂘꓧ溸☭ㄼ姐랓虞
溸虝䔅⾕嵤鉿溸缋⪿⣪⦑脯┻ꄽ䊬㸉
䧰溸✑⿣⹹䍎婞긖ն䧰䔻▍䟩䪻✑⿣
侒㐃⦑绹绢ꂘ呤荄▸溸楒㘷⛰䧰□䔻
劻䔶䪻㴋♰侒㐃┞╗虝䔅╝㶡յ僻☗䌏
⬥溸楒㘷▇╚㎌╬䧰溸✑⿣㹧儱ꂘ呤
溸ն憬ꬾ䠋閚䔻ꃿ⻉㺥獏䧰溸✑⿣ն

35

Hui staged the exhibition in the
hotel’s theatre, where visitors got
to see both the original works and
interpretations of them in the forms
of digital sculpture installations, a
panoramic cosmic art film screened
on a seven-metre wall, virtual reality
artworks and interactive stations
where they could create digital works
in Hsiao’s style.
Hui says that, because most
visitors to Macau are families or
holidaymakers rather than art
collectors, exhibitions need to be
creatively put together. “Unlike how
international art collectors, museum
people or curators fly to Hong
Kong for Art Basel, Macau hasn’t
developed [its art scene] to that
level yet,” he says. But, he adds, if you
select the artists and works carefully,
people will visit the city specifically
to see them.
Jason Naylor, a graffiti artist from
New York, is one of the international
artists attracted to Macau and has
his works featured at the Meet the
Magic: In Celebration of Disney 100
exhibition by Sands China, a show
that ran until October 15, where he
and British contemporary artist
Philip Colbert interpreted the iconic
Mickey Mouse character with their

36

own pop art styles. He sees Macau
having a “pop art ecosystem”, where
art is shown next to casinos and
shopping malls, as a good fit for
his practice. “For me, art should
be accessible to everyone. My
experience with the Asian market in
general is that the bright colours and
pop characters have a lot of appeal.
The people here respond to my
work positively,” he says. “I’m happy
to place my work in a setting that’s
really grungy, like New York, but I’m
also excited to put it in a setting that
is very colourful, bright and clean,
which is how my work are. Macau
feels like a natural fit.”
Colbert, who first visited Macau in
2019, feels that it had been morphing
into a pop culture city even before
Art Macao. “Architecturally, Macau
is like a pop culture collage: it takes
in the best of everything, [including]
icons from around the world, such as
Big Ben and the Eiffel Tower. So it’s
an interesting place, artistically and
conceptually. That’s why launching
my Mickey exhibition here is so fun.”
While visual arts are a relatively
new addition to the territory,
Macau has long attracted A-list
performing artists, including K-pop
stars Blackpink, four-time Grammy

winner Sam Smith and Mando-pop
sensation Jay Chou. Sands China’s
president Wilfred Wong explains that
it’s the facilities that give Macau an
edge over its regional competitors.
“The best example is [Hong Kong
singer] Jacky Cheung. He chose
Macau as the first leg of his [60+
Concert Tour] in June 2023 before
the other Asian cities. The reason
he gave was that he needed a long
rehearsal time and a lot of rehearsal
space. We have our hotels, ballrooms
and practice rooms, which we could
offer to him for two months; if he
were in Hong Kong, he would get
the Coliseum, but there was no way
for him to do the rehearsals,” he says.
“International artists like Celine Dion
and Bruno Mars, who performed at
our theatres, all came with a big team.
Sands has 12,000 rooms.”
The fact that venues in Macau are
generally newer than those in Hong
Kong—and perhaps that there are
fewer local groups—makes Macau
an easier option for staging shows.
In Hong Kong, even major groups
like the Hong Kong Philharmonic
Orchestra and Hong Kong Ballet can’t
get more than a couple of weekends
for a show because the venues are in
high demand.
While Macau’s resort groups are
steering themselves towards a more
culturally oriented model, Wong
admits that gaming remains the
lifeline of Sands China’s business as
“it’s probably the most profitable”.
“As for the art part, we don’t look at
it as [something that generates] a
[financial] return. It’s a contribution
to the community.” He mentions, for
example, that the group didn’t focus
on the profitability of The Floral
Princess, a Cantonese opera remake
staged in July this year. “Instead, we
look at how well we have reached
out to the community and how the
community sees us as a responsible
corporation that helps to promote arts
and culture.”
That said, Un stressed: “When you
have an art biennale like this, it brings
job and business opportunities to the
transport, event organisation, public
relations, F&B, retail and hospitality
industries.”
There was art in the city long

Clockwise, from top: the
Be@rbrick exhibition at
Galaxy Macau; Thomas Lo
with his Be@rbrick design;
Hsiao Chin. Opposite
page: designs of shell-less
tortoises by Sam Kin Hang
┕颯걹休Ꙟր徦ꠅꛌ媞ց㷤⭴氳


վ#F!SCSJDLտ


㷤鈾5IPNBT
-P
┚☽阻阞氳#F!SCSJDL荔儛㳄

蛊ն㵒건榺㹒⢹䔩阻阞氳

仰㚠╰륻硍⮜⛼⿁ն

$PMCFSU⮯儱㐃䌑눢姍駧ꭄ憬
ꬾ♑駌╬憬ꬾ僃㐃虪倁衂憬▇⯼䉂缋
鿛㒘䧯┞╗嵤鉿倁㓻䉗◗ն♑騜♈
䐮瞣┪匡澚憬ꬾ㹧⦑┞╗嵤鉿倁䭞
鰁氻ꂘ䍵㓻䉗⼕侅◗┿汕⻄㐌劅⮃⻐
溸㐌吙䭇㝕勔ꦥ⾕㓪襴㸸꧇㗠ն傱
駢㐃虪勘䧶嚤䗼┪ꂘꓧꌬ儱┞╗♥☭
䠋⪺鲨溸㐌做䧰閚䕒㐃ꂘꓧ㺥⮃䧰溸
稌㞂脚믣虪勘✑⿣ⶥ⮕劔鲨ն
轇撬 閗閚虪勘㐃憬ꬾ砯儱⮰鱎婢溸
假⪺☋╃┯ꁩ憬ꬾꪍ劻♨匡┞潳⼕
䑜㎼ꮪ▍㑐䈵儘㠁☭官뮿潂溸꼒嵤
㟖㲳㎑✅#MBDLQJOLյ㎃㺐呬裨耘㞝
䕒╭4B N
4NJU I⾕ⶶ騕嵤鉿▍㑐㝙
椟⽟匮⛆նꓭ屧╚㎼䙰鍧⫅䪃鉿詡◜

椟蝠⚾⷇㛶闌ꓤ騜憬ꬾ溸銩悎㐙㐌
駦㜜⩰ ꂛ鱪鱴ⶔ⫐⪼♑皶◚㸉䩘ն♑
騜눥娬䩘䑳㳔⹵㹧儱劅㟲溸❛
㲳ն♑㐃䌑劓㺥䐷վ 䈪㎈悎
ゃ⚷տ➬ ꄑ䭃憬ꬾ✑╬睘┞皭նⸯ㎌儱
♑괛锢ꪍ僓ꭊ䱗绿⾕㶄俀溸疿ꭊն䧰
♰⺪♨╬♑䳀❵ꪍꁒ═╗劓溸ꏞ䍕䨼
ꭊյ㵰⚷⸈⾕绿▣㵎ն㠁卸㐃눥♑
⺪♨㐃绞犪✅芍눒䐷悎ゃ⚷⛰屳劔ⲋ
岻䱗绿ն㐃䧰♰溸ꓭ⩱缸虪눒悎⮃溸
㎼ꮪ䈵儘䊛樣uꂽ肂$FMJOF
%JPO
⾕䉘띸騢u뎢㸸偅#S VOP
.BSTꌬ
劔䍣㝕溸䈰✑㎑ꭶ갫鉿脯ꓭ屧╚㎼
傛┬⪴劔┧ⶨ╗䨼ꭊ鳉⺪怮鳉♑
♰溸괛寛ն

溸燛憬ꬾ溸銩悎㐙㐌ꄽ䊬嬠눥
匡䕒假뀦ⷮ屳劔㝛㝃䓝㐌㎑✅❈氠
㎌婟䧯╬鿲儅뀔駊㐙㐌溸ꄑ䭃ն潸⹹
㐌눥⮯儱⦺㝃穱㸵ⷬ❈㝕㒘㎑✅
㠁눥硅䒀▍㎑⾕눥蛔質薌㎑☊
☹茤駊⯒ⶔⶔ⭠╗⽟勒溸僓嫙ն
轇撬憬ꬾ溸缸⻉䍳⢏⚪ꭈ⚕╃婞劸
濫♨虪倁嵛Ⲙ╬╭溸缋觝埛䑑⹿㺥
⛰椟蝠⚾⷇㛶䪩駌⷇䔅╃♇撬儱ꓭ
屧╚㎼╃ⲏ溸⾀茺㎌╬ꂘ⺪茤儱劅
⺪間溸侅⪝ն蔸◟虪勘䧰♰┯䪻虪勘
䓝✑┞璀缋嵴㎈䫟脯儱㸉獘ⶔ溸鯮
桬ն♑䳀⯒ꓭ屧╚㎼◟♁䌑劓⼯桬
缋⪿穯Ⱖվ䉿㟖տ僓㴟⪢屳劔脞軭
⯒玭䨼㎌筷ն
潸⹹㐌䧰♰⪸䖦溸儱

37

before Art Macao: the Macao Art
Museum has been running for 20
years; the Macao International Music
Festival started back in 1987; and The
Macao Arts Festival was set up in
1990. These, in addition to the city’s
Unesco world heritage sites, already
meant it was an ideal destination
for arts and cultural tourism. “The
city-wide art biennale adds variety,
quantity and international acts to the
existing art scene,” Un says.
Thanks to Macau’s Cultural
Affairs Bureau, which has been

heavily investing in ads on Hong
Kong’s TVB channel, media
coverage and billboards in regional
cities, and art companies that
promote their shows on social
media, people outside Macau
have become more aware of its art
happenings. Un says that she has
received feedback from tourists
who said they came to Macau in
August for a day trip, visiting the
art biennale and attending a Macao
Orchestra concert or The Sound
of Music show at Macao Cultural

Centre. “That month, the daily
estimate of incoming tourists, with
a majority from mainland China and
Hong Kong, was 90,000, which is
similar to pre-pandemic times.”
While there are very few local
galleries that are currently open,
there is hope that the art biennale
will help bring Macau’s art and
artists to the foreground. Thomas
Lo, a Macau independent graffiti
artist, was invited by Galaxy Macau
to design one of the Be@rbrick dolls.
“It provides a good opportunity

From left: the main
exhibition of Art Macao
2023; Renaissance by Fok
Hoi Seng featured at Art
Macao 2023
䄅颯荔乄蔵徦氳╚金㷤鈾
荔儛㳄ꧬ⭤沸氳վ3FOBJTTBODFտ
◇荔乄蔵徦㷤⭴ն

“We don’t look at art as something that
generates a financial return; instead,
we look at how well we have reached out
to the community
䧰♰┯䪻虪勘䓝✑┞璀缋嵴㎈䫟潸⹹㐌䧰♰

⪸䖦溸儱㠁✇┱獘ⶔ䐮皒⪸笡ն” — WINIFRED WONG

for Macau artists to gain more
exposure,” says the artist, who is
now even more determined to stay
in his hometown to develop his
career. Sam Kin Hang, an animator
who has been promoting Macau’s
heritage and history through a
cartoon character, a shell-less
traveller tortoise, adds that there is
a lesser-known side to Macau which
he wants to show the world through
his work. He believes “the Macau
government’s emphasis on the local
art community has enabled residents

㠁✇┱獘ⶔ䐮皒⪸笡♨⹴㠁✇駑獘
ⶔ䪻䧰♰䓝✑┞㵶䡇䟩鯬鱎獘⚷鯰⚈յ
劔䖦➶ꂛ虪勘倁溸⪫⺶ն
鋣缉☊䒩騫╱ⲋ㝕閕埛溸虪
勘⹷䌑㺥僓⺪♨╬☆ꄽյ嵛Ⲙ矱ⲋ⶿
⛻յ⪫⪴⪸笡յ넔뇺յ관み⾕ꏞ䍕╃䊎
匡㹧╃勨⚷⾕ガ勨ն
⪼㵄憬ꬾ䌔긌虪勘屧悤㐃虪倁衂
憬╱ⲋ▇⯼䉂劔⻄璀虪勘嵛Ⲙ䭇
ꁾ觝◗䌑溸憬ꬾ虪勘⷇朮눒㢽◟
䌑溸憬ꬾ㎼ꮪ꼟▍虹ꂖ劔
䌑䧯皒溸憬ꬾ虪勘虹Ⲏ┪裯臅⻉㎼侷
璇倁缀缃⮬⪝┿汕倁ꇟ☋⻐䓡溸⸉
⺮㓻ⶔ兇獏憬ꬾ儱虪勘倁偳廷溸槏

㹻硅潨⯼㐃憬ꬾ缋觝氻䏀溸╃脢╬
俚䌔┯砯㝃⛰ ╃汕䉤労⡊氮虪倁衂
憬憬ꬾ㎼ꮪ虪 勘⹷䌑㺥㸞勔㐌虪 勘
㵶䊎⯒┿汕薌⺬駑剳㝃☭駌駮♑♰⹴
⪼虪 勘⮱✑ն
憬ꬾ栃皒嶿먐虪勘㵶5IPNBT
-P
䍎ꉐ╬ր憬ꬾꧼ岉ց駦駉◗⪼╚┞㸦
#F!SCS JDL璺勏敒նꂘ⛻虪勘㵶銩
獏楓㐃♑剳劔⟥䖦汧㐃㵶▤⹿㺥◜
╃㎌╬虪倁衂憬♥憬ꬾ虪勘㵶䕒⯒
剳㝃剉⩱溸㟲勨⚷ն⺞┞⛻栃皒Ⲙ氻
㵶㼠 ⣍䚔⮯⮱✑◗┞╗ⷒꄽ☭朮Մ傱
㜁█봏✇㸰巏䌔⡊濫ꂘ⺢ㄼ姐⯒㜘
偳鉿溸傱㜁█봏㵌⚿憬ꬾ溸⚿缛 ⾕⸉

From left: Japanese
composer Joe Hisaishi;
María de Buenos Aires, a
production that combines
tango and opera—both
were featured in the Macao
International Music Festival

IMAGE ALEXANDRE CHON (RENAISSANCE)

䄅颯儗㷐徦ꠅ㎁ꡮꮠ╵荣ⴎ䦮仼
儗⛼傪㳄╦溍阦氳硍⮜荣泘篾⺭

䫓䡌氳堮ⱈվ⫋榟曥蕻◘տն

and tourists to appreciate local art”.
Hui sees the potential for Macau
and the rest of Greater Bay Area
to join forces and showcase their
unique talents and resources.
He suggests, for example, that
the cities work on plans to attract
international tourists to Macau after
visiting Hong Kong’s Art Basel.
“Hong Kong is still considered the
art trading hub of Asia, but Macau has
the ambition to make arts and culture
one of its main pillars, and it can also
showcase its own local culture,” Hui
says. “While each city has its unique
focus, their synergy can help build an
art ecology in the area.

䞰潨溸㐌ն鋣缉騜虪倁衂憬
帏漺⪢㓻♥憬ꬾ⼯楓溯뱚侒溸虪倁
冎骮㺥⮃溸✑⿣俚ꓪ⺪間儱┞㐙㜜
⺇炛潨溸㎼ꮪ潂◜ն
婟㜾憬ꬾ倁㹾䭥缩䫌鰑◟눥
傱绻氲閗뀡ꇔ乨⮃䌦⼴♨ ⹴ⶔ⫐⪼
♑㓻䉗溸㪾✅䫟ꇔ⾕㝕 㒘䌦⼴曵虪
勘⪫⺶☊ꄽ ꁩ獘☆㪾✅䲀䌦♑♰溸虹
潨♥憬ꬾ♨㜾㐌ⶔ㺈宑䕒焒ⷬ㸞◟

憬ꬾ╱ 鉿溸虪倁嵛 Ⲙն鋣缉騜劔
◲廷㵊⻔㟧銩 獏♁ 䌑劓匡憬ꬾ┞傽
廷ꯙ◗⹨間虪倁衂憬溸⻄뀉 㺥閙
劔溸ꂖ⹜姒鰜憬ꬾ▍ꭶ溸悎⮃䧶憬
ꬾ倁╚䖦溸꼟▍Ⱖվ♗▍낔 낔 㜘㜘
ꭑտն㟧䭰⮃ꊙ╗劓溸嬓傽⪝㘷☭
俚 ꁒ ⯒绢┧☭┱泯䝠▇⯼潸蝄⪼
╚㝕㝃俚 匡蔦╚㎼⫐㐌⾕눥ն

⺮ն㼠 ⣍䚔銩獏䞰ꄽ ꁩ蔦䉁溸✑⿣

駑┿☭澚⯒憬ꬾ랓╬☭焒溸⺞┞긖

♑駌╬憬ꬾ侓䍠㝕ⲇ䲀Ⲙ勔㐌虪勘
獘聁駑㺈宑⾕廷㵊劔剳㝃勨⚷姒鰜
勔㐌虪勘ն
駠Ⰴ봅駌╬憬ꬾ⺪┱⪼♑㝕彵ⶔ

㓻䉗䶐䩘⻉✑ꄽ ꁩ⻄璀駉⮦㺥楓勔
㐌溸栃杅☭䩜⾕鰑徏ն╱❛匡騜┯⻎
㓻䉗⺪臅⻉閕⮦鉿瓨⼕䑜㎼ꮪ廷㵊
㐃눥⹨間䉄㗶㸸虪勘㺥▇⻑⯼匡憬
ꬾն♑騜눥♇錻閗╬◱嵌溸虪勘
☆儅╚䖦⛰憬ꬾ⚕㎽❈虪勘⾕倁
䧯╬⪼╚┞╗╭锢☋╃䌔㺥獏栃吤
┞䉽溸勔㏸倁ն㝕彵ⶔ溸嬓╗㓻䉗
ꌬ劔蔦䉁栃杅溸⪸峜ꓨ掾⛰䔦婟▇
ꭊ溸⶷⻎✑氠㸞劔ⲙ䐮皒ⶔ⫐溸虪勘
气䘒ն

39

THE SCENE | FEATURE ☭朮杅⫭

⢳
╗
䌘
琀
♃
鯵
It’s hard to think of Laurinda Ho without
immediately jumping to “daughter of
Stanley Ho”. But there’s a lot more to her than
that: beyond the labels, beyond her work as
an entrepreneur and beyond her appearances
in the media, the real Laurinda Ho opens up
to Tatler—about her love of food, becoming
independent and finding happiness
✘⭠▊傱岻䶸䐽䱆鰙椟ⶨꓭꂘ呤溸吙矸⶿绫㐌澚䔶

✇鱪裩ն撬脯ꯙ◗㟧溸㵶傉յ㟧溸◜╃♨⹴㟧㐃㪾✅┪溸
䓺骮✇鱪裩ꂖ劔剳㝃♥☭䠋⪺鲨▇㜘ն㟧⻔վ5"5-&3տ
俀䐷䖦䩓汉䨿姰阌耘난յ栃皒蔦╭⾕䗪▍▇ꇔն
乯倁
椟挩挩

䶢䔕䉞
9*"08&*
96

ꅐ㒘
䔍㜼㝃

Laurinda Ho
wears Curiel
Sposa
custom-made
wedding dress
$VSJFM
4QPTB㦨篜硍
⮜냖篒㲋⯆炕僜遤ն

Ho in Alexander
McQueen dress,
earrings, boots.
Opposite page:
Ralph Lauren top, skirt
"MFYBOEFS
.D2VFFO

鳀辊遤յ繰朅⹖湿꫆ն

㵒건
3BMQI
-BVSFO┕辊

⹖Ꝛ遤ն

42

t Laurinda Ho’s wedding in Bali earlier
this year, a guest said to her, “You know,
your mother said you’ve really grown up.”
“A little surprised and a little happy”
was how she reacted to the comment,
she says—it was the first time she had
heard of her mother Ina Chan making a
remark like it.
Ho is impatient: she likes everything to be done
quickly, ahead of schedule. If there is a work matter
that needs to be addressed on a Monday, she’ll start
feeling anxious on Saturday, wondering why it’s not
Monday yet.
This kind of character drives her in many ways,
while also making her stand out from the crowd. The
growth she’s been experiencing recently extends
to her public persona: she has become much more
cautious in the things she says, seeking to leave no
room for misunderstandings. She no longer says
whatever comes to mind, as she once did. “I’m not
really the kind of person who can maintain a high
level of emotional intelligence every second of every
day,” she says.
Outside her work, Ho is, in her own words, a
“very straightforward person” who likes to confront
issues directly, particularly if something is not quite
right with one of her friends. This straightforward,
impatient character probably has a lot to do with
her upbringing. “Everyone says I’ve ended up with
a good script in life, and I won’t deny that,” she says,
referring to her privileged upbringing. She recalls
seeing someone on social media making a joke about
wanting to reincarnate as Laurinda Ho. “The first
time I saw it, I thought it was quite funny.” The more
comments she read, though, the more she felt people
were taking the resulting memes too far.
Still, she laughs it off. “People might talk about me
and pay attention to me because of my dad—that’s not
a bad thing, because I am indeed my dad’s daughter.
And then I thought that since people are paying
so much attention to me, I might as well use that
attention to do something positive.” If she has indeed
been given a good script, then Ho’s plan is to take
that script and create a great story with it—with her
playing the main character.
Ho loves food more than anything else. As a
Cantonese person, her DNA is filled with char siu,
double-boiled soups and fresh seafood.
She once trended online for a video she posted of
herself making her take on dalgona coffee,

獔┪劔匡㶅㐃膴㝙ꭊ갻鴋✇鱪裩騜
✘焒
ꇔ⻜ꮣ㤍⮰⮰騜✘澶溸ꪍ㝕◗ն劔掾䝫
駞劔掾㸰䐷䖦ꂘ儱✇鱪裩睘┞姍⻾⯒㠎
㠎㸉㟧⪸◟ꪍ㝕溸駬⚃ն
✇鱪裩儱╗䙋䙎㲳ն㟧ㄼ姐䨿劔溸◜䝠䗪
ꅌꂛ鉿劅㟲茤䳀⯼㴟䧯ն㠁卸劔┞╗䈰✑
◜뀉괛锢┬⽟┞駐駢ꊙ▂㟧㐃⽟⪮㹧⚷䠋
⯒䙋⮘䞰濫僓ꭊ䘤▂ꂖ┯⯒⽟┞նꂘ呤溸䙎呬❈㟧㐃駠㝃◜
┪ꌬ剳劔鉿Ⲙⲇ⻎僓□剳궣ꨑ蚘ն✇鱪裩駌╬蔦䉁溸䖦冝□
㐃┯偃䧯ꪍ긖㸉⪫⚱㟧溸銩ꁒ⺈䕒驐䡪駠㝃◚⺆┯汧缕
㝕㵶騗⚷溸✍㐌┯⫙儱⻎♈⯼┞呤䞰⯒☴▂騜☴▂ն

䱹濫㟧騅ꨑ┞鿛
⛰䧰⪼㵄□┯儱┞╗茤嬓⮕嬓璉ꌬ⟛䭥

둛䝠ガ


溸☭ն

“Since people are paying
so much attention to
me, I might as well use
that attention to do
something positive
傶撬㝕㵶ꊙ▂⪸峜䧰ꊙ䧰

┯㠁⡊濫ꂘ⚌⪸峜⹜⢳


┞ ◲婞⻔溸◜䝠ն”

44

a contemporary Macanese classic, mixing up coffee
powder, sugar and water, then adding Black & White
Evaporated Milk, resulting in a sweet creation. “The
milk froth is the same as how I saw them make it in
Macau, but the overall taste of the original Macanese
coffee was on the bitter side, so I fine-tuned the recipe
and changed the ratio of the milk,” she says.
When she is in mainland China, Ho spends a
lot of time visiting shops, snacking on street foods
and visiting Instagram-friendly restaurants. She’s
passionate about food: get her started on the subject
of private kitchen Home’s, her favourite place for
Shanghai’s famous dessert of red dates stuffed with
glutinous rice flour, for example, and she’s soon
waxing lyrical: “I’ve eaten at every single one of the
places with them in Shanghai, and this is the place to
go,” she says. “If you go to Shanghai, you must go to eat
at Home’s.”
In 2018, she also opened now-shuttered Jiu-Wu
Beef Noodles in Hong Kong, with the goal of bringing

ꯙ䐷䈰✑㐙⻉溸✇鱪裩氠㟧蔦䉁溸騅騜儱╗䔻潳缕溸
☭ն㠁卸劗⹵㏍㲳ꓧ⹿气◗┞◲┯㟲溸◜䝠㟧┞㴼⚷皭⮃
匡騜ն䧶駠㐃㜾汕澚匡✇鱪裩ꂘ呤潳┻䙋溸䙎呬┱㟧溸䧯
ꪍ芻 冎劔䔻㝕⪸笡ն膴⯒ꂘ⩠✇鱪裩椚潳┯侊㑝騂㐌銩
獏㝕㵶ꌬ騜䧰䕒⯒劅㟲溸☭气Ⱖ勔䧰┯⻲駌ꂘ┞掾ն䧰
劅ꂀꂖ澚⯒┞╗☭騜
✇鱪裩☴▂僓⡀㜜㲹䧰锢⹜䫌苁ն
睘┞姍澚⯒溸僓⡀閚䕒迲㟲楉溸澚㝃◗䧰㹧䬎䖦羱⹵♰ꁩ
䍳楉哽ն
㟧眞濫䭡ꂘ⚂◜䩤鲨䌔⫙┞姍㎈瞩⪸◟蔦䉁麄⚌溸ꭄ
뀨
㝕㵶⚷騰駢䧰յ⪸峜䧰⺪茤ꌬ儱㎌╬䧰曎曎䧰閚䕒□
䔻㟲㎌╬䧰燛㵄儱䧰曎曎溸㟖⩠ն⻑匡䧰㹧䞰傶撬㝕㵶ꊙ
▂⪸峜䧰ꊙ䧰┯㠁⡊濫ꂘ⚌⪸峜⹜⢳┞◲婞⻔溸◜䝠ն㠁
卸䬿劔溸麄⚌儱┞⚌䕒㝙栃⸦溸Ⱖ勔ꊙ▂✇鱪裩溸駉⮦儱䭡
濫ꂘⰦ勔⹜䱲㸌⮃┞曩낊冎ն㟧㐃⪼╚뇼悎溸閤虝㹧儱蔦䉁ն
嬠鱎ꅀ銏յ恪☗銡劚յ榓㵂눢뇼✇鱪裩剳曄耘난ն✑╬┞
╗䌦╅☭㟧溸㕈㎌ꓧ⩪怮◗⹲搋յ攣尐յ嶯랓⾕傱俚㟲⻃溸
╅锟ն
潸⟥䔻㝃☭㸉✇鱪裩溸ⷧ骮⪸ꨴ駵儱憬ꬾ⾤ポն▇⯼✇
鱪裩㐃羱┪⹿䉘◗蔦䉁⯜✑憬ꬾ⾤ポ溸侷㳔閗뀡㸞⾤ポ稻յ
竒⾕寊庌⻉䩤⹿Ⲏ⪝溸묶溮幜㟞峜⪝挺땃┞匭氎䍳ꃿ╚

Ho in Buerlangma
dress, Christian
Louboutin heels
#VFSMBOHNB炕僜遤

$ISJTUJBO
-PVCPVUJO

냖饇ꫤն

Ho in Gucci outfit,
Grey Matter
earrings

(VDDJ丞㝄僜逸

(SFZ
.BUUFS繰朅ն

瓀⮕
.*-0
荔☕簊甅
娡嫧
㵗庌┚鈼겐籁鰝
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authentic Taiwanese beef noodles to the city. Reports
and reviews of the noodle shop suggest Ho poured her
heart and soul into it: she was involved in its design
and the sourcing of ingredients, and would often go
there and chat with guests.
The joy she gets from this is immense. “When
people come in to dine and think the food is delicious,
I’m happy to get that stamp of approval.” For Ho,
happiness is not about what she has, but what she
feels, what she shares and what she passes on.
Jiu-Wu closed in 2020, although Ho has always
made food the focus of her career and her life. When
she travels, she chooses destinations where there’s a
restaurant she considers a must-try. “Every place I
travel to, the attractions are never the highlights—the
restaurants are.”
Of course, it’s not where you go that counts, but
who you go with—Ho loves food, but she “doesn’t like
to eat alone”. Her favourite scenario, when it comes to
dining, is to order a lot of food and share it with people
around her—like a big bucket of fried chicken wings,
preferably enjoyed with one in each hand. She also
loves to cook, and the smiles on the faces of family and
friends, when they taste her food, bring much joy.
Ho’s many identities allow her more freedom
to choose the direction she wants to go in, but
underneath all the superficial good fortune, she finds
it extremely easy to be happy, and she chooses to live
a simple life. “When it comes to your mood—whether
you feel happy or sad—it depends on how you see
things,” she says. “The same situation could happen to
two different people, and how each one feels depends
on what they see. An optimist would always see the
positive, while a pessimist might see something
negative. That’s why I think that thinking positively is
the better choice.”
Happiness is not just about the big things; small
pleasures also make her happy, she says. On the day
of our cover shoot, the team gave her a bouquet of
flowers, which she took into the lounge and placed
in front of the vanity. When asked when she last felt
happy, she says without skipping a beat, “Just now,
when I got those flowers.”

溸憬ꬾ⾤ポ㹧⢳䧯◗ն║呬匡騜⪢璼儱憬ꬾ⾤ポ▇✇鱪裩侊
虙曬ն
䧰㐃憬ꬾ澚♑♰⢳溸僓⡀㟞ꌬ儱┞呤溸⛰儱俠
✅溸⺛䠋⢟蝆䨿♨䧰㹧䕼騫◗┞┬ꏕ做侊⺈◗㟞溸嬠❛ն
㐃⫐㐌✇鱪裩劔駠㝃僓ꭊ⹜䱲䍕㟧曄⿣㹅鴤ꁉ㸰⻃յ⯒
窢蔺溸넔⸈䩤ⷒն㸉◟耘난㟧劔┞璀┯⚷厏盖溸搑曄ն騜⯒
ꂘ⩠㟧駚鱎佻临㟧䬚䶢┞俠㝙溸劅㝕Ⲙⲇ)0.&
4溸䖦
㝛鿞ն)0.&
4儱┪嶯溸┞㵶瑮䨼褺눒䖦㝛鿞儱ꊙꓧ溸䬲
曵▇┞氮笇稌⾕绞厁⯜䧯ն㟧⪺㞉㐌騜
䧰鴋✘騜⪢┪嶯
溸嬓┞㵶䖦㝛鿞䧰ꌬ⻃ꁩն✘⹜┪嶯┞㴼锢⹜⻃)0.&
4
溸䖦㝛鿞ն☹☹儱䞰⯒㴋♰✇鱪裩㹧䖵┯⛿眞䐷䐷㢽怘怘
┯缙㐌⻔䧰♰䲀蠩鱎匡ն
䌑㟧㐃눥䐷◗┞㵶椬⚦朙舸긖䍕蔺ⲇ◟㸞⺬彵朙
舸긖䑜⪝눥ն♈僃⯼溸䫟ꇔꓧ⺪♨䕒焒✇鱪裩㸉ꂘ㵶䍕⡿
峜䖦鉩䍕ꓧ溸鍯愡駦駉յ난包ꓠ鯺㟧ꌬ☠蔦⹨┱劔僓ꂖ⚷
⹜䍕ꓧ⾕㵊☭膴㝙ꭄ♑♰⻃䕒䘤▂呤ն
㟧ꄽꁩꂘ⚂◜䕒⯒卋㝕溸䗪▍⾕怮鳉䠋ն
㝕㵶ꂛ匡⻃
閚䕒䔻㟲⻃䧰㹧⚷䔻䐷䖦䠋閚㝕㵶駌⺪䧰ꄑ䭃溸╅锟ն
㸉✇鱪裩匡騜䗪▍┯儱䬿劔☴▂脯儱䠋⺇◗☴▂⮕☑◗

☴▂⾕⚿ꄨ◗☴▂ն
轇撬朙舸긖䍕㐃䌑⪸䱆◗⛰✇鱪裩㢽缄䪻耘난✑╬
蔦䉁膷╃⹿㺥溸ꓨ掾做⻔ն㟧䡇䟩䪻气嵛╚溸㝕ꌄ⮕㐙冎ꌬ
㎭缑濫耘난㺥䐷䭇偳鉿□儱㠁婟ն㠁卸劔☴▂㐌做⡽䕒┞
⹜ꊙ▂┞㴼儱ꊙꓧ劔긌㹅┯⺪溸넔⸈ն
䧰⹜嬓┞╗㐌做偳
廷冎掾♈匡ꌬ┯儱䧰偳廷溸潨吙넔⸈䩜儱ն
婞㠁⹜〘ꓧ┯ꓨ锢յ⾕騩⹜䩜ꓨ锢┞呤✇鱪裩鱪曄耘난

⛰┯ㄼ姐蔦䉁┞╗☭⻃뇹ն㟧劅ㄼ姐溸⻃뇹㐙冎㹧儱蔦䉁
掾駠㝃㟲⻃溸撬⻑┱麄ꁉ溸☭⮕☑饏㠁┞㝕哇掼먋肌劅
㟲儱嬓☭䩘ꓧꌬ䭡濫┞⺢ն㟧ㄼ姐┬⸻☑⺇溸□儱㵶☭㟲⹵
⿣㹅⻑궣⮃溸眞㵽ն
騂撬✇鱪裩麄┪溸騠㝃麄⚌駑㟧䬿劔剳둛溸蔦氮䍳⹜ꄑ䭃
⾕⮱ꅐ䞰锢溸做⻔脯㐃ꂘ◲銩㺂溸㟲ꁾ官⾕㟲Ⱖ勔▇┬✇
鱪裩儱┞╗卋㵽儅䗪▍溸☭㟧ꄑ䭃ꁩ┞璀矻⶿溸气嵛ն
䧰
閚䕒┞╗☭溸䝠缦✘溸䐷䖦┱┯䐷䖦⺆⬑◟✘蔦䉁澚⯒溸
◜䝠ն⺪茤㝕㵶ꆱ⯒溸◜䝠儱┞呤溸⛰儱♑澚溸掾┯┞呤
♑俠╗☭溸䝠缦㹧┯┞呤ն▍間溸☭寏ꂜ澚⯒溸ꌬ儱婞긖溸
╅锟┯▍間溸☭⺪茤㹧儱澚⯒嬠鿲鯬긖溸╅锟䞰⯒嬠鿲┯
㟲溸◜䝠ն䨿♨䧰⚷閚䕒✘䓝撬锢皭㐃▍間溸ꊙꁉ㈨ꂘ呤
嬠鿲㟲ն
㐃✇鱪裩澚匡䌘琀䌔┯儱锢⹿气㝃㝕溸◜䝠□屳劔㺂姍
▇⮕䨿劔溸㸰䐷䖦ꌬ駑㟧䠋⯒䌘琀ն䬚䶢㸖긖䓝㝙罒ꀀꌄ
ꃼ缕㟧┞匙㟧䭡ꂛ⚪䛉㵎侒㐃㠌咈⯼僓┯僓濤閤䪈
ꁩ⹜㐃錻ꭄ⯒✇僓䠋⯒䔻䐷䖦僓蔦撬㐌䳀⯒㴋
㹧儱楓㐃
⼢䧰侅⯒◗ն

47

An Enchanted Evening

1

때䝶▇㝆
Chopard High Jewellery entrances guests in an immersive garden
wonderland at teamLab SuperNature Macao

T
48

he Enchanted
Eden set the scene
for Chopard’s
dazzling universe
of haute joaillerie this
September—a colourful
garden of exquisite
diamonds, emeralds,
sapphires, rubies and
other precious stones,
each displayed among the
immersive experience of
teamLab SuperNature
Macao.

Over two nights at
The Venetian Macao,
The Enchanted Eden
showcased a breathtaking
high jewellery collection
that brought to life the
allure and brilliance of
Chopard’s creations.
Hosted by Tatler,
Chopard and Sands China,
the exclusive events saw
just 30 high-profile guests
enjoy a VIP evening
of live entertainment,

䝶⚢氵ց 5IF

&ODIBOUFE
&EFO
╬♁䌑▟劓觟ꊝ둛
绣榓㵂㺥ꨀ駦◗编
╰溸薌⺬Մ┞䍵氮㝰潨檰櫾
꧁焪յ率嬏缻յ譻㵂焪յ绞㵂焪
⹴⪼♑㵂焪缀䧯溸㎢㐃憬
ꬾUFBN-BC鱪蔦撬疿ꭊ溸✅돂
╚㺥楓ն
╬劻═兰溸ր때䝶⚢氵ց兰
㵰◟憬ꬾ㥓㹹偅☭㺥獏♥☭㺚
䛉溸둛绣榓㵂笡⮬䌔⼯楓✑
⿣檰櫾溸气⾀ⲇն
氮5BUMFSյ觟ꊝ⾕ꓭ屧╚㎼

ր때

⪴⻎╭ⲋ溸ꂘ╗栃㵶嵛Ⲙ

㐃劓傽⾕傽溸兰┪駑

⛻鰂㶅☑⺇◗┞㐙鰂㶅┺㺲
兰㵰楓㐙ꮭ駦◗杅⯋㺥⮃溸
俚焺虪勘✑⿣⾕檰櫾㝰潨

溸榓㵂ն
♨UFBN-BC鱪蔦撬疿ꭊ溸
虝䔅✑╬芻冎兰⚷溸撌掾㎭
缑濫氮ꓭ屧╚㎼溸◩⛻┺㵶⸻
䉞窢䖦⯜✑溸耘난✲芐♨⹴
觟ꊝꭀ脘溸둛绣榓㵂╬兰⚷
㙨虝┯㸵ն㐃兰㵰⯼㶅㵊錻
䊎뀖痍鱴ր┱☭溸㻘驟ꃟ
㝤յ屋嶰⾕ꓨ气ց 7BMMFZ
PG


PHOTOGRAPHY HUMPHREY NG (MODELS, TABLESCAPE & BACKDROP);
BILLY CHAN (ZHU & INFANTE); ANNA KOUSTAS (WONG)

觟ꊝ$)01"3%둛绣榓㵂㐃憬ꬾ5&".-"#溸㎢㞂㘷╚때䝶㶅㵊ն

2

5

3

4

6

7

8

1 Models elegantly
showcased a diverse
collection of high jewellery
2 Alpine Eagle Frozen
watch in ethical 18-karat
rose gold 3 Ruby earrings
and bracelet from the
Chopard High Jewellery
collection 4 Stella Zhu
5 Wilfred Wong 6 Michel
Lamunière, Suzanne Chu
and Miky Kambara 7 Elaine
Lee and Li Hwa Lee 8 Pau
Infante

嘗攑⚝꥕㏐㷤炐⺨攑荈氳

냖篒权㲒硍⮜

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&BHMF
'SP[FOꚑ溍肶辑ꃾ榫瑞⺭
⚰杼鷺䐼剝⬢氳,氫ꄌ⯆䡗

蛊黅냖篒权㲒硍⮜氳篍㲒

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49

9

10

13
50

immersive digital artworks
and dazzling jewels on
September 20 and 27.
Set against the sparkle of
diamonds and the colourful
backdrops of the teamLab
art space, the evening was
centred around a menu
of gastronomic delights,
meticulously crafted by
five of Sands China’s expert
chefs.
Before the dinner,
guests were led on a
journey through the
installation Valley of
Flowers and People:

12

Lost, Immersed and
Reborn—where a parure
comprising 182.24 carats
of pear-shaped emeralds
paid tribute to nature—into
Chopard’s universe, where
a collection of pieces
featuring more than 100
carats of oval-shaped rubies,
each bearing diamond
hems, took the form of
blossoming flowers and
models elegantly showcased
diverse high jewellery,
ranging from exquisite
necklaces and mesmerising
earrings to beautifully

PHOTOGRAPHY ZED LEETS (MODELS); HUMPHREY NG (DAWN & WATCHES);
ANNA KOUSTAS (GROUP & CHANG & DINNER & JEWELLERY)

11

14
15

16
9 The High Jewellery pieces
10 Wilfred Wong, Michel
Lamunière and Pau Infante
11 Feiping Chang 12 Models
showcased the High Jewellery
collection inside the Crystal
Universe room 13 Violinist
Olivia Dawn performed a
musical piece dedicated to
Chopard 14 Miky Kambara
15 The Enchanted Eden
inside teamLab SuperNature
Macao 16 Chopard’s dazzling
high jewellery creations
17 Chopard’s showcase of
exceptional timepieces

17


蛊黅氳냖篒权㲒硍⮜



曓葏⚨յ.JDIFM
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
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adorned cuff bracelets,
each shining a light on the
natural inspirations behind
Chopard.
During the meal,
talented violinist Olivia
Dawn and flutist Zoe Lai
also performed musical
pieces composed with
these exquisite designs
in mind.

Inside the entrancing
digital wonderland of
teamLab SuperNature
Macao, Chopard’s
haute joaillerie and fine
timepieces captured
the hearts and ignited
the imaginations of all
who experienced this
unforgettable curated
exhibition.

'MPXFST
BOE
1FPQMF
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뀉ꨄյ⩪怮때ⲇ溸膁楒⯒鍯뇼

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樥䩘0MJWJB
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-BJ□銩悎◗┱ꂘ◲駦駉
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㐃UFBN-BC鱪蔦撬疿ꭊ♥
☭꯺ꑌ溸虪勘㞂㘷╚觟ꊝ溸
둛绣榓㵂⾕ⶶꦥ銩䯱裯◗楓
㐙㶅㵊溸䖦應⹿◗♑♰溸䞰
骮ⲇն

51

THE SCENE | COVER STORY 㸖긖侚◜

┧ ☭ ꃟ 溸 ┬ ⶯ 㐙


Tatler Asia sits down with David Beckham,
ten years after his retirement from the beautiful
game, to talk Netflix, Messi and legacy
䭨긯ⶥ䌑▇⻑㝕⷟ u 鯪⩴實㢯㑀┬┱5"5-&3
"4*"

ꭈ騅㵶䊬膴⯒/&5'-*9յ哝锟⾕♑㐃鳉槊㐙┪溸䧯㹧ն

By Caroline Issa

52

Hannes tank top;
Celine trousers
)BOOFT
┕辊

$FMJOF
Ꝛ選

Loro Piana jumper;
Saint Laurent trousers
-PSP
1JBOB奓辊

4BJOU
-BVSFOUꝚ選

54

ust when you think you know everything there is to
know about David Beckham—now the subject of an upcoming Netflix documentary—you realise how much you’ve
missed. The sportsman, considered by many the greatest English footballer of his generation, has transformed from
sportsman to brand spokesperson to fashion brand owner and even American soccer club owner. His level of fame
is undeniable and almost incomprehensibly extensive. On his first visit to conflict-ravaged Sierra Leone as a Unicef
ambassador, despite having never visited the country before, was mobbed by children a quarter his age.
Living in the public eye often means sacrificing privacy,
yet social media has allowed celebrities like Beckham to
regain some control by choosing when and how to share
unfiltered glimpses of family life (see those Beckham
family TikTok moments). A documentary is a different
beast, and less easy to control; but Beckham’s decision to
share his life story marks a reclamation of his image, one
open to—and inviting—outside participation.
Tatler first met Beckham in May, when he was in
Macau for the opening of The Londoner Macao, for which
he is a long-term brand ambassador and has designed a
number of suites. “Working with Tatler Asia was always
something I was excited about. I’ve been coming to Asia
for the last 25 years, so it’s always nice to be there, but
obviously I’m very honoured to do the front cover of [an
important] magazine.”
We met again last month in his Central London office
to talk about his upcoming docu-series Beckham, set to
premiere worldwide on Netflix on October 4. In it, he
shares his life story—in his own words.
“Many friends have suggested a life documentary,” he
says, “but the timing was always up to me. And with this
year marking the tenth anniversary of my retirement from
football ... it feels perfect.”
Was the process difficult for him? “I’ve got to be honest:
it was a real challenge. Not the toughest thing I’ve ever
faced, but definitely a challenge. It was revisiting my own
life story, and that can be a lot. I watched it with my wife, and
we turned to each other and said, ‘We need a break! We’ve
been up to so much in the past couple of years.’ But beyond
that, I felt a sense of pride in what we have accomplished
with the documentary. It’s incredibly personal, but I believe
a life documentary has to be personal; if you leave anything
out, viewers feel like they’re missing something. This

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㸉♑匡騜䬚䶢ꁩ瓨㎧걾⻜䧰䖪뀋騜㵄騅

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♰鿛ꁩ麄匡㸉䔦婟騜
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⭠䌑⹿气◗ꂘ▂㝃◜ն⛰ꯙ婟▇㜾㸉◟绦䓡曩╚䳀⹴䧰♰
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55

56

was my chance to tell my stories in my own words. Sure,
others have shared their versions, but I wanted to give my
perspective, share the raw truth, what I was going through
at the time—you know, the real deal. And honestly, we’re
pretty pleased with how it turned out.
“Getting my family’s support was the initial
conversation I had with my wife, kids, and parents
because they’d all be involved in some way. I didn’t want
cameras trailing me around, which makes me quite
uncomfortable. Instead, it was just me in a room with
Fisher [Stevens, the docu-series director], talking, for
about 45 hours over the last two years. It felt like a therapy
session, pouring my heart out. Trusting Fisher’s editing
process ultimately resulted in a genuine and heartfelt
narrative that truly reflects my life. There was a moment
when I first watched it and thought, ‘This isn’t what I
expected.’ But after watching it again with my wife ten
hours later, I realised it was exactly how I wanted it to be.”
What changed in those ten hours? Beckham considers.
“Well, the first time I watched it, I was alone. Watching it
with my wife, who I’ve been with for 26 years, made me
trust her opinion. Reflecting, I wonder what might surprise
people. Many might assume they know everything about
me and my life, that there’s nothing new to discover. But I
believe when they hear me talk about specific moments,
like the 1998 sending-off and what was going on in my head,
or the challenges I faced when leaving Manchester United,
it’ll shed light on experiences they haven’t heard before.
Sure, some things like my OCD tendencies have been
widely reported, and people know that about me. But there
are many untold parts they know nothing about.”
Does he mean he’s laying bare his innermost thoughts
about pivotal moments, about which pundits and
newspaper headlines were sometimes wildly inaccurate?
Beckham leans in. “Exactly. Plus, we hear from many
people who were part of those moments. [Former
Manchester United manager] Alex Ferguson, my wife
… It’s important to share the story. As you grow older,
your perspective on life changes. You start to understand
why you did certain things when you were 21. I feel like a
completely different person now.”
Only someone with hindsight honed by decades in the
public eye could have the forward-facing perspective to
pull off one of the most daring talent acquisitions in recent
sports history: signing Lionel Messi to his Inter Miami FC
team. How did Beckham bond with Messi, as former rivals
with shared philosophies?
“When I retired a decade ago, I was itching to dive into
something new. I wasn’t the type to just lounge on a beach
and call it retirement—I love staying busy. So, when I hung
up my boots, I hopped on a plane [to America], and [in
2013] announced my vision for Inter Miami. Like every
sports owner, I wanted the best players, the top-notch
sportsmanship, for our team, and our fans. There was only
one man in my mind, and that was Messi. It wasn’t just
because of his on-field prowess, but also because I knew
what kind of person he was off the field—a humble, familyoriented guy who’s deeply committed to his community.
It’s not just about football; it’s about teamwork.
“Bringing him to our team in America, outside of
Europe’s established leagues, was no easy feat—but I love

“When folks ask
what I want my
career legacy to be,
it’s not about being
the greatest; it’s
about that good
old work ethic
䧰駌╬ꓨ掾┯儱䧯╬

劅⚾㝕溸槊⽄脯儱

虙㟲溸膷╃ꇔ䖎ն”
灵ꌄ⮕◜㵄間⚱⚷閚䕒㟲⦑♨硅瘯勑茤澚庣◜䝠⪢髳ն
䧰䖪뀋䪻䳣ꂘ╗勨⚷☠⺛駱騜蔦䉁溸侚◜ն䓝撬⪼♑☭□
⚷劔♑♰溸曬勔⛰䧰䞰銩ꃎ蔦䉁溸間掾⮕☑䧰䓝僓䨿缋⸉
溸ⸯ㢽澶潸□㹧儱䨿騻溸澶婞⫐䋜ն脚㵄騜䧰♰䔻怮䟩
ꂘ㞟绦䓡曩ն
┞䐷㢽䧰鴋㢑㲳յ㳘㲳⾕曋嬏騜䉤労䕒⯒♑♰溸佻䭥
㎌╬♑♰ꌬ⚷潳䱹䧶ꭊ䱹⹨┱绦䓡曩溸䬚䶢ն䧰┯䞰駑䶢⦑
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䬚䶢ꁩ瓨╚⺢劔䧰⾕绦䓡曩㸍悎鰆蕩㸸u⺮誫倁偅'JTIFS

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䞰
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Hanes tank top;
Saint Laurent trousers
)BOFT
┕辊
4BJOU
-BVSFOU
Ꝛ選

57

Saint Laurent outfit
4BJOU
-BVSFOU
丞㝄僜逸

58

STYLING CHRIS BROWN AT COLLECTIVE TALENTS INC HAIR SYD HAYES AT ART AND COMMERCE MAKE-UP SALLY O’NEILL AT CAREN AGENCY STYLING ASSISTANT TOBI ROSE

a challenge. I told my partners from the get-go, ‘This is
the player we’re going to get.’ About five years ago, my
partner Jorge Mas and I snuck into a hotel in Barcelona
to meet Leo’s [Messi’s] dad. We told him that we knew
his son wasn’t ready then, but our dream was to bring
him to our club someday. So, we began the process.
Over the past four or five years, Jorge has travelled to
Argentina, met with the family, and talked to Leo. As the
time neared when he was due to move from Barcelona to
Paris Saint-Germain, and his contract was coming to an
end, we knew our chance was approaching. But securing
Leo’s signature, with other options on the table like the
Saudi League and Barcelona, was no walk in the park.
Things just fell into place at the right time, and that’s when
we seized our opportunity. The deal we crafted involved
multiple contracts and a share of the club. After that, it
was Leo’s call on where he wanted to go next. We didn’t
pressure him; we wanted him to make his own choice for
his happiness, along with his wife, Antonella. As the time
drew nearer, we simply told him, ‘It’s your turn to make
the announcement. We’ll be here waiting.’”
When he finally learnt of Messi’s decision in June,
Beckham was in Japan with his family. “My phone started
going berserk at 5am. My wife was swatting me, telling me to
go back to bed. I grabbed the phone and realised it was huge
news. I jumped up, screamed, and got emotional because
we had put so much work into this,” he says. “I always knew
bringing Leo on board would be a game-changer for our
plans, the league, and American sport in general.”
With a career built on both supreme athletic
accomplishment and savvy decision-making, Beckham’s
trajectory might seem pretty close to perfect itself. Yet
there’s more to the man than his record alone can show.
With insight comes growth, and when we ask Beckham
what he wants his legacy to be, his answer is something of
a surprise. “You won’t hear this from everyone, but I just
want to be remembered as a nice person. Humble, generous,
hardworking—that’s the gist of it. When folks ask what I want
my career legacy to be, it’s not about being the greatest—it’s
about that good old work ethic. Never giving up, embracing
challenges, and pushing through tough times—that’s how I
roll. I got that strong work ethic from my folks.
“We’ve been fortunate too with our kids,” he continues.
“They all had a passion for work from a young age. Take
Brooklyn, who’s now 24. When he was just 11, we had
him working at a little French café in Knightsbridge [in
London] on weekend mornings. He had to be up at the
crack of dawn, starting work at 7am and putting in hours
until the afternoon. It might seem small, but it taught
him responsibility and the value of earning a bit of cash.
Our kids are privileged compared to my working-class
upbringing in the East End of London. My parents, a gas
fitter and a hairdresser, worked tirelessly. Dad was still
going strong at 74, and Mum still snips away a bit. When
it comes down to it, I’d like folks to remember me as a
hardworking soul, like my parents.”
And as we wrap up the interview, I ask him what he’s
doing next. “Where am I off to now? To pick my daughter
up! When I’m in town, I always take her to school and pick
her up when she’s done.” And just like that, he transitions
into the role he cherishes the most: dad.

溮╬☴▂蔦䉁㻹僓⚷⢳ꊙ◲◜䝠ն䧰閚䕒楓㐃溸䧰鴋♨⯼⯀
蝄═☭ն
⺢劔缋⸉錻⪫⚱峜閗俚ⶥ䌑脯状绿⮃⻑閒▇僻溸☭䩜茤
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┞㸞裨僧⫐㸸u哝锟-JPOFM
.FTTJ矸⪝♑溸㎼ꮪꁫꮣ㶕鳉
槊⟺▍ꌄ*OUFS
.JBNJ
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⪴⻎槏䗼溸⯼㸉䩘䐮皒臅笡溸
ⶥ䌑⯼ꃹ⚪僓䧰廮労䫌麄假◜╃ն䧰┯駌╬ꃹ⚪銩獏⺢
茤麤㐃屧怷傱䨿◜◜䧰ㄼ姐䗊爑ն䨿♨䓝䧰㐃䌑䭨긯
僓皒ⷬ鴩┪◗낚䔯耘㎼溸낚勨䌔⪫䐷㵌䉘◗䧯皒㎼ꮪꁫꮣ
㶕鳉槊⟺▍ꌄ溸䡇冎ն㹧⦑嬓┞⛻✅芍脚升䧰䞰锢劅㟲溸յ
䬿劔┞嵤✅芍窢玘溸槊⽄╬䧰♰溸槊ꭶ⾕槊ꃟ劚ⲏն䧰荆嶯
ꓧ⺢劔┞╗☭ꊙ㹧儱哝锟ն┯☹☹儱㎌╬♑㐃㐙┪溸茤ⲇ
□㎌╬䧰焒ꇔ♑瑮䍐┬儱┞╗䘤呤溸☭ն♑╬☭驎ꄒյ峜ꓨ㵶
䎂脯┻蔺ⲇ◟鯮桬蔦䉁溸獘ⶔնꂘ┯☹⪸▊鳉槊剳⪸▊㎑
ꭶ⻉✑ն
䪻♑䊎⯒耘㎼䧰♰溸槊ꭶ瑠䐷姚嵌脚曵溸槊ꭶ臅潊

䌔┯儱┞⚂㵽儅溸◜⛰䧰ㄼ姐䮅䧹ն䧰♈┞䐷㢽㹧⼴駱䧰
溸䵴咨髀㸸鰺u뎢偅+PSHF
.BT
ꂘ㹧儱䧰♰锢䕒⯒溸槊
⽄ն㝕绢◩䌑⯼䧰⾕髀㸸鰺⣭⣭徦ꂛ䉄㗶羻ꊙ┞㵶ꏞ䍕┱
哝锟溸曋☠⚷긖ն䧰♰⼴駱♑䧰♰焒ꇔ♑溸⩠㲳䓝僓ꂖ勑⬮㜜
㟲⛰䧰♰溸唙䞰儱劔┞㝙♑茤Ⲏ⪝䧰♰溸槊ꭶն◟儱䧰♰䐷
㢽◗ꂘ╗ꁩ瓨ն㐃ꁩ⹜ꂘ㎃◩䌑ꓧ髀㸸鰺劁㝃姍⯼䔯ꮣ周䐨
鴋哝锟屰ꄽյ⾕♑溸㵶☭閒긖ն⯒◗♑䗪锢♈䉄㗶羻ꊙ鿛⚷⯒
䉄묰㏼傽膁剾僓♑溸⻉绢ⷬ㸞缏匙䧰♰焒ꇔ勨⚷匡◗ն⛰䓝
僓□劔⪼♑槊ꭶ㠁屧杅臅潊⾕䉄㗶羻ꊙ㐃鴋♑騰䨿♨锢燛⟛
哝锟矸绢缙긌儅◜ն◜䝠⺢儱䛊㟲㐃婞燛溸僓ꭊ⹿气◗䧰♰㹧
㐃ꊙ僓䫈⛿◗勨⚷ն䧰♰⯜㴼溸☆儅巉⹴㝃⚌⻉绢⾕槊ꭶ溸艧
⚌ն▇⻑➬☆氮哝锟⹜⬑㴼蔦䉁溸┬┞婢ն䧰♰屳劔⻔♑偢⸐
䧰♰䉤労駑♑⾕♑溸㢑㲳㴘╅⫐䬕"OUPOFMMB蔦䉁⬑㴼勑匡
䌘琀☭气溸做⻔ն갫濫僓ꭊꆔꂀ䧰♰⺢儱䔻矻⶿㐌⼴駱♑

楓㐃鿝⯒✘㵌䉘


䧰♰⚷㐃ꂘꓧ瞏濫ն
䓝鯪⩴實㢯缄◟㐃劓䕒焒哝锟溸⬑㴼僓♑婞⾕㵶☭㐃傽
勔ն
䧰溸䩘勨䕞僃┪掾㹧䐷㢽柄꼹ն䧰㢑㲳䬚◗䬚䧰䧰䫈
鱎䩘勨䟩駮⯒ꂘ儱㝕假ꭑն䧰鴩鱎匡䐷㢽㝕⺤䝠缦應Ⲙ
㎌╬䧰♰╬婟♕⮃◗㝛㝃溸ⲛⲇն

䧰┞潳焒ꇔ哝锟溸Ⲏ⪝㸞侊⺈䧰♰溸駉⮦յ臅潊⾕俠⠥耘㎼
槊㚰溸廷䧮閕⮯ն
鯪⩴實㢯溸膷╃气布䐮皒㐃ⶽ鱴溸ꁾⲘ䧯㹧⾕窢僻溸⬑瞬
▇┪♑溸☭气澚匡ꂀ▊ⶥ⪢ⶥ耘ն撬脯♑♥☭俓✦▇㜘缙
┯☹婝◟㐃鳉㑐⮱┬╝ⲍ⚾缥脯䉂ն崫㷌ⲇ䊎匡䧯ꪍ䓝䧰♰
ꭄ鯪⩴實㢯♑䉤労┿☭駘䕒♑溸☴▂䧯㹧僓♑溸㎈瞩♥☭劔
掾⮃▊䟩倣ն
㝕嚤┯儱嬓╗☭ꌬ⚷ꂘ呤騜⛰䧰⺢䉤労㝕㵶
駘䕒䧰儱┞╗㟲☭ն┞╗驎ꄒյ䢿䢜յ⳵㞉溸㟲☭ն䓝☭♰ꭄ䧰
膷╃气布劅㝕溸䧯㹧儱☴▂僓䧰駌╬ꓨ掾┯儱䧯╬劅⚾㝕
溸槊⽄脯儱虙㟲溸膷╃ꇔ䖎ն寏┯侒䐽ꁹ䱹䮅䧹䯆ꁩ虚
걾僓劻ꂘ㹧儱䧰溸☭气〡㳔ն䧰♈䧰溸⻎⛘䕒⯒◗䒩揓溸膷
╃ꇔ䖎ն
♑缣缩騜ꇔ
䧰♰䔻䌘ꁾ劔㎃╗◗┯鱎溸㳘㲳♑♰♈㸰
㹧㸉䈰✑⩪怮搑䝠ն脚㝕䉘띸⩴卲楓㐃㻹◗㐃♑㻹僓䧰
♰駑♑⽟勒⹜⛆俌돇㛶咪┞㵶岻㎼㸰⾤ポ눒䈰✑ն♑䖪뀋庣冂
┞㝕僃鱎䌽撬⻑♈僃┪掾┞潳䈰✑⯒┬ⶭնꂘ⺪茤┯ꁩ儱┞
⚂㸰◜ⷮ侷⚷◗♑鯰⚈䠋⾕鰧掾관氠ꦷ溸⚃⡽ն鴋䧰㸰僓⡀
潸嬠䧰溸㲳㟖䌘ꁾ㝃◗ն䧰溸曋嬏儱⛆俌╅ⶔ溸䈰赜ꮕ㺂䧰
曋☠儱┞⻐攇官鍯ꏕ䈰嬏☠儱┞⻐槏⹿䉞♑♰䙰儱ꀋ⳵㐌
䈰✑ն䧰曋☠㻹♇撬䔻⣍㛺嬏☠♇⣪㸸ⰬⰬ㝧⹿ն䓛周疵
䍐䧰䉤労☭♰駘⛿䧰儱┞╗⳵㞉溸☭⦑䧰溸曋嬏┞呤ն
駧ꭄ⯒◗㹼㛽僓䧰ꭄ♑䱹┬匡锢⢳☴▂ն♑騜
䧰楓㐃锢
⹜〘ꓧ⹜䱹䧰溸㟖⩠䓝䧰㐃㵶ꓧ溸僓⡀䧰䙰儱䊎㟧⹜┪
㳔瞏㟧侒㳔⻑⫙⹜䱹㟧ն㹧ꂘ呤♑ꁩ廍⯒♑劅楻閗溸

閤虝曋☠ն

59

London
⛆俌溸⺥は

Calling

The Londoner Macao brings the sights, sounds and
tastes of the British capital to the Cotai Strip
憬ꬾ⛆俌☭㸞⛆俌溸冎蔺յ㛽꼟⾕耘난䊎⯒鴤寑ꓭ⩱㝕ꇔն
60

T

he Londoner Macao brings
a touch of the historic capital
city to the vast Sands Resort
Macao complex—from its
contemporary interpretation of classic
British design to its 14 suites designed
by England’s favourite football player,
David Beckham, and the all-day British
fare available at Churchill’s Table.
Guests at the integrated resort
will get to experience another iconic
element of British culture with Harry
Potter: The Exhibition, which will
celebrate its Asia-Pacific premiere at
The Londoner Macao on December

From top: Harry Potter
fan at Harry Potter: The
Exhibition; Shredded
bean curd with crab
meat and egg white in
superior soup
┕颯
վ⿊⮵٬嫧攑㷤鈾տ
氳睖┲軅缜資氫雖肩絚ն


Navigating the Wizarding World
can be tiring, and The Londoner
Macao provides plenty of options
beyond British cuisine to feed hungry
guests. Newly opened in September,
The Mews serves authentic
contemporary flavours from
throughout Thailand, with interiors
inspired by British mews—streets
of historical horse stables that also
housed living quarters and sometimes
featured hidden passageways.
The unique Chinese and
Portuguese mix in Macanese culture
means you are never far from a
good restaurant serving the two
cuisines, and The Londoner Macao
is no exception. Chiado, helmed by
celebrity chef Henrique Sá Pessoa,
offers a refined take on traditional
Portuguese dishes, such as its
signature salted cod à brás with slowcooked egg yolk, in sophisticated
surroundings.

15. Through best in-class design and
innovative technology, original props,
costumes and powerful storytelling,
fans will be able to experience the
most iconic moments from the
books and films of Harry Potter and
Fantastic Beasts. Visitors can practice
their Quidditch skills, brew a potion
and earn points to use at the Hogwarts
House attraction. The gift shop
features the fan-favourite Butterbeer
drink, alongside officially licensed
products and bespoke merchandise
exclusive to The Londoner Macao
Wizarding World experience.

ꬾ⛆俌☭㸞⸉⺮䜙╽溸⛆俌
낊䝠鄌⪝⯒憬ꬾꓭ屧䍳⢏
ⶔՄ♈㸉缋⪿蝠㎼駦駉溸
楓♣騈ꓤ⯒氮蝠呬⪳劅⺇
ㄼ曄溸┿汕鳉㑐⚿㞂鯪⩴實㢯駦駉溸
ꭊ㞟䨼♨⹴╁⻊㸸넔⸈❵䍎溸蝠
䑑耘난ն
䍳⢏ⶔ溸㶅㵊⺪ꄽꁩվ⿫⯈u峒杅
㺥閙տ匡✅돂卋⪾♣銩䙎溸蝠㎼倁
騍㺥閙溸◱㝛ⶔ눢皭㸞◟劓傽㐃
憬ꬾ⛆俌☭갗ꓨ䐷䋜նꄽꁩ┞嵤溸駦
駉⾕⮱假䪫勘澶㵄ꇔ⪾⹴ⸯ⮱劚鍯
╒ꏕ┪◧Ⲙ䑑侚◜㺥楓稻╆♰㸞茤
㝉✅돂⯒վ⿫⯈u峒杅տ⾕վ玘㞂Ⲙ朮տ
笡⮬╚溸ꓨ㝕僓⯤ն廷㵊⺪♨绿▣땀㐌
㞂䪫䈳騫⯜땳術䌔╬蔦䉁溸괽呬屁蟋
㵶傉鰯䕒璺⮕ն绦䗼⿣┺ⷀ䍕⹿み㴸做
䱅勶溸笡⮬ガ⿣䭇㜜⺇稻╆ㄼ曄溸
묛岓モꏞ♨⹴⪼♑땳岻┿汕✅돂╚
屳劔溸栃㵶☋⿣ն
㐃땳岻┿汕╚痍唤廷楉⺪茤⚷䠋⯒
泹䞥┯㖗脯憬ꬾ⛆俌☭䳀❵◗╝㶡溸

憬

From top: The Londoner Macao
Windsor Double Suite; salted cod
à brás, slow cooked egg yolk and
onion purée. Opposite page, from
top: The Mews; The Residence
┕颯徦ꠅ⚰下☕峪薇㝄䢣蝐䌋됺돡⛂䜈
拵資랋┚嬤蝽嫫ն㵒건┕颯㟓٬嫿ⶕ䉁ն


The one-Michelin-starred
Huaiyang Garden by celebrity
master chef Zhou Xiaoyan pays
homage to Huaiyang cuisine, which
comes from Jiangsu province and
is known for its subtle but complex
flavour profile and visual appeal.
Having received a five-star
rating from the Forbes Travel
Guide within its first year, The
Londoner Hotel’s luxurious suites
include bath products by British spa
brand Aromatherapy Associates,
a Nespresso coffee machine, a
London-themed gift at turndown,
an air purifier—and even a massage
chair and in-room gin trolley in the
Windsor Suites.
Guests staying at The Londoner
Hotel also get exclusive access to
The Residence, an exclusive club
featuring rooms inspired by opulent
homes and theatres in the UK. The
Residence offers breakfast, afternoon
tea and snacks during the day, and
serves cocktails at night, allowing
guests to savour a taste of London
amid the surroundings of a grand
British residence—all in the very
heart of the Cotai Strip.

넔뇺ꄑ䭃┯☹劔蝠㎼耘난ꂖ劔⪼♑
ꄑ뀉匡怮鳉䧰♰溸㶅㵊ն
㠺˙峪㸞◟劓䐷╃䳀❵婞㴵峪㎼
褺芐넔䐞鎥愡♨蝠㎼뎢䨼╬駦駉挺
䠋⸉⺮䜙╽溸뎢䨼劁儱㺈⛿ⶔ劔僓
ꂖ駦劔갬ꄽꇔն
憬ꬾ鄌⻉╚詞倁䟩⽱✘⺪㐃 ꂘ
䍵㓻䉗☑⺇┯⻎倁溸耘난☆鄌✅
돂ն憬ꬾ⛆俌☭□┯❛㜾氮儘绣⻐⸻
)FOS JRVF
4Ÿ
1FTTPB╭槏溸䉤겍䍳
詞㎼넔⸈楒㘷⚳겍䳀❵㸉⚿缛詞覟朓
褺溸窢蔺 騈ꓤ嬠㠁⪼ 吙䗅䙎溸詞䑑
럌띳⛘䢌攛迀묛ն
稌⪼卲┞儘넔⸈幷䪉兦㵰氮⻐⸻幷䳔
褺侷曋⽟兦旼╭槏⻔匡蔦尉蜖溸幷䪉
褺蔺俓ն幷䪉褺♨⪼䕼㠺脯㜩勵溸⺛⽱
⾕閗閚⼕䑜ⲇ脯ꭑ⻐ն
䐷╃睘┞䌑㹧裯䕒◗վ琀䉘偅偳廷䭰
ⷂտ溸◩儘駬绣憬ꬾ⛆俌☭溸髀ⶶ㞟
䨼䳀❵蝠㎼寊泈⿣曵"SPNBUIFSBQZ

"TTPDJBUFT溸屙嶨☋⿣յ/FTQSFTTP

⾤ポ勨յ♨⛆俌╬╭뀨溸⪝⛿獔朮յ疿
官⬥㊮廛袖㞟䨼ꂖꏕ㜜◗䭶䷧嗈⾕
樥ꏞꏞ⻳䲀鿕ն
⪝⛿憬ꬾ⛆俌☭溸㶅㵊ꂖ⺪┺☑ⶶ䎂
蝠䑑┺㺲⚷䨿騍⚷䨿溸駦駉挺䠋匡徏
◟蝠㎼溸髀ⶶ⛿㴏⾕Ⱖꯗնⶶ䎂傽ꭊ䳀
❵僃넔յ┬ⶭ蟬⾕㸰⻃㝆兰❵䍎먋㹼
ꏞ駑㶅㵊㐃ꓭ⩱㝕ꇔ溸╚䖦㐌䊎㐃

蝠㎼髀㴏溸楒㘷╚⿣⽱⛆俌낊䝠ն

63

Everything you need
to look your best this
season. Opposite page:
Messika’s Midnight
Sun collection
鲹╄㰚荣阦✃㷤朆僄✞敯䒳
䢦꧎氳┉⮊ն㵒건.FTTJLB

.JEOJHIU
4VO硍⮜ն

This month, we
meet shoe maestro
Giuseppe Zanotti
and Asia’s most
dazzling female
jewellery designers,
while WatchBox
chairman Tay Liam
Wee welcomes us
into his world
勔劓䧰♰⮕⯋┱

깐㻀㝕䉞(*64&11&

;"/055* ⾕◱嵌
劅脘濤溸㟖䙎榓㵂
駦駉䉞ꂛ鉿㸉騰⻎
僓8"5$)#09╭䊛
ꋡ䎾㥓䊎뀖䧰♰鱂ꂛ♑
溸菑銩┿汕ն

BRITISH ROYALTY
Alexander McQueen’s iconic seal
bag is getting a revamp. Available in
a more compact size this season, its
form and design are reminiscent of a
Tudor rose, the traditional heraldic
insignia of England, which has been
adopted as a new emblem for the
house. The Seal Small bag’s features
include a cut-out metal McQueen
Seal closure, rounded edges and
curved lines on both the body and
hardware, and it can be worn on the
shoulder or as a crossbody.

溽㵎官嵟
"MFYBOEFS
.D2VFFO䲀⮃긖髳┞

假溸4FBM䩘䳀㜜劔㸰⺵䩘䳀

⺪❵ꄑնꅐ㒘⾕駦駉挺䠋㐭徏◟蝠㎼

⚿缛绵皺䖙뇼ꌬ꧔楌檔

婟㎽呿☊䧯╬⿣曵溸假吙
䗅⪼杅掾䭇ꩈ疿ꓭ
㺲.D2VFFO
4FBM
ꨇ䩽鿝䏔㏉巷⾕
绻匜⚳耘溸鋶麄
⾕ꓭ㺲ꏕ⚂
艶芻䧶倩
䭿溻⺪ն

SOMETHING BLUE
Alongside its 125th anniversary celebration and exhibition in New York,
Rimowa has dropped another star-studded campaign, Never Still 4,
featuring Formula One World Champion Lewis Hamilton, football
superstar Kylian Mbappé and Rosé of Blackpink. The K-pop idol says,
“As travelling has become an essential part of my life, I’ve realised that
home has become more of a state of mind than a specific place. It’s a
collection of memories, experiences and people that provide a sense of
belonging.” Her appearance also served as a teaser for a collaboration
between two LVMH-owned houses: Rimowa is bringing back vanity
cases produced with Tiffany & Co, designed to safeguard jewellery.

譻虝때ⲇ
䖎㎼鉿匃硟⿣曵3JNPXB◟绹绢╱鉿⽟䌑䌳玖嵛Ⲙ⾕㺥閙ꂖ騟匡'
┿汕⫵⫯䕒╭-FXJT
)BNJMUPOյ鳉槊䈵儘,ZMJBO
.CBQQ§⾕꼒㎼㟖㲳
㝙㎑#MBDLQJOL䧯⽄3PT§䬚䶢㶱䟩⚿㞂寏┯婝婢溸/FWFS
4UJMM
㵌⚿
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66

STYLE | FASHION PICKS 愲嵤搑ꄑ

LA PARISIENNE
Gherardo Felloni’s latest creations for Roger Vivier celebrate
the dynamic moods of a Parisian woman. The campaign,
photographed by Tom Johnson and starring Chinese actress
Angelababy, captures classic scenarios in the City of Light from
day to night. The collection features a refined monochrome palette
with hints of leopard and autumnal shades. Signature Roger Vivier
shapes, elegant designs and iconic buckle accents combine in
footwear, handbags, millinery, belts and jewellery.

䉄묰㹐朮

IMAGE GIULIO RUSTICHELLI (GIORGIO ARMANI)

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STREET ENCOUNTER

THE WARMEST COLOUR

Matthieu Blazy has cemented the
silent luxury aesthetic and supreme
craftsmanship after just three
seasons at Bottega Veneta, but he’s
just getting started. Expanding upon
the autumn-winter 2023 collection,
in which silhouettes and layering
referenced on-the-go urbanites,
Bottega Veneta has introduced a
new sneaker, the Orbit. The new
line of unisex footwear is inspired by
Nineties’ fashion; blending casual
and classic elements, it incorporates
lightweight materials and the brand’s
signature Intreccio weave.

It’s time for Armani’s take on denim.
This winter, Giorgio Armani styles the
blue palette with warm and neutral
accents, contemporary silhouettes
and luxurious materials.
The women’s selection
includes jeans in a range
of fits, leather details and
jackets with “GA” logo
embossing, as well as
outerwear, shirts and
trousers in different
fabrics. The men’s
wardrobe consists of
trousers, jackets and
shirt jackets in denim
and complementary
fabrics, along with
hoodies, overalls and
T-shirts.

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䊳銰յ䈰鍯鎱⾕5䚶瞏ն

67

STYLE | SMALL TALK 僓㹀㸉騰

in 2020 after two decades at Hyundai,
a prestigious Korean fashion company
under The Handsome Group, about
the secret of brand positioning and the
potential of Asian fashion.
What sets Recto apart from other
fashion brands?
Our ability to maintain a distinctive style
while incorporating the latest fashion
trends and new design elements. We
pride ourselves on breaking down
the boundaries between menswear
and womenswear, allowing for mixand-match combinations in diverse
materials and styles, which ultimately
facilitates a unique personal style.

From left: Paik Suk Chung;
outfits from Recto autumnwinter 2023 collection
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New Idol 꼒嵤䁖鱎

Tatler speaks to Paik Suk Chung, the creative director of
Seoul-cool label Recto, about how Korean designers are
setting their sights on the world

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By Cherry Mui

K

68

orean fashion is having far
more than a moment: with
South Korean celebrities
taking luxury houses by
storm and fascination with K-culture
reaching new heights, consumers
the world over are lusting over
idol-approved names like Miss
Sohee and Minjunkim. That’s not
to say there wasn’t a global presence
before the advent of Squid Game and
Blackpink: Rejina Pyo and Rokh are
two brands which have been regulars
at European fashion weeks for years.
One of the most exciting names
to know right now is Recto, a
Seoul-based ready-to-wear label.

Founded in 2014 by award-winning
designer Ji Yeon Jung, Recto is part
of a new wave of Korean fashion that’s
defining the contemporary fashion
uniform. Stocked in Hong Kong’s Lane
Crawford and globally on ecommerce
sites such as HBX and Ssense, the
brand’s minimalistic, androgynous,
wearable approach to design has
won more than 250,000 Instagram
followers; it has also appeared as
the OOTDs of South Korea and
Tottenham football star Son Heungmin, internationally renowned DJ
Peggy Gou and actress Gong Hyo-jin.
We spoke to its co-creative director
Paik Suk Chung, who came to Recto

Do you approach designing
womenswear and menswear
differently?
I strive to create an image that is
inclusive and expansive, drawing
inspiration from a broad framework.
I enjoy blurring the lines between
gender-specific clothing, where men
can wear women’s accessories and
women can wear men’s jackets.
What can you tell us about your
autumn-winter 2023 collection?
The collection features impactful
materials such as sequins, faux fur,
aged leather, and Shetland wool, which
add excitement and completeness to
the design. By drawing inspiration
from a variety of sources and
incorporating bold elements, I hope
to create a collection that inspires and
empowers those who wear it. For this
collection, I started with the concept

of the connection between a refined
attitude and style. I wanted to explore
how fashion could harmonise with
good manners to create a complete
and elegant aesthetic.
What unique qualities can Asian
fashion brands bring to the global
market?
Asian fashion brands are known
for incorporating diverse cultural
elements into their designs. They are
able to maintain a high level of quality
while offering reasonable price
ranges. By embracing the unique
cultural heritage of the region, Asian
brands can create designs that are
both visually striking and culturally
significant.
What more can be done to support
emerging Korean designers?
There’s a saying: “What is most
Korean is the most global.” I believe
that it is important to approach this
challenge with a mindset that values
one’s roots and strives to be the best.
It may seem abstract, but I believe
that our thoughts and beliefs have the
power to influence change.
How do you see Recto evolving?
We are planning to expand our
physical presence on a global scale.
We believe that creating unique
and memorable experiences for
our customers is crucial, and we
are committed to finding new
and innovative ways to showcase
our designs and engage with our
audience.

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69

STYLE | FASHION SHOOT 僓㹀㝕曩

輁 䬸

偳瓨
Where does the boundary between reality and creativity lie?
This month, Tatler harnesses the power of AI for a fashion spread
that fuses physical fashion with Midjourney-generated models and
settings. Our desire: to create a style exchange between ever-evolving
technology and the sometimes mundane quality of everyday life
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Opposite page:
Givenchy dress;
Celine bralette, jacket
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Sportmax top; Chanel dress,
necklaces. Opposite page:
Loewe outfits
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Sacai outfit. Opposite page:
Alexander McQueen dress;
Ambush choker
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Prada dress, blazer;
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dress. Opposite page:
Hermès outfits
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Versace outfits. Opposite
page: Kev Yiu dress
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78

PHOTOGRAPHY AFFA CHAN IMAGES MIDJOURNEY STYLING CHERRY MUI RETOUCHING DIGITAL ART STUDIO MODELS KARINA M AND IZA AT SYNERGY MANAGEMENT PHOTO ASSISTANTS DANIEL MURRAY AND EDEN BHAI STYLING ASSISTANT SUMMER LI

Ferragamo outfits.
Opposite page: Dior outfits

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Scan the QR code for a
behind-the-scenes look at how
we put this fashion shoot together

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81

Giuseppe Zanotti
儝㖢✐٬蛋陷瑭

From scooping gelato to DJing at a local radio station in rural
Italy to designing shoes for the likes of Beyoncé and Rihanna,
Giuseppe Zanotti’s life has been anything but ordinary.
We caught up with the designer on his first visit to Asia
post-Covid to talk muses and music
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ꅐ駧◱嵌䧰♰鱣勨騟♑騰騰☭气╚溸罦偅⾕꼟▍ն
By Coco Marett

“I

82

was a loser DJ,” Giuseppe
Zanotti tells Tatler as we
sit down to chat in the
Presidential Suite at The
Fullerton Bay Hotel in Singapore.
He’s sat in a lounge chair, wearing his
signature black, thick-framed glasses.
Before becoming one of the
world’s most celebrated shoe
designers, Zanotti started his career
as a DJ for an independent radio
station in his hometown in Italy,
essentially working for free because
he would “spend all [his] money
buying records”.
Zanotti grew up in San Mauro
Pascoli, a coastal town known for
shoe manufacturing. “It’s a beautiful
summer place,” he says. His family
owned a quaint restaurant and
gelateria on the beach, where he
would work during the peak season.
“My father and mother had already

written my destiny for me and my
siblings—but this destiny felt too
strange for me.”
Zanotti says he always had a
penchant for design—whether that
was sketching cars and bikes, or
designing out-there ice cream cones
for the family business—so after he
left his career in radio, he began
working for a local shoe company.
“Since I was a kid, I was amazed
by people who work with their
hands, the artisans,” he says. “I
learnt everything, all the technical
components … leather, the inside
and outside, lining and upper,
accessories and embroideries like
jewels, stones, crystals. Shoes are a
whole universe.”
After cutting his teeth, he began
designing shoes freelance for brands
such as Gianfranco Ferré and
Valentino. “At the time, I didn’t have

the self-confidence to put my name
on my shoes,” he says.
In 1994, he finally launched
his brand and showed his first
collection in New York. “We had
nine employees in the beginning,” he
says. “Now we have 500.”
But music has remained a
constant in the designer’s life.
One of his first designs was
a slouch boot, inspired by Janis
Joplin—a style that remains a
signature today. “She was the
first example of Coachella style:
bohemian, free,” he says as he quickly
sketches out the boot on a pad in
front of him.
He even has a specific playlist
he listens to when he’s in need of a
dose of inspiration. Titled Playlist
Senza Titolo—or “playlist without
a title”—it’s an eclectic collection of
songs that Zanotti says brings out
“great emotion”.
He excitedly connects his phone
to the speaker in his hotel room to
play us some of his favourites, which
include Resonance by Japanese
classical composer Akira Kosemura,
Cold Little Heart by British folk
rock artist Michael Kiwanuka, and
All of the Lights by Kanye West
and Rihanna, both of whom he has
worked with extensively—who can
forget RiRi’s custom-made thighhigh Giuseppe Zanotti boots for her
2016 Anti Tour, which took almost

IMAGES MATTIA ZOPPELLARO (PORTRAIT); DAVIDE FARABEGOLI (DRAWING KIT); LERA POLIVANOVA (SHOE)

Stepping
in Tune 婢㻀鿪漥

STYLE | SPOTLIGHT 僓㹀撌掾

three months for the designer and
his team to make?
The thread that connects the
songs is the quality of production
and the emotion behind them. It’s a
metaphor for Zanotti’s shoes.
“When you do something
you love, you feel a [sense of ]
satisfaction and emotion. You need
to follow this emotion,” he says.
“Sometimes I listen to this playlist
when I drive in the hills in Italy—I
drive an electric car, so it’s silent—
and it feels like I can touch heaven.”
Zanotti is all for simple pleasures
these days, which is reflected in his
recent and upcoming collections.
“Pre-Covid, we did collection after
collection. Chinese New Year, Black
Friday, Cyber Monday,” he says.

He begins to draw the classic
silhouette of a pump. “It’s the iconic
symbol of femininity, sexy and
sophisticated,” he says. “But the link
connecting the pump to 2023 is the
use of new materials, so that past
and future can come together to
create something contemporary.”
After 30 years in the industry,
Zanotti says he is still on a mission
to find the perfect shoe. He knows it
won’t be anything special.
“The perfect shoe doesn’t have
crystals or embellishments,” he
says. “It’s simple and scientific. All
of the elements must come together
perfectly—the colour, materials,
shape, proportion and fit. Maybe
we’ll find it in this life—or tonight
after the second bottle of wine.”

From left: the
designer never
travels without
his drawing kit;
Zanotti is known
for his light, elegant
silhouettes
䄅颯蛋陷瑭亹车休┘
⚢䅠┕☽氳簃㎂䄄ⴎ

蛋陷瑭♔⪭鰇沜յ⚝꥕
氳ꫤ㑔縡ꠘ⺳ն

“Any excuse to create something
new. It’s a toxic situation.”
Now, he says, he wants to go back
to creating shoes that are simple,
beautiful, comfortable.
“After these three years of
slowing down, we don’t need any
more fireworks. My goal is to be
more concentrated, more Zen.”
The 65-year-old designer likens it
to dining at a fine-dining restaurant
versus a humble trattoria or, in the
case of his time in Singapore, a local
seafood restaurant.
“Going to a three-star Michelin
restaurant can be more like an
experience, a show,” he says. “But
I want something real, like last
night we went for chilli crab—basic,
traditional but with a bit of spice.
That is my goal now.”

假Ⲏ㑗㶡╰俌嶯彵ꏞ䍕溸
䙰缛㞟䨼ꓧ觠騢睘㑀㐃麤
嗈┪䨪濫♑吙䗅䙎溸묶虝
⸦呻濤ꩢ⼴駱վ5BUMFSտ

䧰儱┞╗㝤鯲溸%+ն
䧯╬⪢槊⪼╚┞⛻劅詇⻐깐㻀駦駉
䉞▇⯼觠騢睘㐃䟩㝕⯈┞㵶栃皒氲⺬
䬎⚈%+㕈勔┪屳鰧ꦷ㎌╬♑䪻䨿
劔赜寊䭡⹜▷ゃ曩ն
觠騢睘㐃♨⯜깐脯ꭑ⻐溸岛嶯
㸰ꩍ㏼嬱羻䉱偅璇⯈4BO
.BVSP

1BTDPMJ䧯ꪍ㵶☭㐃嶯怷缋觝┞㵶
⫅ⷀ䟩䑑⬍帬帲溸脚䑑넔⸈㜮㝙僘㳌
僓♑⚷㐃䍕ꓧ䩤䈰ն
曋嬏䉂╬䧰♰⩨
䑲㣌㢋㴘䱗㟲勑匡溸☭气鴤⻔⛰䧰傱
岻䱹⺇ꂘ呤溸⾀ꁾ㴘䱗ն
觠騢睘騜♑┞潳ꐤ曄駦駉傱駢儱
갫䩘䲾缔尸鿕⾕蔦鉿鿕䧶儱╬曋嬏溸
㸰䍕駦駉⬍帬帲ⷳ瞥♑ꌬ▍㐃⪼╚ն
◟儱♑ꀑ䱆氲⺬溸%+䈰✑⹜䓝㐌┞㵶
⯜깐⸅䈰✑ն
䧰㸰僓㹧䔻✦劚ꊙ◲䩘

㐃

虪䈰ⵟն䧰㐃ꊙ㵶깐⸅㳔⯒◗鴋䈰虪

嵤瓨劔⪸溸┞⮘滽긞յ⫐䍐⾕

㜾䍐յ銱ꓧ⾕깐긖♨⹴榓㵂յ뇼焪յ

寊冘瞏ꏕ뇼⾕⯢缟ն깐㲳㹧儱䧰溸

俠╗㴔㴺ն
裯䕒┞◲缋돂▇⻑♑䐷㢽╃✍╬
(JBOGSBODP
'FSS§⾕7BMFOUJOP瞏

⿣曵駦駉깐㲳ն
ꊙ僓䧰㹀勑劔⟥䖦

❈氠蔦䉁溸⻐㲼ն⯒◗䌑♑缄

◟䲀⮃蔦䉁溸⿣曵䌔㐃绹绢㺥⮃눢╗

笡⮬ն
┞䐷㢽䧰劔▟⻐⽄䈰楓㐃劔

╗ն
┯ꁩ꼟▍㢽缄儱♑气嵛╚┯⺪䧶罼
溸┞ꌄ⮕ն
⮵⪝鉿䬎⚈깐㻀駦駉䉞僓♑劁♨

耘㎼㟖䶥怤娬䩘+BOJT
+PQMJO╬挺䠋
駦駉◗┞娉㟖鍯ꪍ瞥긯ꂘ娉긯㲳蔸♁
♇儱♑劅╬☭斀焒溸吙䗅✑⿣ն♑ꁉ

氠䩘㐃咈㓇䲾缔긯㲳ꁉ騜㟧儱璇⮘
䬕낊呬溸睘┞╗♣銩☭朮侒衄┯耀յ

蔦氮㞙侒ն
♑銩獏괛锢挺䠋僓劋乨侒屳劔
吙뀨溸꼟▍乨侒庣⶿ꄑ剱┯ꮺ杅㴼
낊呬⛰⪢ꌄ茤♥♑䠋䝠慪弉ն♑
⪺㞉㐌㸞䩘勨ꂞ䱹⯒ꏞ䍕䨼ꭊ溸䪉㛽
㊮┪╬䧰♰乨侒◗⭠눢♑劅ㄼ姐溸剱
潨䭇傽勔⺜⪿꼟▍✑剱㵶㸰懫匆冘溸
վ3FTPOBODFտյ蝠㎼宑驋䶥怤娬䩘

ꁫ⩴㸸u㕈殇ⲛⷒ.JDIBFM
,JXBOVLB
溸վ$PME
-JUUMF
)FBSUտꂖ劔劁⾕♑㝃
姍⻉✑溸㐽u缰偅杅,BOZF
8FTU

⾕質⿫㦓⻉ゃ溸վ"MM
PG
UIF
-JHIUTտն
質⿫㦓㐃䌑" OU J┿汕䈪㎈悎ゃ
⚷痍ꁩ┞⹷ꪍ⹴㝕萧溸鱪둛瞥ꪍ긯

ꂘ⹷♥☭䝫虞溸ꪍ긯儱觠騢睘⾕㎑ꭶ
◗㸞ꂀ┩╗劓溸僓ꭊ䩜㴟䧯溸䖦鉩
缏冘ն
觠騢睘楓㐃ꃰ寛溸儱矻⶿溸䗪▍

♑騜楓㐃♑䞰䪨㎈⮵䖦┺峜⮱ꅐ矻
⶿յ耘間脯蕳ꃿ溸깐㲳ն
缋⸉┩䌑泯䝠
㸍蔺╃ⲏ⢷怫┯⯼䧰♰┯괛锢剳㝃⫵
⫧㕔溽溸⡊⺛◗ն楓㐃䧰溸潨吙儱┺峜䖦
ⲇյ㴇귿蔺ꂜն
♑䐷㢽㐃维┪䲾缔ꂘ姍儱呤䑑缋
⪿溸⶯둛鴋깐ն
ꂘ儱劅茤♣銩㟖䙎廛
友յ䙎䠋⾕⚳겍溸骮䔰ն䪻⶯둛鴋깐鴋
䌑臅笡鱎 匡溸騅➬儱❈氠假包
倣 缏⻉ ꁩ⹜⾕勑匡⮱ꅐ⮃㺲◟䓝♣溸
✑⿣ն
㐃⯜깐ꂘ┞鉿ꭅ衄◗䌑觠騢睘騜
♑♇撬艶鯬❈⾀锢㐃嶙找娉䑑▇╚䪨
⯒劅㴟耘溸깐娉⛰♑□䔻庣噘㴟耘
깐娉⪼㵄䌔傱杅⯋▇㜘ն
㴟耘깐娉屳劔寊冘䧶鍯뇼脯儱

ꅐ㒘矻⶿յ睋⻉璇㳔㸞뀬虝յ包倣յ

䓺枱յ嬠❛⾕鰁⻉䍳瞏䨿劔⩧筷㴟耘㐌
缏⻉㐃┞鱎ն䧰♰䧶駠♁气劔䌘⚷䪨
⯒ն騜┯㴼♁兰ㄾ㴟睘◝殭ꏞ▇⻑

䧰溸罦偅㹧⮃楓◗ն

83

Louis Vuitton Tambour
watch 2023
饟佄㣛氨 5BNCPVS肶辑

Louis Vuitton’s new,
slimmer Tambour
watch features
exceptional finishing
and sculpting. The
40mm model features
the calibre LFT023, a
mechanical movement
with automatic
winding. Contrasting
brushed and polished
surfaces enhance the
look and feel of the
bracelet, while golden
appliqué markers
pop against a microblasted dial

84

饟佄㣛氨⪓亍篏訅5BNCPVS
肶辑⫋鱳냖㼉ն奨眦辑
堑䯌鰉舅ⲁ┕ꛔ儬危儬菆
-'5
㵒奃됁伺氳䥀⩞
辑ꪫ㘍䍠▽辑ꛔ氳㛚鈸⽰鉵
䚊縡ꄌ荈㿋菋剝阭⮟㏇깳
僗-PVJT
7VJUUPO
1BSJT

㰅劫氳辑沴┕侁䐂劲㛚ꁻ
泘㵨䄘랣⚝꥕곽葶┚栐㚖
⯆辑䤗儛㲓ⱱ踅╙┉⛮䬠
ⶍ▽5BNCPVS陛榟䇗全氳
阻阞곽劲ն

STYLE | WATCH TREND 菑ꜟ뀸㹀

Digging up skeletons: openworked
timepieces are making hearts race
ꩈ疿耘㳔♥☭䖦鴩Ⲏꅌ溸僓駉ն

Clockwise, from right:
Maurice Lacroix Only
Watch 2023; Zenith
Defy Skyline Skeleton
Boutique Edition; Ulysse
Nardin Diver Skeleton
⺓颯걹休Ꙟ.BVSJDF
-BDSPJY

0OMZ
8BUDI

;FOJUIꜘ狝
㛿ꡮ肶辑瞿⿁䈙攑⮷撷
6MZTTF

/BSEJO弍姢硍⮜ꜘ狝肶辑ն

85

STYLE | WATCH PICKS 罒ꀀ▇ꄑ

PRETTY IN PLATINUM
The Lange 1 Time Zone
in platinum displays at a
glance both home time
and a second time zone
using two subdials. Day
and night ring indicators
and a daylight savings
marker provide maximum
legibility, while the supple
calibre L141.1 offers 72
hours of power reserve.
The new platinum case and
rhodium face featuring the
signature off-centre dial
architecture lend elegance
to the complications.
A Lange & Söhne Lange 1 Time
Zone in platinum

WEB DESIGN
꧈ꓭ▇耘

Lange 1 Time Zone
꧈ꓭ娉ꄽꁩ═╗㸰銩漽
┞潨◗撬㐌兇獏㐃㐌僓ꭊ
⾕睘◝僓ⶔն傽㝆楒䭰獏㊮
⾕㜮♥僓ꭊ吙駘䳀❵卋둛溸儅
騣䙎脯挺Ⲙ溸-勨蛚⮯
䳀❵㸰僓溸Ⲙⲇ⥈㲾ն⪢假
꧈ꓭ銩㜁⾕ꩆ꧗銩긖ꓠ氠⢟
瑠╚䖦溸吙䗅銩漽缏卐╬㜩
勵ⲍ茤㙨⚳겍官䛉ն
"
-BOHF

4´IOF
-BOHF

5JNF
;POF

Ꚙꄌ肶辑

Roger Dubuis pushes design boundaries yet again with the
Excalibur Spider Flyback Chronograph’s patent-pending
flyback movement and lightweight 45mm carbon case;
the column wheel, rotating minute counter and winged
rotor take inspiration from supercar engineering. The
integrated RD780 calibre comes with a Poinçon de Genève
certification, while the vertical clutch and second braking
system deliver superlative starts and precision, setting a
new benchmark for flyback chronographs. The carbon
case with notched ceramic bezel and rubber strap with
tyre track pattern further reflect Roger Dubuis’s affinity
for motorsports. Attention to detail and hyper-technical
materials elevate the design, justifying the attention this
watch is commanding in the luxury chronograph market.
Roger Dubuis Excalibur Spider Flyback Chronograph

駦駉假둛䍳

羻匮匕䔦 Excalibur Spider낚ꂊ駉僓焺銩⭮⡊婞㐃氰騟┺⯈溸낚
ꂊ勨蛚⾕鿪鯵孉稌牕绠缰銩㜁⫙姍痓熏駦駉汕ꮺ㸍叻鿝յ
偿鿛⮕ꦥ駉俚㊮⾕脏䓺鿛㲳溸挺䠋匡蔦鱪绣鳷鿕䈰瓨ն겐䧯䑑
3%勨蛚裯䕒傽⫐殇ⷧ駘駌駩脯㒍潳瑠⻉⾕睘◝⯜Ⲙ笡缛⮯
䳀❵ⶽ鱴溸⼅Ⲙ䙎茤⾕窢⬮䍳╬낚ꂊ駉僓焺銩吤皒◗假吙勹ն
牕绠缰銩㜁䵴ꏕ⮁⺛꯺殰銩㏍♨⹴䊎劔鿝苁浂ꃥ㎽呿溸塒茓
銩䊎ꂛ┞婢✅楓◗⿣曵㸉鰨鿕ꁾⲘ溸搑曄ն♈缂虹⯒둛璇䪫包
鯵ꌬꁒ蔸둛寊䌐걾䙓ꂘ娉菑銩㐃髀ⶶ駉僓焺銩䉗㐙┪⺇⯒卋둛
⪸峜ն
3PHFS
%VCVJT曓縖珒鵮硍⮜괎鲮阞休溞辑

86

STYLE WITH PURPOSE
Since 2009, Chanel has
supported the biennial
Only Watch charity auction
benefiting Duchenne
muscular dystrophy research
by creating exclusive
timepieces. For the 10th
edition in November this
year, Chanel is offering a
duo of J12 La Pausa watches
in black and white ceramic.
Designed in its distinctive
minimalist style, the ceramic
cases, bracelets and dials
reflect a delicate balance of
elegance and function, and a
cartoon portait of the maison’s
founder. Before being
auctioned in Geneva, the
watches will be exhibited in

cities including Hong Kong,
New York, and Dubai.
Chanel J12 La Pausa watch duo in
black and white ceramic

䡝ㄌ┺㺲

蔦䌑鱎눥㞃⩠ꄽꁩ䩤
ꅐ┺㺲僓駉佻䭥═䌑┞䍳溸
0OMZ
8BUDI䡝ㄌ䬚ⷀ⚷䞒
⹴匕完舽觝⫄┯虙津煝疵ն♁
䌑劓蕡鉿睘㺐䬚ⷀ⚷⿣
曵㸠䲀⮃═娉+
-B
1BVTB
묶溮꯺殰菑銩ն묶溮꯺殰銩
㜁յ銩ꨄ⾕銩漽ꓠ氠눥㞃⩠栃
杅溸矻绢낊呬駦駉✅楓⮃⚳
겍┱ⲍ茤溸䕼㠺䌐銝䌔뇼
劔⿣曵⮱㢽☭溸ⷒꄽ艒⦑ն㐃
傽⫐殇䬚ⷀ▇⯼ꂘ◲菑銩㸞
⩰㐃눥յ绹绢⾕ꂽ䬴瞏㓻䉗
㺥⮃ն
$IBOFM
+
-B
1BVTB랫氫ꢾ楂㵒辑

A SPORTY ENCOUNTER

IMMERSIVE EXPERIENCE
The Panerai Submersible eTitanio PAM01403 continues the
luxury brand’s partnership with the world’s largest supercar
tuner, Brabus. The innovative 47mm DMLS titanium case
is 3D-printed. It features a titanium crown protection
device and sapphire caseback revealing the P.4001/S calibre
that boasts a three-day power reserve. Red details and a
secondary time zone reference the collaboration, while a
patented polarised date function appears only in the window,
showcasing its creativity. Available in a limited edition of 177.

IMAGE ALEX TEUSCHER (GREUBEL FORSEY)

Panerai Submersible eTitanio PAM01403

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The Greubel Forsey
Balancier Convexe S2
captivates with its distinctive
30-degree-inclined balance
wheel system. The limitededition watch features a
41.5mm titanium case, an
engraved, three-dimensional
dial with a variable geometry
hour ring and a curved
sapphire crystal. Polished
steel hands with SuperLumiNova coatings indicate
hours and minutes, while a
flat, black, polished seconds
hand rotates in a sub-counter
at the centre of the dial. The
hand-wound movement
achieves 72 hours of power
reserve, while at just 88
pieces, it exemplifies the

rarity of Greubel Forsey’s
ultra-complicated watches.
Greubel Forsey Balancier
Convexe S2

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DAWN
TO DUSK
Krayon’s Anywhere
Only Watch 2023 is a
work of art that captures
the beauty and magic of
dawn and dusk, whenever
you choose to experience

The new Corum Admiral
42mm is powered by
the automatic CO 395
movement, which has a
42-hour power reserve.
It features an oversized,
dodecagonal, stainless-steel
case with an 18-karat rosegold bezel and crown, and
a brass dial with gold-toned
appliqués and coloured
nautical flag motifs. A date
window sits at three o’clock.
White Dauphine hands are
gold-toned and filled with
Super-LumiNova for lowlight visibility. The bracelet
is available in either rose
gold or 5N gold-toned

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Krayon Anywhere Only Watch 2023

vulcanised rubber and
stainlesssteel.
Corum Admiral 42 Automatic
bi-colour

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WHITE SWAN
Audemars Piguet’s
first 34mm Royal Oak
Selfwinding model in white
ceramic is a fresh take on
the black ceramic variant
launched in 2021. The
immaculate white ceramic
case and bracelet feature
the brand’s signature satin
finishing and chamfers
alongside discreet 18-karat
pink-gold hex screws and
a steel fold clasp with DLC
treatment. The grand
tapisserie dial and luminous
pink-gold hands and indices
provide a refined contrast
to the white aesthetic, while
a pink-gold oscillating
weight is visible through
the sapphire caseback. The

dedicated calibre 5800 offers
a 50-hour power reserve.
Audemars Piguet Royal Oak
Selfwinding in white ceramic

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┕ꛔ肶辑

IMAGE DENIS HAYOUN (AUDEMARS PIGUET)

SEAFARER

them. Handcrafted in grade
five titanium, the timepiece
indicates sunrise and sunset
times for any location
selected by the owner. Far
beyond just achieving a
technical feat, it expresses
founder Rémi Maillat’s
vision of a watch that tracks
our personal relationships
with nature’s cycles. The
Calibre C030 movement
handcrafted in Switzerland
features a 432-component
manual winding mechanism
with a 72-hour power
reserve contained in a slim
5mm case.

NAUTICAL VIBES
Guests gathered at the Côte d’Azur’s luxurious
Villa Cap Estel this summer to celebrate the
unveiling of the limited-edition Big Bang Unico
Azur, an artistic interpretation of the blue tones
of the Mediterranean. With a deep blue ceramic
case housing the HUB128 Unico chronograph
movement, the 42mm watch features luminescent
hour markers. Owners will enjoy the exclusivity
of the 50-piece limited edition, available only at
Hublot boutiques in Monaco and Saint-Tropez.
The classic aquatic hues of blue and white
exemplify the French Riviera; the Big Bang
Unico Azur captures the glittering Côte d’Azur in
miniature.
Hublot Big Bang Unico Azur

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6OJDP複衹荈肶辑

THE AMAZING RACE
Chopard’s Mille Miglia
collection draws
inspiration from motor
racing, combining
performance and style.
For the new Desert Racer,
crafted in collaboration
with Bamford Watch
Department, Chopard
reimagines the GTS Power
Control in bead-blasted
titanium with orange, grey
and black details, evoking
speed and endurance.
Large numerals,
luminescent hands and
markers, and a power
reserve indicator pay
homage to the open-road
Mille Miglia race that
started in 1927, while the
woven rubber strap and
orange accents contribute
to the contemporary
aesthetic. The maison’s
in-house chronometercertified movement
01.08-C ensures precision
in the harshest weather

conditions. This robust yet
refined release is limited to
50 pieces.
Chopard Mille Miglia GTS
Power Control Bamford Edition
Desert Racer

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89

Dressed
to Impress
寏䚔缋⪿
In an era dominated by sporty chronographs,
Rolex introduces the Perpetual 1908—a dress watch
that exudes elegance, and a refreshing departure from
what’s on the market today. Let’s take a closer look at
this remarkable timepiece, which shines a light on
Rolex’s sophisticated craftsmanship
㐃䓝♁♨ꁾⲘ駉僓焺銩╬╭鿣溸䌑♣ⲧⲇ㛶䲀⮃官鯵⚳겍溸婞鍯銩

䚔Ⲙ㒘┱䉗㐙愲嵤芻ꇔ脯뎦ⷮ♥☭膁潨┞假ն䧰♰䊎✘♏缂

盛騎ꂘ娉㺥楓ⲧⲇ㛶窢弸䈰虪溸긌⭡僓駉նBy Amrita Katara

STYLE | FEATURE ⻐銩杅⫭

IMAGES ULYSSE FRÉCHELIN (OPPOSITE)

T

he year was 1908; Hans
Wilsdorf had founded his
watch company just three
years before and as fate had
it, that year, he filed its name in
London: Rolex. Though the early
years brought struggles, Wilsdorf ’s
innovative designs were gaining
attention.
This year, more than a century
since Wilsdorf cemented his
company’s reputation as a brand to
watch, Rolex is revisiting its origins
with an all-new Perpetual 1908,
the first member of its soon-to-be
unveiled collection of watches with
perpetual rotors.
While the house’s luxury
watches, like the sporty Daytonas
and Submariners, are widely
coveted today, it has a rich history
in the dress watch category. It was
in the roaring 1920s that the Rolex
Cellini made its debut, a dress

watch guarded by the patented,
waterproof and dust-tight Oyster
case. In the 1940s, a svelte leading
lady walked into the spotlight—the
36mm Datejust with a jubilee
bracelet and a fluted bezel, most
famously sported by the Second
World War British prime minister
Winston Churchill. The piece
was presented to celebrate the
company’s 40th anniversary—and
what a scene stealer she was.
Meanwhile, icons like the
Cellini and sporty Datejust also
flourished through the decades,
weathering trends in their precious
gold, waterproof shells. Lessons
from the Datejust were then fed
into the iconic Day-Date; it became
known as the “president’s watch”,
as it enjoyed popularity among
various US presidents, from
Dwight D Eisenhower to Lyndon
B Johnston.

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㏍⼕䑜䊎뀖蝠㎼⺆䕒◝䧹 苞⯈溸侓

實

91

92

IMAGE ULYSSE FRÉCHELIN

With the launch of the Perpetual
1908 this year, Rolex continues to
evolve its dress watch lineage. The
timepiece draws inspiration from
one of the brand’s earliest models,
with features like the self-winding
Perpetual rotor mechanism.
Notably, the new 39mm Perpetual
1908 shares a striking resemblance
to the Cellini in terms of aesthetics,
including the case design, faceted
hour markers and minimalistic
look. Encased in 18-karat yellow
or white gold, the watch features
a crystal and transparent case
back, showcasing Rolex’s in-house
calibre 7140 movement.
With its black or white dial

options, Arabic numeral markers
at three, nine and 12 o’clock stand
out on a clean canvas. A crocodile
strap secured by the 18-karat dual
clasp, in brown or black, wraps it
around the wrist. What’s more, the
sleek design tucks itself seamlessly
under a tailored cuff, making it an
understated piece, yet a perennial
classic: a watch to bookmark for
formal occasions.
With its rich legacy, the watch
has all the ingredients to become
tomorrow’s heirloom. Only time
will tell if the 1908 earns the
same admiration as its legendary
predecessors from the brand’s
illustrious history.

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☭溸潸⛤▇㜘䭇銩㜁駦駉յ䊎劔⯤
긖溸ꦥ掾吙駘♨⹴矻崀嵤╰溸㜾間ն
ꓠ氠,묛ꓭ䧶溮虝묛ꓭ銩漽䵴ꏕ譻
寊冘ꄟ僻䍐漺⺪㸞ⲧⲇ㛶蔦⯜
勨蛚溸ꁾ✑㹻侅濤䍐ն
㐃ꑈ묶虝䧶ꑈ溮虝銩漽溸銱䩬┬

յ⹴溸ꮣ䬕⛒俚㲼吙駘剳兇痓
⮃ն랻띳滽銩䊎㜜劔啬虝䧶묶虝ꏕ♨
,묛ꓭ䧶溮虝묛ꓭ⹷䫐䩽燛⟛銩䊎
朤㎷甯㡚ն剳ꓨ锢溸儱銩䊎䩽駦駉窢
㠺䨪┪菑銩僓銩䩽㢽缄㜘◟䩘菑婞
┬做նꂘ娉菑銩僓㹀⛽騫ⷮ⪾㜜寏䚔
缋⪿▇耘儱婞䑑㐙⻉䵴ꏕ婞鍯溸┯
◝▇ꄑն
瑺䪩⿣曵⸉⺮䜙╽溸⯜銩䈰虪

䚔Ⲙ㒘⪾㜜◗䧯╬⚿㵶▇㵂溸䨿
劔⩧筷ն䧰♰䭈潨♨䔶㒘㸞⚷⦑
ⸯ娉䚔Ⲙ㒘菑銩ꊙ呤㐃⿣曵溸鿸擏
⸉⺮╚鰯㹻䱌㛽ն

93

STYLE | COLLECTOR’S CORNER 侅趴㵶

A Wrist
to Watch
臔撌菑ꪨ
A chat with WatchBox co-founder
Tay Liam Wee gave Tatler an insight into
the life and times of a die-hard watch lover
and collector, who has brought some of the
most discerning independent watchmakers
to Asia from Europe
վ5"5-&3տ


┺駧8"5$)#09臅⻉⮱㢽☭ꋡ䎾㥓
┱ꂘ⛻⻐銩曄㟲脢⫅侅趴㵶➶葮騎騰膪⻾♑⡿峜㝕
⶯气僓ꭊ⾕搑䗴յ♨栃⯒濤⩱䑜ꂛ姚嵌㝃㵶栃皒둛盛
⯜銩⿣曵溸侚◜նBy Amrita Katara

S

94

ixteen years ago, Tay Liam
Wee sold his family-owned,
multibrand luxury watch
retail chain Sincere Watch,
which was originally founded by Tay
Boo Jiang in 1954, to Hong Kongbased watchmaker and retailer
Peace Mark. With haute horlogerie
in his veins, Tay went on to co-found
another platform in the luxury
watch landscape: enter WatchBox.
“Danny Govberg, Justin Reis—who
is now our CEO—and I started out
as co-founders of WatchBox,” says
Tay. While Reis came from a private
equity background, Govberg and
Tay each had over three decades of
luxury watch experience, and had
earned the title of industry veterans.
The new platform aimed at digitising
the watch collecting experience.
However, collectible luxury
timepieces can also be viewed in
person at the brand’s collectors’
lounges. “Sometimes it’s your
grandfather’s watch or it’s a gift
from your father—we realised that
each watch is special. So, in 2016, we

launched an e-commerce platform
for watch lovers where they could
buy, sell or even buy back their
favourite timepieces,” he says.
On the day Tay spoke with Tatler,
WatchBox had hosted a 100-piece
exhibition in its Hong Kong lounge
on Duddell Street honouring
two independent watchmakers,
or “living contemporaries”, as
Wee refers to them: FP Journe
by François-Paul Journe and De
Bethune by Denis Flageollet. The
watches went on tour, appearing in
WatchBox’s collector’s lounges in
Singapore, Shanghai and Dubai.
Why did you pick François-Paul
Journe and Denis Flageollet’s
watches for your exhibition?
Back in the day, we had to sell
what the factories were producing.
Now, it’s a free market. We began
engaging our collector base in
the 1990s to learn what they were
looking for to upgrade their
watches. Of course, everyone
desired and knew about the

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ꋡ

Clockwise from top left:
De Bethune DB28 GS
Grand Bleu; FP Journe
Chronomètre à Résonance;
Franck Muller Master
Banker. Opposite page:
Tay Liam Wee
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✘䘤▂┯杅⯋╬䧰♰ꧼ

95

FP Journe Chronomètre
à Résonance watches.
Opposite page:
De Bethune DB 01

96

Pateks and Rolexes, but then we
noticed a growing interest in the
independents, primarily because
their productions were so limited
that these watches were rarely seen
on the market.
We discovered that two brands
stood out: FP Journe and De
Bethune. I know François-Paul very
well because I brought him to Asia
in the early 2000s. In addition, even
though the watches appear to be so
dissimilar—FP Journe’s designs are
more classic, whereas De Bethune’s
are more futuristic—we discovered
that the two watchmakers have
very similar backgrounds. They
were master watchmakers who
collaborated in a watchmaking
studio that created, designed and
developed high-complication
timepieces for luxury brands;
[for example,] if you see high
complications in brands like Cartier,

it’s because they subcontract
[building complications] to these
studios with talented watchmakers
on their roster. It’s been 20 years
since Denis and François-Paul
decided to put their names on their
dials, so it was time to celebrate
them. As well as these brands, I
have also brought Daniel Roth and
Franck Muller to Asia.
Are there any stories behind your
favourite watches from your
personal collection?
I am emotionally connected to my
watches. I have been in the trade
for so long and I meet with all
these watchmakers and companies
directly, and each of these pieces
has left an indelible mark on my
memory. The first story is about my
dear friend Franck Muller. Prior
to 1982, the brand did not exist.
When Franck first arrived with his

creations, I decided to introduce
him to the Asian market.
One of his most important
creations is the Master Banker,
which has three time zones. I recall
him meeting one of our banker
friends, an Iranian American trader
who worked across multiple time
zones. He walked up to Franck and
casually mentioned: “Why don’t
you create a watch for us bankers?
We have to trade across the US,
Europe and Asia; I need a watch for
three time zones.” Keep in mind that
mechanical watches with only one
movement did not display different
time zones at the time. That day,
Franck returned home after we had
dined and wined, and before we
knew it, he had conceptualised the
Master Banker.
The second was Lange 1, which
was really thanks to Günter
Blümlein, who put the team

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together to launch the watch. He
was German and very nationalistic,
and proud to bring back a forgotten
brand with a great history. He
wanted it to compete with the Swiss,
like the Pateks. And he did it. He
built it and I heard about it. So I said:
“Hey, where can I see your watch?”
He said, “Oh no, it’s not ready
yet.” At Baselworld, I remember
walking up to him and he opened his
watchcase to show me the Lange 1.
He didn’t let me have the watch, but
I visited his factory, nonetheless.
And then finally, he thought I was
too passionate, so he obliged. He
gave me six watches and I presented
them to our customers at Sincere.
The third is the platinum,
limited-edition tourbillon souverain
with a black mother-of-pearl dial
from FP Journe. This watch was
created specifically for Sincere’s
50th anniversary celebrations. The
tourbillon in this watch is extremely
intricate; carving the piece of black
mother-of-pearl for the dial was a
delicate operation, because it was so
difficult to work with. François-Paul
told me how many dials he broke
while making it.
What would you recommend as
a good investment watch?
Personally, I don’t see watch
collecting as the means to mine
stocks. And I don’t believe anyone
should. It must begin with their
interests; there are other ways
to earn money. You must think
about what you’re looking for. I
would consider the brand’s history

and heritage—for example, the
provenance—and then the quality
and condition.
Let me give you an example.
When it comes to chronograph
watches, everyone knows about
the Rolex Daytona, Omega
Speedmaster and Breitling
Navitimer. But what’s the
difference? These are all great
watches with original calibres.
But it’s not about wanting to pay
a price—it cannot be a deciding
factor. You need to ask yourself:
what do you enjoy learning about
these watches? If you made a good
investment and [demand for] your
watch is getting hotter, then that is
great, you just hit the jackpot. But
in the meantime, are you enjoying
that watch every day? That’s how
you value it. How do you measure
that feeling? You simply cannot.
What is the future of the preowned watch market in Asia?
I can only quote industry sources,
but pre-owned luxury watches will
overtake the primary market within
a decade. This is what industry
analysts predict based on growth
rates. I can see that happening,
because WatchBox has built a
sizeable business in six years and
we’re still growing.
Rolex has also announced the
launch of an official, certified preowned programme. If the industry’s
largest player has finally made a
statement and is taking a stand, it
is an indication of the industry’s
future.

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⿣曵溸⸉⺮⾕㛽霶❛㠁☋㐌匡徏յ⿣鯵
⾕䩘銩溸枱䘒ն
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☑⺇ꂘ⺢銩ꂘ䩜儱㴋㐃✘䖦╚溸澶婞
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䧰⺢茤䑜氠鉿╃巆䛉匡徏◝䩘⻐銩溸䉗
㐙㸞⚷㐃ⶥ䌑⫐鱪鱴┞䩘䉗㐙նꂘ儱鉿
╃⮕卥䉞周䰕㙨ꪍ椚䨿✑溸뀔嵱ն⛰ꂘ
□儱䧰䨿澚⯒溸鱶ⲹ㎌╬8BUDI#PY
㐃⪮䌑⫐㹧䐮皒鱎閕埛⺪間溸╃ⲏ䌔┻
ꂖ㐃㙨ꪍն
ⲧⲇ㛶□㵌䉘㸞⚷䲀⮃㴸做駌駩溸

◝䩘銩뀉潨ն㠁卸ꦥ銩╃溸脚㝕』劅缄□
銩僻皒㐙⬑㴼ꂛ⫯ꂘ╗뀖㔔ꂘ╗鉿╃溸
勑匡㹧䉂缋䔻僻兇◗ն

97

Time for Celebration
姐䌳僓⩱

PHOTOGRAPHY ANNA KOUSTAS

T

his September was
a good time to be
at The Londoner
Macao’s Crystal
Palace, which is a love letter
to all things British, from
scones and jam to the Union
Jack. But it wasn’t just the
dramatic display of British
pageantry that was on show
between September 25 and
26. Over two days, power
players from the worlds of
business, media and (most
importantly) timekeeping
descended for the highly
anticipated debut of Tatler’s
Timeless event.
Hosted in collaboration
with one of watchmaking’s
most influential authorities,
the Grand Prix d’Horlogerie
de Genève (GPHG), which
annually rewards the
industry’s most influential
heavyweights and their
groundbreaking pieces,
Timeless brought together

PHOTOGRAPHY ZED LEETS

a celebration of horology
and art. The world’s most
creative and complex
watches were on display—
and some even handled
by those lucky enough to
secure a VIP session.
On that first day, the
officiating ceremony
headed up by Tatler’s
chairman and CEO
Michel Lamunière and a
glamorous afterparty drew
glittering crowds, including
Taiwanese actor Yo Yang.
Attendees sipped Moët &
Chandon and Hennessy,
which accompanied
full-bodied caviar from
the exclusive Royal Caviar
Club. If that wasn’t enough,
the following day welcomed
watch aficionados from the
general public, who were
invited to participate in
intimate masterclasses on
mechanical movements
and more.

Clockwise from top: Adrien
Choux, Austen Chu, Carine
Maillard, Michel Lamunière,
Wilfred Wong; 84 of the
GPHG’s most complex
and creative watches were
on display; Gulf Kanawut.

Opposite page, from
left: Austen Chu, Michel
Lamunière, Maria Helena de
Senna Fernandes, Wilfred
Wong, Carine Maillard, Yo
Yang; Moët & Chandon Brut
was served

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99

♁

100

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PHOTOGRAPHY ZED LEETS (MAILLARD AND EXHIBITION); ANNA KOUSTAS (SHIA)

䌑▟劓憬ꬾ⛆俌☭寊冘ꓭ
嫰䧯╬㜜⺇炛潨溸潂⚷▇
㐌նꂘꓧ儱㸉蝠㎼倁溸┞
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汕յ㪾✅汕♨⹴劅ꓨ锢溸
ˊ
ꦥ銩뀖㔔

PHOTOGRAPHY ANNA KOUSTAS (COCKTAIL AND PERFORMANCE); ZED LEETS (EXHIBITION)

Clockwise, from top
left: Specially curated
cocktails were served;
live performances took
place at the afterparty;
the exhibition was
hosted inside The
Londoner Macao's
Crystal Palace.
Opposite page,
clockwise from
top right: Carine
Maillard; Simon Shia;
the Timeless Macau
exhibition

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╙㳒㲙隀⯆뙥㶾鿯鿥⺭
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劔勨⚷⾕ꦥ銩┺㵶⪴⻎䱲駐⾕☆嵤ꦥ

銩虪勘溸傱疷때ⲇն

Harry Winston
The Duchess
Necklace

宿栐峪事걾

5IF
%VDIFTT걸ꛔ

Harry Winston’s
Duchess Necklace
celebrates The King of
Diamonds’ mastery of
rare yellow diamonds
and royal jewels. With
a flawless 40-carat
fancy intense yellow
radiant-cut diamond at
its centre, the necklace
is inspired by the
Duchess of Windsor
Wallis Simpson’s
passion for yellow
diamonds. It also
recalls the brand’s
history of creating
bespoke jewels for
royalty

102

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曓㵒燵僗랋ꚑ⽰永㳄权㲒氳
瞿嵁䤗荔ն걸ꛔ氳╈䑐ꝍ㿋
浔┉겖㱮紇仰栁氳⩡䥽宆
䎷랋荈岝⺭䌋⮊Ⱑꚑ溍⪭
愓䚊嶏舅峪薇⪝撛㜂☕婘⮵
事٬鰨俋叜㵒랋ꚑ氳懷䗯ն
⛼⿁阦☕㍑䘶颯⿁撿╙永
㲝䣒鵲㲋⯆权㲒氳ⷧ⺒ⴎ
䦮蜷⺳氳峪薇⪝撛㜂☕╯
䑐ꚑ溍ն


STYLE | JEWELLERY TREND 榓㵂낊㹀

Treasures
of the sea:
corals and pearls

IMAGES LAURA LAYERA (JACQUIE AICHE); CAMILLE BLANCHET (CARTIER)

嶯崎溸㵂朮橨┱楻榓

Clockwise, from top: Jacquie
Aiche Graduated Freshwater
Pearl Beaded Necklace;
Austy Lee Coral Onyx and
Diamond Bangle; Ashley
Zhang Giverny Pearl Ring;
Cartier Tressage Ring in pink
gold, coral and diamonds;
Mikimoto V Code earring
┕颯ꯂ侇ꄡ+BDRVJF
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䧗.JLJNPUP
7
$PEF繰朅ն

103

AZURE BRILLIANCE
This necklace by Van Cleef
& Arpels features two
spectacular blue-green
tourmalines, one a cushioncut gem of 16.26 carats
attached to the choker and
the other an oval-cut stone of
27.7 carats set on a detachable
pendant. Both are set in white
gold alongside sapphires,
aquamarines, tanzanites and
diamonds.
Van Cleef & Arpels Le Grand Tour high
jewellery collection Regina Montium
necklace

谆譻⩱䔅

唴⩴겍㵂ꂘ匜뀉ꨄ뇼劔═뀧䙰ꓨ
鱪ꁩ⩴䬕溸譻缻虝牂楢⪼╚
┞뀧⩴䬕印䓺⮘ⰼ㵂焪ꩼ
䃐㐃뀘ꨄ┪⺞┞뀧⩴䬕嘅
㏉䓺⮘ⰼ㵂焪ꩼ䃐㐃⺪䬏ⷴ⻌㑖
┪ն═脢㐭ꓠ氠溮ꓭꩼ䃐ꏕ⻉
譻㵂焪յ嶯譻㵂焪յ㑝咐焪⾕꧁
焪✑掾缼駑㵂焪㝕侒䐻䔅ն
7BO
$MFFG

"SQFMT
-F
(SBOE
5PVS


냖篒权㲒硍⮜3FHJOB
.POUJVN걸ꛔ

LOST WORLD
The latest high jewellery collection from Geneva- and Hong
Kong-based Forms Jewellery merges dinosaur fossils with
precious gems to create future heirlooms that celebrate
life on Earth. Millions of years old, the fossils are specially
treated with agate and hand-selected for their hues and
striations, then adorned with high-quality Burmese rubies
set in 18-karat white gold.
Forms Jewellery Dinosaur Fossil collection

GOLDEN ROPES

104

The Summer Lariat
Necklace by De Beers
features a double rope
of twisted yellow gold,
finished with precious
rough-cut diamonds
encrusting pear-shaped
drops at the end of the
rope. The sliding clasp and
sculptural curves of white
diamonds cinch the yellow
gold bands, lending the
piece fluid yet mysterious
movement that softens
the design. The gold ropes
can be adjusted to varied
lengths with the movement
of the central clasp, making

焪檔㵂

it a piece that can be worn
many ways.
De Beers Summer Lariat Necklace
Metamorphosis High Jewellery
collection Chapter 2

묛ꓭ땳岻

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Ⲙ䩽⾕溮꧁겱㗛薮溸剱绻侅
箄묛ꓭꩼꁉ鰘◙嵤汉脯玘璔
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STYLE | JEWELLERY PICKS 罒ꀀ▇ꄑ

THE DARK SIDE
This black opal ring epitomises
Chaumet’s art of transforming
nature into high jewellery. The
10.13-carat centre stone, with
its depths of iridescent green,
blue and rare red hues, taps into a
renewed interest in natural forms:
a veined stone that mimics bark
provides an organic counterpoint to the
white diamonds and coloured sapphires.
Chaumet Le Jardin de Chaumet collection Écorce ring

凊묶때ⲇ

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鿲㸵❈氠溸㵂焪峜⪝╗䙎鰘◙ꂀ▊䫞麄睋溸⿣鯵ն
$IBVNFU
-F
+BSEJO
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$IBVNFU硍⮜‡DPSDF䡙䧗

TOP NOTCH
Chokers have a timeless allure, equally beloved by Egyptian
queens, art deco-era flappers and Sixties socialites.
Messika’s high jewellery choker revives the genre with 36.29
carats of white and yellow diamonds set in 18-karat white
gold. The curved, openworked plastron resembles a mirror,
while pavé diamonds adorn the ends, and a single 18-karat
canary-yellow diamond solitaire sitting atop a second
choker drops dramatically from the centre. The choker
comes with a matching bracelet and ring.
Messika Ultimate Party set from the Midnight Sun collection

둛盛䈰虪


IMAGE SÉBASTIEN COINDRE (MESSIKA)

LASTING LEGACY
Gucci’s new jewellery
line shows the modern
evolution of the house’s
signature motifs. The
classic Gucci logo has
been reimagined in yellow
and white gold with pavé
diamonds, the familiar
“G” glyphs woven together
in necklaces, earrings and
rings. We particularly love
the open bangle bracelets
in a pared-back style yet
retaining the codes that

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⩴䬕溮ꓭ䩤ꅐꩼ䃐⩴䬕溸溮虝⾕묛虝꧁焪⻔┪ꃎ낊
呬蔺俓ն剱긖駦駉溸茗뇼㴾㠁┞긖ꩢ㲳⹹㸛⾕䫐㸛꧁焪溸挩
䔅ն⺞┞娉뀉㏍┪ꩼ䃐濫┞뀧⩴䬕ꓭ╆겂묛虝⶿꧁
勒盛뇼
劔㶕ꦏ꧁焪⪼ꏕ㞟溸䩘ꨄ⾕䧱䭰⮯✅楓◗㸉包倣յ⭠✇䓺枱⾕
嬠❛溸䈰虪䱌䳣ն

define the Gucci identity.

.FTTJLB
.JEOJHIU
4VO硍⮜6MUJNBUF
1BSUZ㝄逸

Gucci Iconic Lines collection

缋⪿⺈㞎
 

(VDDJ溸⪢假榓㵂笡⮬⭿兇◗
⿣曵吙䗅䙎㎽呿溸楓♣悎⺈ն
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㳔ꂛ鉿⺈㞎ꓠ氠ꩼ劔㶕ꩼ꧁
焪溸묛ꓭ⾕溮ꓭ㝕⚱䨿斀䛳
溸(㲼䓺罒缃㐃뀉ꨄյ膁楒⾕
䧱䭰╚ն⪼╚䐷侒䑑駦駉溸

䩘ꩵ劅╬⼕䑜낊呬矻绢

┻⟛汧◗(VDDJ劅缋⪿溸耘㳔
♣焺ն
(VDDJ
*DPOJD
-JOFT硍⮜

105

A gala at Lake Como’s Villa
Erba provided a glittering
occasion for the unveiling
of Dior’s haute joaillerie
collection Les Jardins de
la Couture. A total of 170
jewelled pieces from Victoire
de Castellane’s collection
made their debut alongside
Maria Grazia Chiuri’s haute
couture silhouettes in the
villa’s gardens. Floral motifs
appear throughout, crafted
from delicate layers of gold,
mother of pearl, gems and
diamonds.
Dior Les Jardins de la Couture

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TAKING FLIGHT
The miniature birds
nestled on rocks in these
earrings symbolise Jean
Schlumberger’s signature
surrealist motifs for Tiffany &
Co. Joining the house in 1956,
Schlumberger revitalised
it with stunning collections
fusing his artistic vision with
Tiffany’s craftsmanship.
His designs featuring birds,
flowers and gemstones
remain the house’s signature.
This year, his vision informs
a collection that includes
these 18-karat yellow-gold
and platinum earrings with
morganite-adorned birds
covered with white diamonds
and pink sapphires.
Schlumberger by Tiffany & Co
Bird on a Rock earrings

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$P


#JSE
PO
B
3PDL繰朅

MAKE IT POP
Boucheron has combined classic shapes with a playful,
pop-surrealist aesthetic in its new high jewellery collection.
Simple, thin titanium bands support spheres and cubes
made of white gold, yellow sapphires and diamonds, along
with coloured resin, lacquer and engraved Murano glass.
Boucheron Carte Blanche More is More ring

⟈滽楉⽱

#PVDIFSPO⪢假둛绣榓㵂笡⮬㸞缋⪿ꅐ㒘┱⟈滽嵤鉿溸鱪楓㵄
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恲긖⾕겱⯤畕䬕騢楣檶篂䧯槊✅⾕皒做✅䓺柁溸눢냪ն
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.PSF䡙䧗

IMAGE JOSEPHINE LOCHEN (DIOR)

NATURE’S LOVERS

䬿蔦撬


DRIPPING IN DIAMONDS
Snakes may not seem like a
particularly bridal choice, but
British model Anna Cleveland
didn’t let that bother her. In
July, Cleveland married fashion
authority Jefferson Hack
wearing a diamond-studded
Bulgari necklace from the
house’s Serpenti high jewellery
collection. The 18-karat whitegold piece enhanced with 81
carats of pavé and pear-shaped
brilliant-cut diamonds wrapped
around her neck and cascaded
down her spine. She paired it
with diamond earrings set in
platinum from the Bulgari high
jewellery collection.
Bulgari Serpenti High Jewellery collection
necklace in white gold and white diamonds

嵤绻⚳겍

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$MFWFMBOEⷮ㸉▇䝠劔栃ꦥն

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#VMHBSJ
4FSQFOUJ냖篒权㲒硍⮜氫ꄌꚑ溍걸ꛔ

痓熏䊬閕


IMAGE DARREN GERRISH (BULGARI)

BREAK THE MOULD
Buccellati’s flexible
Mosaico bracelet captures
the maison’s signature
geometric patterns through
the chaining method
originally developed in
the 1920s. The traditional
technique lends the links
fluidity despite their

intricate sculptural nature,
producing a jewellery piece
that transforms as it moves.
Inspired by Byzantine
mosaics, the multilink
design features interlocking
links of gold, embellished
with gemstones in shades
evoking the ancient form
of tile art. The piece

was created under the
direction of Andrea
Buccellati, who reimagines
designs pioneered
by his grandfather
Mario, responsible for
transforming mosaic forms
into wearable art through
precise goldsmithing.

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痍䨪溸虪勘ն

Buccellati Mosaico flexible bracelet

#VDDFMMBUJ
.PTBJDP
FYJCMF䣆Ꝇ

107

platinum and a ruby cabochon on
the winding crown.
For the crème de la crème among
Tank watches, check out the Tank
Normale, part of the limited-edition
Cartier Privé collection. It borrows
the proportions and crystals of
the original, but is newly available
with a yellow-gold and platinum
bracelet. More takes on the Tank
include the Tank Américaine, with
bolder curves, the Tank Française,
featuring a metal bracelet in perfect
harmony with the case, and the
Tank Louis Cartier, which offers
more audacious colour palettes.
Iterations of the Tank have
graced the wrists of iconic figures
throughout history. Boxer
Muhammad Ali, US First Lady
Jackie Onassis, Princess Diana,
artist Andy Warhol and iconic silver
screen names such as Catherine
Deneuve, Alain Delon and Rami
Malek are among the celebrities
who have continued to choose the
Tank, decade after decade.
No matter which version you
pick, your Tank won’t just tell the
time—it will tell a time-honoured
story of the enduring allure of
Cartier.

Tank is Forever
㑝⩴笡⮬寏㲾
Cartier’s Tank timepieces are an eternal symbol of style
ⷒ㐌◱$"35*&3溸5"/,笡⮬菑銩儱寏䚔溸僓㹀骮䔰ն

108

In a world driven by fleeting trends,
Cartier’s Tank is a refreshing
departure. A testament to the
renowned French jewellery
and watchmaker’s dedication to
preserving style, the Tank is not
simply a watch but a tangible piece
of history.
With a heritage spanning more
than 100 years, it’s unsurprising
that Cartier continues to add riffs
on the original Tank design to

its horological portfolio, making
the task of selecting your own
heirloom-worthy watch equal parts
challenging and fun.
The latest release of the
timepiece, the Tank Cintrée,
reaches right back to the beginning
of the line’s story. Part of Les
Rééditions collection, the reissued
piece reaffirms the classic appeal
of the original 1921 version, with a
luxurious 2.0 update featuring rare

From top: Catherine
Deneuve; Cartier
Privé Tank Normale
watches. Opositte
page, from top:
Tank Américaine
small model;
Muhammad Ali
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濫ⷒ㐌◱缋╽┯銻때ⲇ溸⺜脚侚◜ն

109

STYLE | FEATURE ┺뀨侚◜

The Crown
Jewels of Asia
◱嵌榓㵂㟖椟
These female jewellery designers are defying
creative norms to leave an indelible mark
of their culture on the world using precious
stones and one-of-a-kind techniques
ꂘ⭠⛻㟖䙎榓㵂駦駉䉞♨楻鰂㵂焪⾕ⵟ䖦栃ꁾ溸

ꩼ䃐䪫勘鴩莈⮱✑瘣蕋╬┿汕汧┬┯⺪䫾挬溸

倁ⷧ駘նBy Francesca Fearon

110

n 2006, the Burrell Collection in Scotland was the
first museum in Europe to stage a solo exhibition
devoted to a contemporary Chinese jewellery
artist—a female one. Jewellery exhibitions were
relatively rare then, but this was early recognition
of the remarkable creativity emerging from
Asia. The exhibition was dedicated to Michelle Ong,
co-founder of jewellery house Carnet, whose exquisite
jewels signalled not only a new movement in jewellery
design, but also the arrival of a group of gifted Chinese
female creators into a sphere long dominated by
Parisian maisons.
Ong was the first Hong Kong Chinese designer to
fuse east and west, incorporating both influences in her
jewels: translating Chinese themes and motifs, such as
dragons or floating clouds, using refined, sophisticated
European craftsmanship. “I think this was the start
of the huge influence of China and Asia generally on
western aesthetics and consciousness,” Ong, who grew
up in Hong Kong, studied in Toronto and has spent a
long time in Europe, tells Tatler. “It coincided with the
opening of China to the west and the creation of new
wealth in Asia.”
Other creators followed her lead, including Cindy
Chao, Anna Hu and most recently, Feng J—who, like
cultural ambassadors, have brought a new eastern
aesthetic to high jewellery design. “They have
introduced fresh cultural references, dipping into their
roots and heritage, and combining these references
with a western refinement in terms of craftsmanship

IMAGE JEFFREY LAI (ONG)


From left: Anna Hu; Michelle Ong.
Opposite page: Feng J
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䗼剳┯偃㵄돂⮱假䪫勘ն

111

112

and form,” says jewellery historian and author Vivienne
Becker. They come without familiar preconceptions
and boundaries, she adds, and “dare to try new ideas
and, in particular, new techniques”.
An example of this experimentation is Feng J’s
painterly use of light-infused colour and “floating set”
three-dimensional construction for her jewellery,
which Brigitte Pery, the fourth-generation head of
Maison Pery, a jewellery dynasty that has made pieces
for all the Place Vendôme maisons, was moved to
describe as “absolutely gorgeous” when she saw them
on display at the Paris La Biennale in November 2022.
“The way [she] displays the stones and cuts and re-cuts
them to let the light come through is completely new,”
Pery says. She praised the designer’s use of colour and
delicate, barely visible settings, describing them as
“difficult and precise; only a huge artist can do that”.
The world’s great auction houses and museums also
recognise the artistry of these Chinese creators. Ong’s
jewels were exhibited at Christie’s in London and New
York to coincide with the launch of Becker’s book about
her in 2019. In the words of Mei Y Giam, Christie’s
jewels private sales director in London, these designers
approach jewellery “as an art form”. Using colour and
expressive forms, the result is “intriguing designs with
cultural elements that show creative fantasy as well as
technical excellence”, she says. The graceful jewels “are
elegant and fluid, making them wearable sculptural
works of art, appealing to jewellery connoisseurs and
collectors all over the world”.
Chao’s jewels are now in the permanent collections
of the Smithsonian in Washington, London’s V&A and
the Musée des Arts Décoratifs in Paris, where pieces
by Hu and Feng J have also recently gone on display—
curatorial acknowledgement of their skill, talent and
imagination. Hu’s piece is a hand jewel donated by
acclaimed American photographer Cindy Sherman.
Feng J’s jewel, the Monet-inspired Gingko brooch,
“unites all the innovative qualities of this creative
jeweller”, says Evelyne Possémé, the museum’s former
chief curator.
“As a jewellery creator, you should be extremely
original in your style,” Shanghai-based Feng J said,
acknowledging the curator’s compliment, when Tatler
met her at the Paris Biennale. “It is important to receive
this encouragement that my art style and creations are
accepted so genuinely in the jewellery arena, especially
for someone of my age and from mainland China.”
Taiwan-born Hu, whose pieces have been worn
by Oprah Winfrey and Uma Thurman as well as
entrepreneurs such as Pansy Ho and Wendy Yu,
broke the world record for a Chinese contemporary
jewellery artist in 2019 with the US$5.78 million
sale of her impressive Dunhuang Pipa necklace. In
2013, she broke the world auction sales record for a
contemporary jewellery artist, previously held by Joel
Arthur Rosenthal, more commonly known as JAR, with
a sapphire brooch that sold for over US$4.5 million.
Alisa Moussaieff, one of the world’s most respected gem

Clockwise, from
top: Feng J Lily of
the Valley in canvas
brooch; Anna Hu
Enchanted Lily
Bangle made of
peridots; Carnet
by Michelle Ong
exhibiting at
Christie’s in 2019
┕颯걹休Ꙟ╋⺮
ꚙ⪥
翺Ꙟ翊蓛虜
噍哱溍氬
⺭䣆Ꝇ曓䇧⚰
䇗
✞㚖䐂㷤⭴$BSOFU氳权
㲒⛼⿁ն

“I believe we all have
our distinctive styles,
but what we have
in common is
women’s keen
perception

IMAGE STUDIO SEBERT (BANGLE)

䧰♰⻄⪾栃杅낊呬ⷮ⻎
呤䬿劔㟖䙎杅劔溸侨ꨖ崫
㷌ⲇն” — ANNA HU
╝⻊➬儱Ⳇ◟㵄돂溸♣銩☭朮㟧亘ꪍ❈氠⼯楓罠绳⩱䔕
溸虝䔅䌔♨䜯嶠ꩼ䃐
䩤ꅐ┩缰皒✅溸䓺䘒ն䉄묰溸榓㵂
✑㐴.BJTPO
1FS Z┺╬䉄묰僘㝃㢯䌦㐙䨿劔⿣曵⯜✑榓㵂
⪼睘㎃♣䱌ꬾ☭#SJHJUUF
1§S Z◟䌑劓╱鉿溸䉄묰⹷
䌑㺥┪澚⯒╝⻊溸✑⿣僓广⺇䠋Ⲙ䓺㵽╬ⶶ╰긌⭡ն
㟧騜╝⻊㺥獏㵂焪溸做䑑䌔┻ꁾ氠⮘ⰼ⾕⫙⮘ⰼ溸做䑑
Ⲏ䒩⩱绻ꄟ㸛ꂘ儱⯼䨿勑閒溸䩘岻ն㟧둛䍳䲀䀦╝⻊㸉
虝䔅溸ꁾ氠♨⹴⭠▊澚┯閒溸ꩼ䃐做岻䓺㵽㟧溸榓㵂㎧
걾脯窢⬮め㝕䉞做茤⢳⯒ն
⪢槊焒⻐溸䬚ⷀ鉿⾕⷇朮눒☊┞蔺駌⻎ꂘ聁╚㎼榓㵂駦駉
䉞溸虪勘䩜ⶶն䌑椟䌟⛆㐃⛆俌⾕绹绢✲㛶䕒㺥⮃榓㵂
✑⿣#FDLFS☊◟婟僓⮃曬◗┞勔⪸◟椟䌟⛆溸詇✑ն⛆俌✲
㛶䕒溸榓㵂瑮☭嵝鯺
䙰漳.FJ
:
(JBN銩獏ꂘ◲駦駉䉞㸞榓
㵂閗╬┞璀虪勘䓺䑑㟧♰ꁾ氠虝䔅⾕銩楓䓺䑑䩤ꅐ缏
⻉倁⩧筷溸ⶶ耘駦駉䔓兇㝙뎢鉿疿溸䞰⦑⾕⮃稝覜溸䪫
虪ն㟧銩獏ꂘ◲⚳겍┯⭡溸榓㵂겍蔺脯挺Ⲙ䧯╬⺪✦䨪
溸겱㗛虪勘⿣广广⼕䑜⪢┿汕溸榓㵂ꗞ鰜㵶⾕侅趴㵶ն
鱋䖦缪溸榓㵂✑⿣䉂裯ⶶ潂뀏⺮㶕喖㳔⚷յ⛆俌溸7"⷇
朮눒⾕䉄묰ⷓ嶠㵜锟脏鍯뇼虪勘⷇朮눒寏╽侅趴ն苪蟩襴⾕
╝⻊溸✑⿣☊㎌窢䈰䪫虪յ䝫┿䩜ⶶ⾕╝㶡溸䞰骮ⲇ广裯瞬
㺥☭駌⻎ն┯╽⯼耘㎼詇⻐䶢䔕䉞$JOEZ
4IFSNBOⰼ曄
䯧鰭苪蟩襴溸┞娉둛绣㴼⯜榓㵂✑⿣◙䉄묰溸鍯뇼虪勘⷇朮
눒ն╝⻊♨裝㞃氻✑╬挺䠋溸ꧼ匄茗ꦎ☊裯鍯뇼虪勘⷇朮눒
侅趴⷇朮눒溸⯼눢䊛瞬㺥☭&WFMZOF
1PTT§N§騜
ꂘ⚂
✑⿣鄌⻉◗ꂘ⛻榓㵂⮱✑虪勘㵶溸䨿劔⮱假杅虝ն
楓㺈┪嶯溸╝⻊◟䉄묰⹷䌑㺥⻔վ5BUMFSտ銩獏䠋驊瞬
㺥☭㸉㟧溸鰫霶㟧騜✑╬┞⻐榓㵂駦駉䉞⮱✑낊呬䖪
뀋卋⪾╗☭溸ⸯ⮱䙎ն䧰溸虪勘낊呬⾕⮱✑茤㝉䕒⯒榓㵂汕
溸澶騂䱹⺇杅⯋儱䕒⯒䧰ꂘ╗䌑볝㺂⾕╚㎼⫐㐌☭㛶溸姒
鰜㸉䧰儱긌䊬ꓨ锢溸믈Ⲥն

113

dealers, whose family business dates back 800 years,
spotted Hu’s jewellery a few years ago and approached
her for a unique collaboration.
“I first came across her at the Paris Biennale in
2017 and found her stand very impressive,” recalls
Moussaieff. “Anna’s designs are fresh and young, while
filled with imagination and creativity.” Together they
explore Moussaieff ’s rare gem collection and create
designs that are exhibited at Masterpiece in London and
Tefaf Maastricht and New York.
“This has been the most exciting moment for
me since I founded my maison,” Hu tells Tatler in a
video call from Monaco. She is a diamond dealer’s
daughter who originally trained as a concert cellist
before studying jewellery with Maurice Galli, the chief
jewellery designer at Harry Winston. She shares a
passion with her new mentor, deferring to Moussaieff ’s
“unparalleled wisdom. It is like an amazing jewellery
history book that spans across the century unfolding in
front of me,” she says of the experience.
Delighted to have contributed to the promotion
of Chinese designers internationally, she speaks of
Asian jewellery artists as “a rising force”, adding,
“What’s interesting is that most of us are female, such
as Michelle, Cindy and of course the new star Feng J. I
believe we all have our distinctive styles, but what we
have in common is women’s keen perception.”
Meanwhile, Becker describes Ong’s jewellery as
“strong yet so intensely feminine”, adding that she
was originally drawn to the latter’s work by her use
of Orientalist motifs and compositions in a resolutely
European style 20 years ago. “Remember this was
entirely new at the time,” she stresses.
Two decades on, Becker is enthusiastic about what
she is witnessing. “There is definitely a new, exciting
and ever-evolving wave of creativity coming from
Asia,” she says. “They are developing very quickly in
terms of both design and craftsmanship, so that today
Chinese jewellery art is extremely sophisticated, with
a broad, global perspective and audience. I think they
are no longer labelled as Chinese but appreciated as
international jewellery artists.”

“As a jewellery creator, you should be
extremely original in your style
✑╬┞⻐榓㵂駦駉䉞⮱✑낊呬䖪뀋卋⪾

╗☭溸ⸯ⮱䙎ն” — FENG J
114

Clockwise, from
left: Anna Hu Yin
Yang hand ornament
displayed in Musée
des Arts Décoratifs;
Feng J A Dragonfly
Wearing Moonlight
brooch; Carnet white
diamond brooch in
platinum and 18-karat
white gold
䄅颯ꯂ侇ꄡ翊蓛虜◇䄘
랣逸깳荔儛擻꺉㷤⭴氳
㜁冓賁䎬䡙Ꝇ╋⺮氳贵
艷⛅翺Ꙟ$BSOFU
Ꚙꄌ⽰
,氫ꄌꚑ溍翺Ꙟն

气◟⺬彵溸苪蟩襴✑⿣㜜⺇⻐㫖绞儘귱瀃䭇㞻册䬕˙廛
䑠橱0QSBI
8JOGSFZյ█椱˙橳剾6NB
5IVSNBO♨
⹴㟖⚕╃㵶✇鱪樴⾕✍兰兰ն䌑㟧溸俌擏樨樫뀉ꨄ
♨┧耘⩧䧯☆⮱┬䓝♣╚㎼榓㵂虪勘㵶溸劅둛䬚ⷀ⚃ն
⪼㵄㟧◟䌑➬♨ꆚ┧耘⩧み⮃┞卶譻㵂焪茗ꦎ䩤熏
儺璼+"3溸耘㎼駦駉䉞+PFM
"SUIVS
3PTFOUIBM溸劅둛䧯
☆⚃╬䓝♣榓㵂虪勘㵶溸┿汕䬚ⷀ⫭┬假绦䓡ն
䬿劔䌑⸉⺮⪢槊劅⺇䲀䀦溸㵂焪缋ꨆガ▇┞"MJTB

.PVTTBJFGG俚䌑⯼㸉苪蟩襴溸✑⿣┞閒⡿䖦䌔⺮傱⯼❛䳀
⮃┱㟧臅⻐⻉✑ն
㟧䖫ꃎꇔ
䧰睘┞姍閒⯒苪蟩襴儱㐃䌑溸䉄묰⹷䌑
㺥㟧缕䧰汧┬◗广⯤溸ⷧ骮ն㟧溸駦駉假뀦䌑鿪⩪怮䞰骮ⲇ
⾕⮱ꅐⲇն═☭┞䬚ⷬ⻉⯈氠.PVTTBJF溸楻羸㵂焪⮱✑榓
㵂笡⮬◟⛆俌䈵ⵟ蕉趴虪⷇⚷.BTUFSQJFDF
-POEPOյ

姚嵌虪勘⷇閙⚷5FGBG
.BBTUSJDIU⹴绹绢㺥⮃ն
苪蟩襴㐃䷧绯』┱վ5BUMFSտ閗뀡ꄽ騅僓騜ꂘ儱䧰
⮱皒⿣曵♨匡劅⪺㞉溸僓⯤ն曋镪儱┞⻐꥽焪籮ꙅガ⛰
㟧蔦㸰㳴肬㝕䳀樥皒䗅䧯掿悎㞎㵶⻑匡䬴䊘嶯橱廛偅뀏
)BSS Z
8JOTUPO눢䊛榓㵂駦駉䉞.BVSJDF
(BMMJ㳴肬
榓㸅陮阜ն㟧┱假㸍䉞.PVTTBJFGG䗅鲨潸䫌鞼⯒⪤☭溸㎌
索‫ﴍ‬ꆱ免㟧靾䧰䔻✦劚㟧溸傱嬠冝䢘馫䧰䠋閅㹧⦑䩤
䐷◗┞勔鴚鱴┿绦溸榓㵂⸉⺮▫♥䧰㝕䐷濤汕ն
㟧䔻둛⪺茤㹻┞䉁▇ⲇ⶷ⲙ䲀Ⲙⶶ禶駦駉䉞鱂⻔㎼ꮪ

䓺㵽◱嵌榓㵂虪勘㵶儱┞艧䁖鱎假ⲇꓪ䌔璼
劔鲨溸
儱䧰♰ꌬ儱㟖䙎❛㠁椟䌟⛆յ鱋䖦缪䓝撬ꂖ劔假儘╝⻊ն
䧰♰⻄⪾栃杅낊呬ⷮ⻎呤䬿劔㟖䙎杅劔溸侨ꨖ崫㷌ⲇն
┱婟⻎僓#FDLFS䓺㵽椟䌟⛆溸榓㵂閗閚䒩揓脯┻긌䊬
㟖䙎䌔銣⩪䭰僃◟䌑⯼䉂汧䟩⯒㟧ꓠ氠눂㶡╅做杅虝
溸╭뀨⾕⩧筷⮱✑⮃姚嵌낊呬溸✑⿣ն#FDLFS䒩騫
锢焒
ꇔꂘ㐃䓝僓儱⪢假溸✑岻ն
䌑ꁩ⹜◗#FDLFS㸉蔦䉁閒駩溸⹿㺥⩪怮搑䗴ն㟧騜

◱嵌婞⼗鱎┞艧䂃假յ♥☭⪺㞉⾕┯偃悎⺈溸⮱䟩嶛愲

駦駉⾕䈰虪⹿㺥ꁣꅌ╚䑑榓㵂虪勘窢蔺둛겍䌔䊎劔䐷꭪溸
⪢槊閗ꓩ⼕䑜┿汕⻄㐌溸뀎㵊ն䧰駌╬┯䍎⫙䪻㟧♰吙矸
╬╚㎼駦駉䉞脯儱⪾㜜㎼ꮪ寊䌐溸榓㵂虪勘㵶ն

115

䡇 労 庣 ⶿

Everything you need to look
your best this month
窢ꄑ♁╗瑽⬈┯茤ꨟꁩ溸僓㹀⶿⿣ն

By Cherry Mui

STYLE | OBJECTS OF DESIRE 唙䌝窢⿣

MOODY BLOOMS

Virginie Viard gets it: she let camellias
bloom at the Chanel show and in the
latest collection because this season,
florals are magnificent. At Daniel Lee’s
Burberry, flowers are grungy, a vibe
beloved by a slew of other designers who
are providing head-to-toe dark romance
for your winter wardrobe. Clockwise
from left: Balenciaga bag; Erdem
dress; Magda Butrym heel; Chanel
earrings; Dior necklace. Opposite page:
Alexander McQueen outfit

䖦䘫侒
 


儗㰚⺨㛻休逸⿁撿┘篑縡⺱♔竴菋╙╚
겗ն$IBOFM荔儛䔅沪7JSHJOJF
7JBSE阦㸔蓞菋
㏇⿁撿休逸熔⽰僄亍硍⮜╈簨䷒#VSCFSSZ
⮡䙬䔅沪%BOJFM
-FF♔겒䈥䯺帢곽劲庌篹菋
ⶏ⼑朆⹨⮽阵㛢阻阞䄳ㄎ撕氳妹㍴阦✃
☳㜍⮽耾♔┉骱랫個宫庵氳⫸㰚逸䣹炐☕ն
䄅颯걹休Ꙟ#BMFODJBHB䣆䬠ⴎ&SEFN
鳀辊遤.BHEB
#VUSZN냖饇ꫤ$IBOFM繰
朅%JPS걸ꛔն㵒건"MFYBOEFS
.D2VFFO
⪓㝄僜逸ն
117

118

HANDLE IT

Traditional, “ladylike” handbag styles
are undergoing a contemporary
transformation, and structured
silhouettes with top handles are
taking centre stage. These timeless
designs celebrate individual houses’
signatures: Prada, for instance,
showcases sharp, minimalistic
shapes that exude sleek elegance,
while Hermès introduces a touch
of whimsy by incorporating fringed
elements into the iconic Birkin.
Prada outfit. Opposite page,
from left: Fendi bag; Hermès bag;
Chanel bag

⮱䟩駦駉


⚩簊㝶㚖곽劲氳䣆䬠ⴎ㷤䋯䷊㜍䩦ꪫ氳
朆♏⴬贷⹩䤧䣆⛤◇걵珸氳鯺䊑催颯▽緾
㛿釙㏐氳䷊⹩ն鲹◙姧䔩阻阞䏄侁⺨⿁撿氳
됁伺攑荈㞝1SBEB㷤炐▽➹蛽甏篑氳鵲㑔
丆⹠⭴休㶉⚝꥕氳妰䕜)FSN¦T㏇剝䑪䓪氳
#JSLJOⴎ踅⪍孲萁⩕碜㘍㜦䓙㟓䘶氳飯
⽏ն1SBEB⪓㝄僜逸ն㵒건䄅颯'FOEJ䣆䬠
ⴎ)FSN¦T䣆䬠ⴎ$IBOFM䣆䬠ⴎն

119

VIVA LA PLAID

120

The autumn-winter
season is synonymous
with tartan—this year,
the Scottish style code
is being given a creative
revamp. Designers are
interpreting the classic
pattern in a range of
colour combinations
on suits, coats and
shorts, and corsets that
are reminiscent of the
unequivocal legacy of
the late Dame Vivienne
Westwood. Clockwise,
from top left: Berluti
shoe; Kenzo coat;
Burberry outfit; Hermès
tie. Opposite page,

clockwise from left: Issey
Miyake outfit; Dior hair
band; Emilia Wickstead
dress; Roger Vivier shoe;
Chopova Lowena skirt

呬㲳鲨⽱
 


萁劲⪥劲⼱佭熤⫸㰚氳♏⺳陊

☫䇗氳㝶逸⽰槀逸催⩘幦⮡䙬闭⴬ն
阻阞䄳♔┘⺱氳겛荈篯⺭陝ꄂ篺⪯
㎂勆重逸յ㛚㝄յ湿選⽰碧骱┕辊
阦☕䘶颯䄖䷚休逸阻阞䄳7JWJFOOF

8FTUXPPEն䄅┕颯걹休Ꙟ#FSMVUJ
ꫤ,FO[P㛚㝄#VSCFSSZ⪓㝄僜
逸)FSN¦T겅䅠ն㵒건䄅颯걹休
Ꙟ*TTFZ
.JZBLF⪓㝄僜逸%JPS
⹠䅠&NJMJB
8JDLTUFBE鳀辊
遤3PHFS
7JWJFSꫤ$IPQPWB

-PXFOB遤ն

121

THE GREATEST
OF ALL TIME

White shirts will never
not be a staple, but
this season, they are
taking the spotlight.
Go for long and lean
styles, reminiscent of
the gown-like designs
seen at Valentino. Wear
with a sleek miniskirt
for a boyish look, or be
more daring, pairing a
pinstriped style with
boxers, as seen at Bottega
Veneta. Valentino
outfit. Opposite page,
clockwise from top left:
Alexander McQueen
dress; Acne Studios
earrings; Loewe bag;
Mach & Mach heel;
Jacquemus bag

122

寏䚀免㹀
 


氫辘辗姧鲾┘⚢鴚孲车⛙儗
㰚催珇┕休逸艷⺐䡗╙☕♜⪩
嫱氳扦憠ն鴲䦫⟤Ꝛ氳堑䌋
❇㞝7BMFOUJOP僗㞝Ꝛ返氳阻
阞◰⺎䯌鿥➷汷氳鴀✃遤
䣒鵲⭴槀㰨芘➹蛽氳鵲㑔
䡝縖㛻羑┉憠⥽#PUUFHB

7FOFUB黁劫㵨篱兣篤堑䌋
䯌鿥槀逸㍌鉉選ն7BMFOUJOP
⪓㝄僜逸ն㵒건䄅┕颯걹休
Ꙟ"MFYBOEFS
.D2VFFO
鳀辊遤"DOF
4UVEJPT繰
朅-PFXF䣆䬠ⴎ.BDI


.BDI냖饇ꫤ+BDRVFNVT
䣆䬠ⴎ
ն

123

ALL
WRAPPED
UP

Allow us to introduce you to
scarf dressing. The typical
“office lady” look is chicer
than ever, with blankets,
scarves and shrugs becoming
key items, as seen at Saint
Laurent and The Row. Layer
them over a jacket or coat,
or use them as an outer layer
over your occasion wear. Saint
Laurent outfit. Opposite page,
clockwise from top left: The
Row scarf; Maison Michel hat;
Hermès necklace; Delvaux
bag; Toteme coat; Celine boot

㺂䵴㒍㑖
 


⮵榫㍴䄧⢢⭴┘⺱逸䣹䡗╙奃♔䏢催
休냱氳氫겅㝶䓪ն4BJOU
-BVSFOU
⽰5IF
3PX䫠⭴氳䥑罖յ㍴䄧⽰㵸㛚
㝄齉佭儗㰚┘⺎䡝籬氳⶝⿁⺎♔䥑
䧑㏇㜔⩡䡝㛚㝄┕䡝䎎⛼炕僜氳㛚
㝄ն4BJOU
-BVSFOU⪓㝄僜逸ն㵒건䄅
┕颯걹休Ꙟ5IF
3PX㍴䄧.BJTPO

.JDIFM㯹)FSN¦T걸ꛔ%FMWBVY
䣆䬠ⴎ5PUFNF㛻辊$FMJOF꫆㯹ն

124

125

SOCK IT TO ’EM

They’re divisive, but sock
boots aren’t going anywhere.
Louis Vuitton and Chanel
have offered unique
interpretations; Bottega
Veneta’s Matthieu Blazy is
transforming actual socks
into shoes. There are so
many ways to rock this trend;
our favourite is to wear with
a slit skirt and trench coat.
Clockwise, from left: La
Double J boot; Chanel boot;
Stella McCartney boot;
Balenciaga boot. Opposite
page, clockwise from top
left: Louis Vuitton outfit;
Bottega Veneta outfit; Manu
Atelier outfit

┞官⽳䧯
 


㛻㳄㵒迯꫆氳洇嫏䡝阵僗⮇塣
⛙鲹堑休㶉⶝⿁☱僗┘㵽䩯㏜
㲙ն-PVJT
7VJUUPO⽰$IBOFM⺨舅
陝ꄂ⭴斻攑鵲㑔#PUUFHB
7FOFUB
氳.BUUIJFV
#MB[Z䤧迯㯹⹩䡗ꫤ
㯹⮡鵲⭴縨☕㵖⽏氳곽劲ն䪭䭃鲹
罆弪孲氳亡嫏㷄⭴┘狕⛙䡘♜僄
ㄎ埢䯌鿥䋯⹔遤⽰곽辊ն僄䄅颯걹
休Ꙟ-B
%PVCMF
+꫆㯹$IBOFM
꫆㯹4UFMMB
.D$BSUOFZ꫆
㯹#BMFODJBHB꫆㯹ն㵒건䄅┕
颯걹休Ꙟ-PVJT
7VJUUPO⪓㝄
僜逸#PUUFHB
7FOFUB⪓㝄僜
逸.BOV
"UFMJFS⪓㝄僜逸ն

126

127

128

WINTER WARMERS

Terracotta tones and vintage-inspired
looks are the definitive looks in home
decor this season. Darker shades
give spaces a sense of grounding
and boost the feeling of warmth,
while a throwback aesthetic adds
visual interest. Pumpkin spice lattes
are optional. Clockwise, from top
left: Hermès mug; Kelly Wreastler
x Serax tableware collection; B&B
Italia dining set; Diptyque candle.
Opposite page: Larusi rug

凈⬈僓㹀
 


儗㰚㳄䉁榫⿁硍⮜孲车颌ꢾ荈⽰㛄⹿곽劲ն
鰏岑氳荈隀╙狝ꠑ蛈鵲牔ꄆ⽰峪倉氳䚊鈿
㛄⹿紇㰣⮟⺎㘍鈼鈿飯⽏ն┘㟸⫋全┉
兵⶟棽꺜乢䧍ꚗն䄅┕颯걹休Ꙟ)FSN¦T
뀐⩡兵,FMMZ
8SFBTUMFS
Y
4FSBY궆硍
⮜##
*UBMJB궆勏向%JQUZRVF赈懚ն

㵒건-BSVTJ㏐奮ն

129

Man Ho at JW
Marriott Hotel
Hong Kong. Opposite
page: Karen Mok

䯷䏆
翊ⱶ愓
 .0,

꺜┒霕鿯䈙╈蘦꺉

┒霕ꄌ外氳蘦荈ն

㵒건藋乄複ն

Take inspiration
from the finest
experiences from the
region and around
the world, from
restaurants keeping
Asian culinary
traditions alive to
luxury vacations
offering the desert
aesthetic
氮⟛汧◱嵌搫뇶⚿缛
溸넔⸈⯒俆⹿屧悤耘
㳔溸ⶶ偳瓨♈┿
汕⻄㐌溸劅✲✅돂╚
尥⺆挺䠋ն

THE SCENE | FEATURE ☭朮杅⫭

寏
䚀
⩰
ꨑ




In celebration of 30 years in showbiz,
Karen Mok tells us about taking charge,
breaking concert records—and what’s next
䌳玖⪝鉿⽟䌑裝倁谆鴋䧰♰騰⯒㠁✇䧯╬栃䓝┞긖溸虪☭

㐃⪡㐌ⱂ┬蕡ꀡ劅㝃㖪悎ゃ劋溸第ꛈ♨⹴勑匡溸駉⮦ն

乯倁
)6"/

䶢䔕
苪Ⲏ挺

ꅐ㒘
ꌏ曄

132

Karen Mok in
Ferragamo
dress
'FSSBHBNPꄌ荈䥥
翺鳀辊遤ն

Mok in a
Michael Kors
Collection dress
.JDIBFM
,PST

$PMMFDUJPO랫荈仰迠
孲萁鳀辊遤ն

“Sexiness is selfconfidence: it is the
basis of any charm
or glamour
䙎䠋儱蔦⟥⺢劔㐃

蔦⟥溸㕈熝┪俆⹿⮃匡

溸때ⲇ䩜儱䙎䠋溸ն”

After three decades in entertainment, releasing 17 solo
albums and appearing in more than 40 films, Karen Mok is
one of the most respected forces in Asian showbiz today.
In recognition of the milestone, we asked her to share
what she considers the most meaningful achievements
and memorable moments of her life and career.

♁䌑裝倁谆䌳玖悎虪汕⮃ꇔ⽟䌑ꂘ◲䌑匡㟧䙰⪴⹿鉿
◗䑳╗☭┺ꀀ⮃悎鱪ꁩꌄ䔕曩㖗璼◱嵌悎虪汕劅⡽
䕒㸦俓溸ꭀ☗僻儘▇┞ն
䧰♰駧ꭄꂘ⛻俅䞰俅⢳յ寏ꂜ缕☭假랓䠋溸㟖儘騟㟧
⮕☑⢳ꁩ劅劔䟩▄溸䧯㹧♨⹴㐃㟧溸☭气⾕◜╃▇╚劅
걾䗇溸曩⯤ն

On her childhood dreams:
I knew I wanted to become a performer from about the
age of three. At primary school, I took part in singing,
dancing and drama competitions. I was also starting to
think about all sorts of crazy ideas, like: if I really were to
make a record, what kind of photos would I take for it?
What kind of styling would I want for the shoot? What
kind of atmosphere would I have on the stage?
A lot of my looks and ideas on my album covers and
at my concerts—I’d been thinking about those since I
was little.

鴋䧰♰騰騰✘溸盅䌑唙䞰ն
㝕嚤㻹䧰㹧䉂缋䞰㟲蔦䉁ꪍ㝕锢⢳銩悎脢ն䨿♨♈┪㸰
㳔䐷㢽㳔吿ꓧ溸⻄璀ゃ娬鴩薌յ騅Ⱖ嬠鰨䧰ꌬ╭Ⲙ⹨
Ⲏնꊙ僓䧰䉂缋⚷╭Ⲙ㐌卐䘽⻄璀泳柄䞰岻◗ն嬠㠁㸞匡
澶溸锢⮃ゃ曩䧰锢䬚┞䑳☴▂呤溸攍曩⢳䘤呤溸ꅐ㒘
薌⺬儱☴▂呤溸官客ն
䨿♨⻑匡✘♰澚⯒䧰溸悎ゃ⚷յゃ曩㸖㞟⻄璀⻄呤溸
⮱䟩⪼㵄䔻㝃ꌬ儱䧰♈㸰㹧缋䊬䘽脞劅⻑䧯㒘溸銩楓ն

On spending secondary school in Italy:
Since I was a child, I have consciously tried different
interests. When I was in secondary school, and many of
my female classmates chose ballet as an extracurricular, I
chose Chinese folk dance. Everyone did violin lessons, but
I went with the guzheng. I wanted to take a different path
from others. While everyone else applied to schools in the
US and Canada, I won a scholarship to go to Italy. I spent
the last two years of secondary school in Italy, and then I
went to university in the UK, where I majored in Italian.
On appearing nude on the cover of the 1996 album
Karen Mok in Totality:
I’m very lucky to always be able to bring to life my
wildest ideas. I had long wanted to do a nude image that
highlighted the power of women. The album was my
second record and my first in the rock genre. We got
[seminal photographer] Wing Shya to shoot that album
cover in Happy Valley. We wanted vintage elements: that
black leather sofa, with the slightly dated look and feel;
the shading of the dark green curtains—and then, Karen
Mok lying on her stomach on that sofa. I think when it
comes to performance, you can do whatever comes into
your imagination.
On her sex appeal, especially on stage:
A lot of people ask me what sexiness is. I think the first
thing about it is self-confidence: it is the basis of any
charm or glamour. It’s also about not being intentional—
everything should come from honouring your truest,
most natural self.
When it comes to performing, you’re giving yourself
power. It’s not about seeking power from others through
it. I think that’s the essence of the sexiness that comes
through in my performances.
On having her head shaved in the 1990s:
In 1995, while filming [the Wong Kar-wai crime drama]
Fallen Angels, I had red curly hair [for her character].

╬✇⚷ꂜ鱊䟩㝕⯈㴟䧯╚㳔㳔╃
䧰♈㸰㹧劔䟩駮㐌⹜㹅駽┞◲┱⚱┯⻎溸⪺鲨ն騣╚㳔僓
ꄑ騦㜾⪺鲨㸰缀㟲㝃㟖⻎㳔ꌬꄑ⟶蛔質薌䧰蔦䉁ꄑ◗
╚㎼宑傉薌㝕㵶ꌬꄑ㸰䳀樥䧰㹧ꄑ◗⺜瞵ն撬⻑둛╚僓
劻㝕㵶ꌬ⹜氰騟耘㎼յⲎ䭡㝕溸㳔吿僓䧰◚⺆⯒┞眧㞝
㳔ꓭ⹜䟩㝕⯈䧰㹧儱锢鱂⾕⯋☭┯⻎溸鴤ն둛╚劅⻑═䌑
㐃䟩㝕⯈鴋濫⹜蝠㎼騣㝕㳔缣缩╭⟶䟩㝕⯈騕ն
騰騰✘㐃䌑⹿鉿┺ꀀվ⪢麄裝倁谆տ僓♨芻긖⪢鏟
䬚䶢ゃ曩㸖긖ꂘ⚂◜ն
䧰䔻䌘ꁾ䙰茤㵄楓蔦䉁㝙뎢鉿疿溸䞰岻ն䌑վ⪢麄
裝倁谆տꂘ䑳穯騕┺ꀀ儱䧰☭气╚溸睘◝䑳ゃ曩□儱Ⲏ⪝
怤焪溸睘┞䑳ն䧰䔻僃㹧䞰䬚┞䑳䔓兇㟖䙎ⲇꓪ溸⪢鏟䔕
⦑䧰♰䪨⯒㜮寏䎙䬎⚈䶢䔕䉞㐃鳷뎢㐌䬚◗ꊙ䑳ゃ曩
㸖긖ն䧰♰괛锢┞◲㜩⺜⩧筷ꊙ╗劔掾ꮭ僀溸묶虝澶滽屧
⹿㙺缻虝瘎䉶溸䔕騫Ⲏ┪┞╗芻긖劸┪麤㐃ꊙ䑳屧⹿
┪溸裝倁谆ն䧰閚䕒㐃銩悎溸뀖㔔⺢锢✘䞰䕒⯒㹧┞㴼
茤⢳⯒ն
✘溸薌⺬銩悎⩪怮䙎䠋溸⩱蚘յ때ⲇ┱䘒䍳ն✘㠁✇騈ꓤ
ꂘ璀䙎䠋
䔻㝃☭ꭄ䧰䙎 䠋溸㴼▄儱☴▂䧰閚 䕒눢⩰┞㴼儱蔦⟥
⺢劔㐃蔦⟥溸㕈熝┪俆 ⹿⮃匡溸때ⲇ䩜儱䙎 䠋溸ն⪼姍 㹧
儱┯锢⯤䟩□㹧儱┞⮘㸦䀦⫐䖦╚劅蔦撬溸┞긖նˋ䨿
劔溸銩悎ꌬ儱缕蔦䉁┞璀ⲇꓪ脯긌ꄽ ꁩ銩悎㸌寛♑☭鰝
◙✘ⲇꓪն䧰閚 䕒ꂘ 㹧儱䧰銩悎╚䨿銩 ꁒ⮃匡溸䙎 䠋┞긖
溸勔徏ն
⪸◟✘⯰⩱㝧溸◜ն
䌑䬚վ㕰訒㝙❈տ䧰㐃氲䔕ꓧ儱┞㝧堾绞虝溸ⷳ⹿
䬚㴟⻑䧰溸⹿鯵䐷㢽䐷⹲յ嬱鸦⻄璀ꭄ뀨ꌬ⮃楓劔┞㝙
缄◟䖵┯⛿◗痓撬䞰锢䪻㝧⹿⪢ꌄ⯰⩱◟儱䩤氲騅缕䧰
溸⹿㒘䉞ն䧰溸⹿㒘䉞□儱䔻ꐤ溸┞╗☭ꌬ屳ⲉ䧰═⺝
潳䱹㹧騜✘匡⻳
✘㐃┪┿绦䌑♣溸눥氲䔕묛ꓭ僓劻䬚◗㸞ꂀꌄ氲
䔕ն✘㸉氲䔕⾕꼟▍ꂘ═╗◜╃劔✇澚岻
䧰㐃䌑⮃ꇔ僓눢⩰⮃◗վ,BSFOտꂘ䑳┺ꀀ⻎䌑㵊╢
氲䔕վ䌦╅◩▇꧇䭐傱侣㲿╚㻘տնꊙ僓눥氲䔕╃㠁挩
㠁衫䧰䬚◗䔻㝃氲䔕䭇┞笡⮬⽟儘뎦氲䔕㠁վ난玘տյ

վ㝕騅锟廷տꌬ儱䧰⮵劻溸✑⿣ն


潳⯒䌑⹜◗⺬ⵌ䐷
㢽⮃㎼騕┺ꀀ䩜ꄢ庱䪻ꓨ䖦侒㎈꼟▍┪ն꼟▍㢽缄儱䧰悎

135

After filming wrapped, I started getting split ends, along
with frizz and all sorts of problems with my hair. One
day, I couldn’t stand it any more, and suddenly thought
of shaving my head. I called my hairdresser, who’s a very
cool guy. He didn’t even try to talk me out of it. He just
said, “Come over!”
On working in Hong Kong cinema’s heyday:
I debuted in 1993 with the album Karen, and in the same
year I made a cameo appearance in the film The Tigers:
The Legend of Canton. The Hong Kong film industry was
in full swing and I was in a lot of films, including a series
of Stephen Chow films—like The God of Cookery [1996]
and A Chinese Odyssey [a 1995 two-part fantasy film].
It wasn’t until working in Taipei in 1997 and I started
releasing Mandarin albums that I gradually put my
focus back on music. Music has always been the focus
of my career—especially over the past ten years. I’ve
been doing concerts and taking part in musical variety
shows. If you ask me whether acting or singing is more
fulfilling—I think they’re the same.
On portraying a variety of characters:
My look in The God of Cookery is so ugly [Mok played
Sister Turkey, the ugly duckling female lead], I thought
it was great—it’s very rare to get to play a character like
that. As an actor, of course it’s fun and challenging to
portray a character who’s different from yourself.
If I were to talk about the most beautiful character,
it would of course be Pak Jing-jing in A Chinese Odyssey
[the character originates from the seminal 16th century
novel Journey to the West and is lauded for her beauty].
I love doing Chinese costume dramas so much. As long
as I can produce good work, and as long as the audience
likes it, I think that’s the greatest sense of achievement
for me as an actor.
On meaningful achievements:
Twenty years ago, I saw a report on TV and about how
cruel bear bile farming was. I called the Animals Asia
Foundation’s Chengdu office to ask if there was anything
I could do to help. I guess I was probably the first artist
to reach out. I started to do what I could, appearing in
promotional videos, helping with appeals, attending
charity events, visiting their bases and so on. Many artists
have since joined in with the efforts and, with the help of
more people, the cause is now getting greater support.
I’m the foundation’s permanent ambassador, which
means that protecting animals has become my life’s work.

136

On her first concert:
It was after my second Mandarin album, I Say, and it was
at Daan Forest Park in Taipei. It was the summer of July
1998. I rehearsed during the day and I remember it was
so hot that I could hardly stand it. Then at night it was
time for the show to start; I took a car to the venue, and
there was a huge traffic jam. It turned out that everyone
was rushing over to see my concert, and they probably

“As long as
I can produce
good work, and
as long as the
audience likes
it, that’s the
greatest sense of
achievement for
me as an actor

✑╬┞╗虪☭

⺢锢茤悎⮃㟲✑⿣
傱駢䪍潸間⚱ㄼ
姐䧰閚䕒㹧儱劅
㝕溸䧯㹧䠋ն”
虪气布溸ꓨ䖦ն㹐⪼劅ꂀꂘⶥ䌑䧰⪢䖦㐃꼟▍뀖㔔䐷悎ゃ
⚷□⹨Ⲏ◗┯㸵꼟▍缸虪虹潨ն⛰✘锢騜悎氲䔕⾕⢳꼟▍▇
ꭊ〘╗䧯㹧䠋剳㝕䧰閚䕒儱┞呤溸ն

✘劁㐃氲䔕╚䪍悎ꁩ⻄璀閤虝㸉◟䪍潸劔✇澚岻
䧰㐃վ난玘տꓧ溸䪍潸ꊙ▂┷裝倁谆㐃曩╚杇朷虝潸䪍悎
莐┪劔⮋泠⹱凾朓溸挩먋㣌⛰䧰閚䕒蔦䉁㟲朙ゴն茤ꆱ⯒
ꂘ呤溸閤虝儱┞⚂䔻걾䕒溸◜✑╬悎⽄䓝撬锢㗛ꅐ⾕蔦
䉁┯┞呤溸☭朮䩜㟲楉䩜劔䮅䧹䙎ն

Mok in Maison
Margiela blazer,
Bottega Veneta
tank
.BJTPO
.BSHJFMB

簹ꪫ重逸㛚㝄

#PUUFHB
7FOFUB


氫荈羜䑐ն

didn’t realise that Karen Mok was also stuck in traffic
with them. It was a record-breaking attendance that day,
with 30,000 people going to a venue that holds 10,000
people. The entire grassy area of the park was filled with
people, even in the trees, and even further away from
the stage. That hot summer day gave me memories of my
first concert. In fact, I have a great time at every concert.
On her 2019 Tibet gig becoming the Guinness World
Records’ highest-altitude mass-audience concert,
and the first solo stadium concert in Tibet:
I went to Tibet 20 years ago while filming, and I felt
that the environment of the plateau gave people an
inexplicable sense of longing. When we were planning our
2019 tour, I proposed a concert in Lhasa. But it’s not easy
to organise a 10,000-person concert, and a solo concert is
a non-stop live performance. Although I don’t get altitude
sickness—I could sing from the beginning to the end of a
song—the band and dancers were always uncomfortable
because of it. Many of the dancers on stage inhaled oxygen
immediately after [performing]. Everyone thought that
concert was very meaningful, and I was blown away.
When we were planning it, someone suggested applying
for a Guinness World Record. So after the Guinness
World Records staff certified the whole thing, they
announced on stage at the end of the concert that Karen
Mok was the singer who had held a major ticketed concert
at the highest altitude in the world.
On being in charge of creative direction for her
concerts:
I want to design my own scenes and create an
atmosphere that moves the audience. Choreography
is like putting on a play: there are ups and downs and
rhythms that need to be choreographed to take the
audience on a musical journey with you; then it’s all
about the music with the band and choreography with
the dancers; and then, the costumes, colours, lighting,
visuals that are put on the LED screen. I usually think
holistically and give holistic advice; if I can’t do that, then
it’s better to let go and not do anything at all.
On what’s next:
I’ve been touring non-stop for the last ten years and I’m
also married with a family. I love this job and I love my
husband, and I have to find a new balance between the
two. So when I did the Absolutely Fabulous Karen Mok
25th Anniversary World Tour in 2018, I announced that it
was my last big tour. Each of my concerts is almost always
10,000 people in size, and I have to fly to different places
with dozens of people, and a lot of stage equipment has to
follow to those cities, and a large number of fans will fly to
see the concerts, which creates a large carbon footprint.
So I’ve been rethinking this, and with all the technological
advances over the years, live streaming and sharing of
music online have become more and more popular and
sophisticated. This year is my 30th anniversary in the
industry, and I wanted to dedicate a great show to all of my
viewers through live streaming, so that I can spend more
time with my loved ones.

┯ꁩ锢騜恪☗溸䪍潸䓝撬儱վ㝕騅锟廷տꓧ溸溮冘冘
䧰㟲ㄼ姐䬚⺜鍯䧮✑╬┞╗虪☭⺢锢茤悎⮃㟲✑⿣傱駢
䪍潸間⚱ㄼ姐䧰閚䕒㹧儱劅㝕溸䧯㹧䠋ն

⮃ꇔ⻑⢳ꁩ劅劔䟩▄溸┞⚂◜ն
䌑⯼䧰㐃氲閗┪澚⯒䫟ꇔ䩜焒ꇔ嵛敒⺆芮儱ꊙ▂媙䖵溸
┞⚂◜ն◟儱䧰䪨⯒◱嵌Ⲙ朮㕈ꓭ⚷⛻◟䧯ꌬ溸ⲋ⪫㵎氲騅
䩤ꁩ⹜ꭄ劔☴▂䧰⺪♨䊜䗊䧰䧰⺪茤儱睘┞╗╭Ⲙ䪨ꁩ⹜
溸虪☭ն▇⻑䧰䐷㢽⢳┞◲蔦䉁ⲇ䨿茤⹴溸◜䝠⮃ꩢ䬚㵌⚿
曩䊜䗊⽿⻀⹨Ⲏ♑♰缀缃溸⪫漩嵛Ⲙ䱲駧♑♰溸㕈㐌瞏
瞏ն⻑匡䔻㝃虪☭□ꮫ缩Ⲏ⪝㐃鱴匡鱴㝃溸☭溸䊜ⲙ┬ꂘ
뀉⪫漩◜╃潨⯼鱴⢳鱴㟲ն䧰⚷┞潳⢳┬⹜䧰䉂缋儱♑♰溸
寏䚔曄䖦㝕❈ꂘ□䟩⽱濫⟛䫞Ⲙ朮䧯╬䧰溸缄气◜╃◗ն
儱⻲ꂖ駘䕒睘┞姍䐷悎ゃ⚷溸䖦䝠
䓝撬駘䕒ꊙ儱䧰⮃睘◝䑳㎼騕┺ꀀվ*
4BZտ▇⻑儱㐃⺬ⵌ
㝕㴘喖卲⪫㎢նꊙ儱䌑劓溸㜮㝙㟲搑䧰溮㝙⹜䔅䱗
駘䕒搑⯒䗪┯鉿◗ն撬⻑⯒兰┪锢䐷㐙◗䧰□儱㑀鿕⹜楓㐙
缏卸㝕㗶鿕ⸯ匡㝕㵶ꌬ儱鱌ꁩ⹜澚䧰溸悎ゃ⚷溸♑♰㝕嚤
□屳䞰⯒裝倁谆□⾕♑♰┞鱎錻㖬㐃鴤┪ն䰕騜ꊙ㝙⪝㐙☭
俚熏◗绦䓡㵽绯┧☭溸㐙㐌⹜◗┧☭ն俠╗⪫㎢溸蠗㐌
ꂞ吤┪ꌬ劔☭剳ꂜ澚┯⯒薌⺬溸㐌做ꌬ儱☭նꊙ╗捩搑溸㜮
㝙缕◗䧰睘┞姍悎ゃ⚷溸駘䖫ն⪼㵄嬓┞姍悎ゃ⚷䧰ꌬ⢳䕒
㟲䐷䖦ն

䌑✘㐃䬕觠ⲋ悎ゃ⚷䧯ⲍ䭡⯒⻊㹹偅┿汕绦䓡劅둛
嶯溸㝕閕埛悎ゃ⚷鴋䧰♰騰騰╬☴▂⚷⹜锟趴䐷悎ゃ
⚷⮱┬┿汕绦䓡劔✇䠋⺇
䧰䌑⯼䬚䧮僓⹜ꁩ锟趴閚䕒둛ⸯ溸楒㘷յ낊㏸ꌬ缕☭┞璀
裝⻐溸⻔䔯䠋ն⮰㟲䧰♰㐃瞬⮦䌑䈪㎈悎ゃ⚷◟儱䧰㹧
䳀駖⹜锟趴溸䬕觠ⲋ悎ゃ⚷ն撬脯ⲋ┞╗┧☭溸悎ゃ⚷䌔긌
儅◜脯┻╗☭悎ゃ⚷儱┯ꭊ偃溸楓㐙銩悎轇撬䧰屳劔둛ⸯ
⹹䍎氋蔸ꂖ劔掾둛ⸯ㇎⺪♨♈㝧ゃ⯒㹼⛰▍ꭶյ薌脢
䙰劔☭⚷㎌╬둛ⸯ⹹䍎脯┯蕳劚նꊙ㝙䔻㝃薌脢┪⺬鴩㴟┞剱
㹧皒⯤⯒⺬┬⹜⼕宴ն䨿劔☭ꌬ閚䕒ꊙ㐙悎ゃ⚷䟩▄긌⭡䧰
□錻괭亃⯒◗ն䧰♰㐃瞬⮦悎ゃ⚷僓劔☭䳀駖氰騟⻊㹹偅┿
汕绦䓡
◟儱䧰㹧⹜氰騟◗ն缋ꁩ⻊㹹偅绦䓡䈰✑☭⽄溸⪢瓨
駌駩♑♰㐃悎ゃ⚷劅⻑┪⺬㵌䉘裝倁谆儱눢⛻㐃┿汕劅둛
嶯╱鉿㝕㒘み玭悎ゃ⚷溸娬䩘ն


荔☕籁鰝
娡嫧

╬✇✘㑏䭥⢳蔦䉁悎ゃ⚷溸薌⺬⮱䟩
䧰䉤労駦駉蔦䉁溸楓㐙觝ꅐ官客匡䠋Ⲙ間⚱ն剱潨溸罒䱗㹧
⦑悎┞⮃䧮괛锢罒䱗┞◲鱎⚨⾕虹㞎䊎濫間⚱┞鱎ꂛ⪝꼟
▍溸偳瓨⫙⯒⾕▍ꭶ┞鱎䞰罒剱⾕薌脢┞鱎䞰薌鶻Ⲙ✑
撬⻑⹱巉⹴劚鍯յ뀬虝յ䵴ꏕ溸挮⩱յ-&%㝕㺚䋜ꓧ侒溸閗閚
瞏瞏ն䨿♨ꄽ䊬䧰ꌬ儱⪢漽䘽脞缕⪢漽溸䐮駖㠁卸⢳┯⯒
ꂘ掾ꊙ㹧┯㠁侒䩘☴▂ꌬ⯋⢳嬠鿲㟲ն

勑匡劔✇閕⮦
劅ꂀꂘ䌑䧰뎢┯⢷鶲㐌㐃⻄㐌䈪㎈悎⮃⻎僓䧰□缏◗㨱
劔◗蔦䉁溸㵶䎂ն䧰搑曄ꂘ⚌䈰✑□曄䧰溸脚⪫䧰䖪뀋㐃═
脢▇ꭊ䪨⯒┞╗假溸䌐銝掾ն䨿♨䓝䧰㐃䌑⢳վ缙虝裝
倁谆⽟䌑┿汕䈪㎈悎ゃ⚷տ僓㹧㵌䉘◗ꂘ儱劅⻑┞姍㝕㒘
溸䈪㎈悎ゃ⚷◗ն䧰嬓姍悎ゃ⚷⭠▊ꌬ儱┧☭溸閕埛锢䊎濫
⭠ⶥ╗☭溸㎑ꭶ낚⹜┯⻎㐌做㝕ꓪ溸薌⺬㊮包锢鴋濫ꁾ䔯ꊙ
◲㓻䉗ꂖ劔㝕䪟娬ꃟ⚷낚⹜澚悎ゃ⚷ꅐ䧯◗㝕ꓪ牕鳉ꃥն
㎌婟䧰ꓨ假䘽脞ꂘ⚂◜ꂘ◲䌑璇䪫ꂛ婢羱┪潳乨⮕☑꼟▍
溸䓺䑑□鱴匡鱴册⹴⾕䧯斀♁䌑儱䧰⪝鉿⽟䌑䧰䞰♨潳
乨溸做䑑桬缕䨿劔間⚱┞㐙窢䔅銩悎ꂘ呤䧰㹧劔剳㝃溸僓
ꭊ┱曄☭⾕㵶☭㐃┞鱎◗ն

FEATURES | DINING 뇺난

搫뇶溸⚿
缛┱⮱假




The future has reserved a space for Asia’s
remarkable culinary heritage, where innovation
does not renounce its past but, rather, roots for it
⚿缛◱嵌褺虝㐃勑匡缙㸉ⷑ┞䊛⛻ն⭠⛻⮱假╭⸻䌔屳劔侒
䐽⸉⺮脯儱嗙周ꁩ⹜⹿䮢⮱䟩նBy Fontaine Cheng

Jayson Tang of Man Ho
Chinese Restaurant. Opposite
page: The Flying Roast Chicken
at Man Ho is a creative take
on the classic Cantonese dish,
infusing roast goose flavour
into chicken
┒霕ꄌ外╈蘦ⷦ车䷓䔅⸗麬㳄忶ն

㵒건┒霕ꄌ外氳괎㛿懱ր䡘뙣ց佭

㵒篺⪯瞉蘦氳⮡䙬庌篹㵨懱뚉곽⽏
踅⪍뙥缜╈ն

140

sia is home to some
of the world’s oldest
civilisations, and
its diverse cultures
have long told
tales of tradition
that are cherished
and passed down
through generations.
Culinary traditions,
in particular, continue to be shared
and taught, connecting families and
communities with each other, and
their past, through good food. Today,
the guardianship of these traditions
is a challenge underscored by the
relentless march of modernity,
particularly in Asia’s frenetic
restaurant scene. But herein lies the
culinary paradox—can the forwardthinking spirit of innovation be the
champion of tradition? We asked
five chefs in Asia, each with their
own distinctive cuisine, to share how
they do just that.

◱嵌儱┞◲┿┪劅⺜脚倁僻溸⹿徏㐌
♈ꂜ⺜蔸♁溸䜙䜙㻹劓╚┯⻎溸倁⚿
缛┞潳⺇⯒ꓨ閗յ⟛㲾䌔♣♣潸⚿ն搫뇶
⚿缛剳儱㠁婟⡊濫⮕☑耘난յ⚿䱅搫뇶
做岻䪻㵶䎂⾕獘聁溸嬓╗☭♨⹴♑♰
溸ꁩ⹜臅笡㐃┞鱎ն㠁♁氮◟楓♣溸
䈵鿝┯偃⯼ꂛ㴖䫞⚿缛긖╤䮅䧹䌔┻
㎌╬◱嵌넔뇺╃溸⹿㺥溮搑剳⭿兇
◗缰䭥⚿缛溸┯儅▇㜘ն撬脯ꂘ䑜⹿◗
ꦎ㸉搫뇶槏䗼溸䜈駢⯼炽䙎䘽缰溸⮱
假窢玘茤苞ꁩ⚿缛⻜䧰♰騟◩⛻搫뇶
䪫䈳⻄亘苞㐙溸◱嵌⸻䉞┱䧰♰⮕☑
㠁✇⫅뀎⮱假┱⚿缛溸澚岻ն
눥┧髀ꓭ嫰溸╚넔鉿侓䙰⸻ꊀ㵶戂
闌ꓤꇔ
䧰溸搫騫䩘岻㹧儱假僀鄌⻉ն
㐃騈ꓤ⚿缛穯褺溸⻎僓䧰□ꓨ閗㠁✇
駑楓♣난㵊⿣⽱缋⪿낊⽱ն♈㸰㹧㐃
数匡佈䔯溸㝕䱗咨䧯ꪍ♑䔻僃㹧䱹闒
⯒눥勔㐌溸耘난⚿缛նꊀ㵶戂駌╬蔦
䉁劔鯰⚈⟛䫞눥耘난溸⸉⺮⾕⚿缛
♑騜
勔㐌溸뇺난倁㐃䧰䖦╚僃䉂
周广誫㎷ն䧰♰䉤労㸞ꂘ◲褺驙⚿䪩┬
⹜駑⻑♣㲳㲿□劔勨⚷姒鰜勔㐌溸搫
뇶⚿缛ն
ꊀ㵶戂䌔긌㳏⫯㞉䧹뎢匡锟◱ⶶ鎏

Clockwise, from
top left: Raymond
Tham; Beta in
Kuala Lumpur;
Jordy Navarra;
Yu Sheng dish
at Labyrinth in
Singapore; and
Li-guang Han

142

“My cuisine is where old
meets new,” explains executive
Chinese chef Jayson Tang of Man
Ho Chinese Restaurant in Hong
Kong. “I interpret traditional
Cantonese fare while focusing on
how to present classic flavours for
modern diners.” Raised within the
bustling atmosphere of a dai pai
dong, a characteristic Hong Kong
open-air street-food venue, his
introduction to the city’s culinary
heritage started early. “This local
dining culture is deeply rooted in
my heart,” says Tang, who feels he
has a duty to preserve the cuisine’s
history and traditions. “We hope
to keep these recipes going so that
future generations have the chance
to appreciate our culinary heritage.”
Tang is not alone in this
convergence of tradition and
innovation. Malaysian Chinese chef
Raymond Tham, the co-founder
of Beta in Kuala Lumpur, is
executing something similar.
His cuisine makes use of local
ingredients and modern techniques
to reimagine classic Malaysian
flavours, drawing heavily from
multicultural influences in the
process. “We often had Indian or
Malay foods on the table at home,”
says Tham. “I guess that is what is
unique about Malaysian cuisine.”
Much like Tang in Hong Kong,
Tham’s desire to maintain culinary

traditions is evident at Beta. “Even
though we are a modern fine-dining
restaurant, we still make our own
mooncakes and bak kua [meat
jerky] by hand. We want to pass
these traditions to our young chefs.
We feel that the inheritance of
knowledge is important to sustain
our culture.”
Meanwhile, in Singapore,
chef-owner Li-guang “LG” Han of
Labyrinth describes what he does

as “a new expression of Singaporean
cuisine. It’s not hawker, modern
or traditional in that sense.” The
Hainanese chef, an ex-banker who
also trained in sales, gave up his
financial career to pursue a passion
for food. Han’s ambition to uphold
Singapore’s culinary heritage,
however, stems from his roots: his
family. “I’m just cooking food that’s
close to my heart—food that my
grandparents cooked. I layer these

IMAGES ONG SU PING (BETA); DA PHOTOGRAPHY (HAN)

걹休Ꙟ亡⺸䄅颯

#FUB╚⸗3BZNPOE

5IBN⺮㐕궆ⷦ
#FUB5PZP
&BUFSZ╚
⸗+PSEZ
/BWBSSB亍
ⱶ㐕궆ⷦ-BCZSJOUI氳
ր䩢榟ց-BCZSJOUI╚
⸗⪵縏冏緣环⩞ն

“Modernising a cuisine
should not erase its essence.
We should try to keep its
style but elevate it
㸞褺虝楓♣┯䍎騍䫾勲⪼勔鯵
䧰♰䍎騍蔺ⲇ⟛䭥㴋溸낊呬⛰⻎
僓锢㸞㴋䳀ⶬն” — JAYSON TANG
heritage recipes with other iconic
dishes.” For Han, innovation is not
simply modernising; it’s improving.
“We are sensitively reinterpreting
a dish to make it better. We always
question and look at techniques to
see whether we can embrace other
methods.”
Head chef and owner of Toyo
Eatery in Manila Jordy Navarra sees
his cuisine as a living, breathing
entity that evolves and adapts but
never strays far from the soul of the
Filipino people. His grandmother,
who used to run a wet market,
instilled a love for Filipino food and
flavours, which are Navarra’s main
focus at Toyo. “I continue to be very
proud of where I’m from and there’s
always that drive to share what I
grew up with in the Philippines.”
In Navarra’s opinion, preserving
the cuisine is not only about
serving traditional dishes; it’s about
contributing to a culinary dialogue
that tells the story of his nation’s
heritage. Hoping to find a deeper
understanding, he recognises there
is much to learn. “In the last few
years that Toyo has been open, we
feel like we’ve barely scratched the
surface of our local cuisine.”
Hidden in the mountain of
Pingtung, Taiwan, chef-owner Alex
Peng’s cuisine at Akame is based
on the traditions of the Indigenous
Rukai people, of which he is a

⸻䉞3BZNPOE
5IBN□㐃ⲛⲇ㸞⚿缛
┱⮱假鄌⻉ն麄╬⻊갗㑗넔⸈#FUB溸⪴
⻎⮱㢽☭♑ꓠ氠䓝㐌난包⪝눠䌔♨楓
♣⸻虪ꓨ假騈ꓤ뎢匡锟◱溸缋⪿낊⽱
㐃婟ꁩ瓨╚♑ꄽꁩ㝃⩧倁⚿缛尥⺆
㝕ꓪ⫄⮕ն♑騜
䧰♰㵶ꓧ溸넔咈┪缋
䊬劔ⷧ䍳䧶뎢匡褺ն䧰䞰ꂘ㹧儱뎢匡锟
◱倣槏溸栃杅▇㜘ն㹧⦑눥溸ꊀ㵶
戂5IBN兇撬□䉤労⡊濫#FUB缰䫞뎢
匡搫뇶⚿缛♑騜
㹻硅䧰♰儱┞㵶楓
♣溸둛绣넔⸈⛰䧰♰♇撬䩘䈰⯜✑劓
눈⾕舸䌏ն䧰♰䉤労㸞ꂘ◲⚿缛⚿䱅缕
䌑鿪┞鿷溸⸻䉞㎌╬焒駮溸⚿䪩㸉◟
䐥缩倁긌䊬ꓨ锢ն
┱婟⻎僓假Ⲏ㑗넔⸈-BCZSJOUI溸
╭⸻⫅脚升皒⩱☊䲾ꃎ蔦䉁㐃⢳溸◜
儱♨┞璀假溸做䑑⼯楓假Ⲏ㑗倣槏ն䧰
溸䟩䘽儱䧰♰溸褺芐┯⻎◟銏㝧㸰⻃յ
楓♣倣槏䧶⚿缛褺նꂘ⛻嶯ⷂ禶⸻䉞劁
儱┞⻐ꧼ鉿㵶□䱹⺇ꁩꨆみ㕇駕╬◗
ꃰ寛㸉耘난溸搑䝠♑侒䐽◗蔦䉁溸ꓭ鄌
膷╃气布ն撬脯㑏䭥假Ⲏ㑗搫뇶⚿缛
溸䗅⻔ⷮ匡蔦㵶傉㸉♑溸䔕⿱ն
䧰搫騫
蔦䉁䖦潨╚溸耘난□㹧儱䧰率曋嬏搫攛
溸난朮ն䧰㸞ꂘ◲⚿缛褺驙┱⪼♑吙䗅
䙎褺芐鄌⻉㐃┞鱎ն㸉皒⩱脯阌⮱
假┯☹儱楓♣剳儱┯偃㐌侊ꂛն
䧰
♰ꄽꁩ侨ꨖ溸䠋㴸ꓨ假騈ꓤ┞ꇔ褺駑
㴋⺈䕒剳㟲ն䧰♰䙰儱鯵沼⾕煝疵搫뇶
䪫䈳澚澚茤⻲┱⪼♑做岻◧潸缏⻉ն
뎢㹹䬕넔⸈5PZP
&BUFSZ溸╭⸻⫅脚
升+PSEZ
/BWBSSB㸞♑溸倣槏閗╬┞╗
劔气⾀յ劔⽿⼕溸㵄✅㴋┯偃ꂛ⾕騫
俠⛰♈勑ꂜ瑠襴䔾㶅☭溸挺땃ն♑溸率
嬏劁缋觝┞㵶彷鯴䉗㐙♥♑㐃膁戄潨叉
▇┬㸉襴䔾㶅난朮⾕⺛⽱☋气䠋䝠脯
ꂘ婞儱/BWBSSB╭槏5PZP
&BUFSZ溸㴵

僁ն
䧰┞潳㸉蔦䉁溸㵶▤䠋⯒蔦髀□
┞潳璺卋䞰锢⮕☑䧰㐃襴䔾㶅䧯ꪍ溸缋
⸉ն㐃♑澚匡⟛㲾⚿缛耘난┯⩱儱䳀
❵⚿缛褺芐剳ꓨ锢溸儱➶ꂛ㸉騅㸞襴
䔾㶅⚿缛耘난溸侚◜⚿䪉⮃⹜ն♑䉤労
剳广⪝槏闌勔㎼倣槏䌔䟩駮⯒蔦䉁ꂖ
劔䔻㝃╅锟괛锢㳔▣ն
㐃5PZP
&BUFSZ
䐷╃溸ꂘ⭠䌑ꓧ䧰♰㷌閚⯒蔦䉁⺢駌駮
勔㐌⚿缛耘난溸滽嬱脯䉂ն
耘난넔⸈"LBNF갬趴◟⺬彵㺚╅溸
广㻘卲⫐╭⸻⫅脚升䔍㝙䚾匡蔦䓝㐌
溸ⸯ⛿宑띸⭰傉♑周䰕傉☭⚿缛搫攛
耘⽱✲芐ն"LBNF㐃띸⭰騕儱搇捿
溸䟩䘽넔⸈ꄑ䭃搋叿挩溸煟捡脯긌楓
♣捡挻⛰♨僓㹀䠋ⶥ鳉溸䶤漽做䑑⼕
䑜楓♣뀎㵊ն䔍㝙䚾騜
넔⸈溸褺芐┯
☹⚿ꁒ䧰♰띸⭰傉溸뇺난倁☊♣銩
◗䧰♰溸⸉⺮⾕窢玘ն♈譻䊎㎼ꮪ㳔ꯗ
嬢╃⻑♑㐃假Ⲏ㑗⻐⸻尉䮵騂묍┬䈰
✑◗ꂀ═䌑⪼⻑㎈⯒侚▤㺚╅溸띸⭰傉
㟲蟬ꌄ訒ն㸉♑匡騜⟛㲾⚿缛㹧儱ꂊ▤
▇╱ն
ꂘꓧ儱䧰♰溸㵶▤䧰♰劔鯰⚈
䪻㴋⚿䪩┬⹜缣缩┱剳㝃☭⮕☑ն
㐃搫뇶汕㸦ꓨ⚿缛⻎僓䲀Ⲙ⮱假劔
㠁┞㐙Ⲙ✑㜩勵溸薌鶻㐃Ⲏ⪝╗☭間掾
䧶㝙鰘䩜ⶶ▇⯼䖪뀋⩰绿㟲㕈勔ⲍն
ꊀ㵶戂騜
䧰♰䖪뀋㸦ꓨ⚿缛նꂘ◲褺
驙⸉⺮䜙╽茤㝉⚿䪩┬匡蔦劔ⸯ㎌ն
㸞┞ꇔ褺芐楓♣┯䍎䫾勲◗ⸯ匡溸窢
둍ն䧰♰槏䍎駽濫⟛䭥⪼낊呬⫙Ⲏ♨䳀
ⶬ䌔ꁹ⻉난㵊溸ㄼ㟲ն5IBN⻎䟩⮱假
㢽◟⚿缛婞㠁♑䨿騜
㐃⮱假▇⯼
✘䖪뀋㳔▣㠁✇♨⚿缛做䑑搫뇶ն䧰㑏
⟥傱駢✘䞰锢搫뇶⮃㝃▂楓♣溸褺
芐ꌬ┯茤罼㸵㕈勔锢筷ն
-BCZSJOUI溸皒⩱⮯ꓠ⺆剳㝃⩧
溸✑岻ն♑闌ꓤꇔ
䧰♰劔┞ꇔ褺芐㸞

143

144

member. Akame, meaning “grill” in
the Rukai language, has opted for a
wood-fire brick oven over modern
stoves, but uses contemporary
presentation to engage a modern
audience. “The cuisine not only
conveys our food culture but also
our history and spirit,” says Peng.
After graduating from Le Cordon
Bleu and working with renowned
chef André Chiang in Singapore
for almost two years, Peng returned
to his roots in the ancient Rukai
village of Kucapungane. For him,
preserving tradition is a matter
of homecoming. “This is our
hometown. We have a responsibility
to pass it on and continue to share it
with more people.”
In the culinary world, honouring
tradition while pushing for
innovation is a complex dance,
one in which the basics must be
learnt before adding individual
perspectives or flair. “We must
respect the heritage,” says Tang.
“These recipes come with a long
history and are inherited for a
reason. Modernising a cuisine
should not erase its essence. We
should try to keep its style, but
elevate it and cater to diners’
preferences.” Tham agrees that
innovation starts with tradition.
As he puts it, “You must study and
learn how to do it the traditional
way before innovating. I strongly
believe no matter how modern

you want your cuisine to be, the
fundamentals have to be there.”
Han takes a more
multidimensional approach at
Labyrinth. “With one of our dishes,
we transform the table into a classic
steakhouse setting and take diners
back in time,” he explains. His
innovation process begins with
learning the recipes from family
members or local hawkers. “We
got a guy who makes [roti] prata
and a wu xiang xia bing [prawn
fritters] auntie to come in and
teach us how to make them.” A
balance of tradition and creativity,
underpinned by the palate of a
“local boy”, is central to Han’s
cooking philosophy. His dedication
to continuous learning also extends
to his team, believing that valuable
insights can come from them also,
regardless of their role.
This method of learning from
others is echoed in Peng’s pursuit of
innovation with tribal ingredients
and cooking techniques, which has
also led him to other ethnic groups
and communities. He explains, “As
long as you go to the original place
of ingredients and cooking, and
look for the original taste, you can
get inspiration from it.” Navarra
also uses research and experience
to innovate, including visiting
farm suppliers and engaging in
discussions with his team about
regional food traditions. “We’ve

Clockwise, from top
left: Toyo Eatery in
the Philippines; ovens
at Akame in Taiwan;
Alex Peng
걹休Ꙟ亡⺸䄅颯뀐㶻䥽
궆ⷦ5PZP
&BUFSZ⺐嵷궆
ⷦ"LBNF氳滁慀"LBNF
╚⸗⪵縏冏䎿㛿䕒ն

IMAGE RYAN CHIOU (OVENS)

visited our farm suppliers so the
team can see not just how the food is
made but how our farmers cook and
eat their produce.”
There is a certain level of
unpredictability when reviving
these traditions with creativity and
innovation. For Tang, the biggest
risk is a bad reception. “The market
either loves or hates your ideas,” he
explains. Tham feels the same way,
acknowledging that the comparison
between innovative and classic
dishes is inevitable. “Are they better
or worse?” he says.
Peng’s says getting people to
understand or accept his cuisine can
be problematic. “At the beginning,
people wanted us to define our
cuisine, but we don’t want to be
limited,” he explains. To mitigate

memory and win over people’s
heart,” he says. “It may not be the
best dish out there but it’s a flavour
they know and love.”
Balancing the authenticity
of their local cuisine with the
expectations of a fine-dining
restaurant, all the while managing
price perceptions, is also something
that all the chefs grapple with.
Despite this, these chefs continue
to rise to the challenge to ensure
a greater understanding of and
appreciation for their culture and
heritage.
As the conversation between
heritage and modernity continues
to evolve, one thing remains
clear: innovation is not a betrayal
of tradition, but an essential
ingredient in its preservation

this, he works hard to thoughtfully
communicate the stories behind
each dish so that Akame can explore
its own narrative.
Han recognises that the
attachment Singaporeans have to
traditional dishes, especially ones
they have grown up with, can be
a hindrance to his innovations,
noting that his cuisine might face a
harsher critique than other modern
cuisines due to the ingrained
cultural connections. “You’ll
never be able to replicate that core

and a space where boundless
taste combinations and culinary
possibilities can occur. In the
fires of tradition, chefs are not
simply keepers of the flame; they
are the bright sparks of evolution,
harnessing the power of change that
will not only safeguard but fervently
celebrate the very traditions
they revere. There are, of course,
challenges to overcome but with
the right balance, innovation can
thrive at the intersection of age-old
tradition and exciting new ideas.

넔咈䉘翞䧯⪿㒘溸朙䱗눒䍵⛻駑㵊☭⚑
✐㎈⯒ꁩ⹜ն♑銩獏ꂘ鲠⮱假▇偳㢽◟
㳔▣㵶䎂䧯⽄䧶㐌做㸰鯶溸褺驙ն
䧰♰
騟┞⛻ⷀⷧ䍳눈溸水㛶⾕┞⛻ⷀ◩눥
轈눈溸ꮣ㤍匡侷䧰♰䘤▂⢳ꂘ◲銏㝧㸰
⻃ն皒⩱銩獏♑溸搫뇶〡㳔儱♨勔
㐌☭溸⺛⽱╬㕈熝㐃⚿缛┱⮱假▇ꭊ
䪨⯒䌐銝ն♑㸞ꂘ璀┯偃㳔▣溸窢玘䬥
㺥蔸넔⸈㎑ꭶ㎌╬♑潸⟥傱駢㸉做儱☴
▂麄⚌ꌬ茤䊎缕♑㵂鰂溸閒闌ն
ꂘ璀⻔♑☭㳔▣溸做岻┱䔍㝙䚾ㄌ
氠ꌄ訒난包⾕搫뇶䪫勘♨ꃰ寛⮱假溸⢳
岻┯騳脯⻉䌔䑜㸍♑⻔㜾䱹闒⪼♑ꌄ訒
⾕獘聁ն♑闌ꓤ騜
⺢锢⯼䔯난包⾕搫
뇶溸⹿徏㐌♈╚㸌䪨ⸯ㢽낊⽱㹧茤裯
䕒挺䠋ն/BWBSSB☊ꄽꁩ煝疵⾕缋돂ꁒ
⯒⮱假溸潨溸䭇鱂駧⫰㐙❵䍎ガ䌔
┱㎑ꭶ駐駢騍㐌ⶔ溸뇺난⚿缛ն
䧰♰劁
⹜䬴駧⫰㐙❵䍎ガꂘ呤㎑ꭶ┯☹⺪♨澚
⯒ꂘꇔ褺芐溸⯜✑做䑑ꂖ⺪♨澚⯒ꂘ◲
⫰宑儱㠁✇搫攛⾕☑氠♑♰溸☋朮ն
撬脯㐃♨⮱䟩⾕⮱假㜩⪺⚿缛褺芐
僓ⷮ㲾㐃濫┞㴼瓨䍳溸┯⺪뀔嵱䙎ն㸉
ꊀ㵶戂匡騜劅㝕溸낊ꯟ㹧儱┯⺇姐ꁹն
♑騜
㵊☭溸⹹䍎⺪茤ㄼ䛔⹨⶯♑♰
锢▂ㄼ姐锢▂駐⸑ꂘ璀⮱䟩ն5IBN
□劔⻎䠋♑䪩駌⮱假⾕⚿缛褺芐걾⩹
⚷錻Ⲏ♨嬠鿲ն♑蝄劔䨿䘽㐌騜
⮱䟩
疵皸儱㟲ꂖ儱㐿䔍㝙䚾銩獏㵊☭茤
⻲槏闌䧶䱹⺇♑溸倣槏儱╗勑焒▇俚ն
♑闌ꓤꇔ
㝕㵶䉤労䧰♰♈┞䐷㢽㹧庣
噘騜僻蔦䉁⢳溸儱〘┞稝倣槏⛰䧰♰┯
䞰㎌婟⺇⯒⯜艖ն
╬◗闌⬑ꂘ璀═걾溸䝠⬔♑ⲛⲇ䘽
脞㠁✇㴟俠銩ꁒ嬓ꇔ褺芐芻⻑溸侚◜駑
"LBNF䬿劔栃杅䓺骮ն皒⩱駌╬假Ⲏ
㑗☭㸉⚿缛褺芐劔┞⚌❹䚉㹐⪼儱♑
♰♈㸰⯒㝕⿣㹅溸褺芐脯ꂘ┞掾⺪茤⚷
ꮞ爔♑溸⮱假䌔䭰⮃氮◟周广誫㎷溸倁
臅笡♑溸⮱✑⺪茤긖╤嬠⪼♑楓♣褺
芐剳║⸌溸䪟駬ն♑騜
✘寏ꂜ傱岻㜩
⯜ꂘ璀呦䖦駘䖫䌔鰯䕒☭䖦ն㴋勑䖪儱劅
耘⽱溸✲芐ⷮ儱♑♰斀䛳⾕ㄼ曄溸⽱
ꇔն㠁✇㐃⺛⽱婞㴵溸㐌做褺芐⾕☭♰
㸉둛绣넔⸈溸劻労▇ꭊ⺆䕒䌐銝⻎僓⹱
茤䱽⯜⚃呬ꂘ□儱䨿劔⸻䉞ꌬ㐃ⲛⲇ闌
⬑溸ꭄ뀨ն㹻硅㠁婟ꂘ◲⸻䉞❹僀Ⳇ◟
䱹⺇䮅䧹燛⟛☭♰剳◗闌⾕姒鰜蔦麄溸
倁⾕⚿缛ն
㹻硅⚿缛⾕楓♣▇ꭊ溸㸉騅䭥缩⹿
㺥⛰劔┞掾㢽缄┯⺈ꊙ㹧儱⮱假┯儱
芻⺌⚿缛脯儱⟛䫞⚿缛溸┞╗ꓨ锢⩧
筷⻎僓□╬⺈傱疷溸⮱假⺛⽱⾕鱪▊
䞰⦑溸搫뇶䪫䈳䳀❵┞╗⹿䮢溸疿ꭊն
㐃⚿缛溸挩撟╚⸻䉞溸⚈ⲏ┯☹儱㴖䫞
挩蜧剳儱➶ꂛ悎⺈溸僻☗挩♑♰锢
䥗䕒⯈氠⺈긞溸ⲇꓪ䯢⷟䌔搑䝠뀒䪉䲀
䀦㜜蔸溸⚿缛ն䓝撬♑♰䖪뀋⩴劚駠㝃
䮅䧹⛰⺢锢䌐銝䕒䓝⮱假㹧茤㐃⺜脚
⚿缛┱䂃假䟩䗼溸☆寤㜘螁㛺䧯ꪍն

145

Great British
Pub Culture
蝠⛆ꏞ⻳倁溸
栃杅때ⲇ
Gordon Ramsay Pub & Grill Macau debuts
at The Londoner

ased on the longstanding history and
pub culture of the UK,
and realised by celebrity
chef Gordon Ramsay—
known for his restaurants’
seven Michelin stars—Gordon
Ramsay Pub & Grill will reinvent
the British pub concept as we
know it—under the roof of The
Londoner Macao, on Macau’s
Cotai Strip.
Embodying traditional pub
features, Gordon Ramsay Pub
& Grill features exposed brick
walls and subtle elements within
artwork and furniture to transport
guests into the vibrant world of
“cool Britannia”. A stunner on the
eyes, it features elevated pub grub
classics like steaks, sticky toffee
pudding and Gordon Ramsay’s
signatures—beef wellington, fish
and chips—as well as other classics
such as duck bolognese and
British-style savoury pies, all of
which go down nicely with a craft

B

From Left: Internationally
renowned master chef
Gordon Ramsay; Gordon
Ramsay Pub & Grill interiors;
signature beef wellington

146

䄅颯眦⪭冷佔⸗⪵葏㎁外㔆篒⺳
⸗䡌氨٬䥽㡁룋䡌氨䥽㡁룋葏䌋
鿯⻗
䦙撿蘦㣛愓걾擧䪷ն

cocktail or an ice-cold pint.
Beyond its food and drink
offerings, Gordon Ramsay Pub
& Grill also celebrates the pub
concept through its unique vibe,
elevated service and a level of
hospitality that ensures every
diner feels at home.
“Like any restaurant I open
outside the UK, we have to adapt
and embrace the local region,”
says Ramsay. A social hub with
comfort food, drinks and a team
of friendly faces, the restaurant
brings “the essence of the pub,
and [offers] the best place
for friends to gather, eat, and
socialise”.
Prepare to settle down, grab
yourself a pint and get ready
to experience a warm British
welcome in the heart of Macau.

IMAGES BILLY YIU (PUB & GRILL)

䧣溫u䬕㢯뱚蝠䑑ꏞ⻳楓䉂◟憬ꬾ⛆俌☭갗ꓨ䐷䋜ն

㎼溸ꏞ⻳倁蔦⺜♨匡㹧儱
蝠㎼獘☆气嵛溸ꓨ锢缀䧯ꌄ
⮕⪼广⸦溸⸉⺮⾕栃杅溸⚿
缛⼕䑜濫┿汕⻄㐌溸☭♰ն脯
楓㐃憬ꬾ□㸞劔勨⚷㹻䝠✅돂ꂘ┞⚿
缛ն⪢槊焒⻐稌⪼卲儘⸻⫅蝠㎼嫰㕔绣
⻐⸻䧣溫u䬕㢯뱚
 (PSEPO
3BNTBZ 
㐃
憬ꬾ溸눢ꭊ넔⸈䧣溫䬕㢯뱚蝠䑑ꏞ⻳
䉂◟憬ꬾ⛆俌☭갗ꓨ䐷䋜ꄽꁩꂘ╗⪢
假溸넔⸈☭♰劔勨⚷㐃憬ꬾ鴤寑㓻✅돂
⯒⚿缛溸蝠㎼ꏞ⻳倁ն
ꂘ╗假溸넔뇺㐙䨿┯☹☹儱┞ꭊ矻⶿
溸ꏞ눒剳儱㴟耘鄌⻉◗蝠㎼⚿缛ꏞ⻳駦
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147

FEATURES | TRAVEL 偳廷

FOR

ROOM DESERT 屧悤㵜嫰
There’s something ethereal about the vast emptiness of
the desert; these luxury hotels capture that magic perfectly
Forget interstellar travel—the
desert’s space-like wilderness of
sand, sky and stars has us enchanted.
Inspired by this otherworldly
aesthetic, a crop of design-led hotels
has bloomed in deserts around
the world, bringing lush, five-star
comforts to some of the most
inhabitable places on Earth.
Even by Tatler standards, these
places are really something else.
AMANGIRI, UTAH, US

STAR QUALITY

148

With its minimalist design and
muted tones—stark, sculptural
buildings creating a beautiful
contrast against the rippling walls of
the surrounding canyons—Amangiri
magically blends in as much as it
stands out in the dramatic, colourful

expanse of the Utah desert.
Since it opened in 2009, the
resort has won the hearts of A-list
travellers, including models like
Emily Ratajkowski, Jasmine Tookes
and Rosie Huntington-Whiteley,
who can’t get enough of the hotel’s
picturesque surroundings.
In 2020, the hotel introduced
Camp Sarika, adding to its 34 suites
a collection of ten tented pavilions
with individual private plunge
pools in a luxury encampment
surrounded by 240 hectares of
raw wilderness, located just a
five-minute drive—or a 30-minute
hike—from Amangiri.
Amangiri also offers an oasis in
the typically dry state of Utah, with
a floor-to-ceiling walnut wine cellar
and locally inspired cocktails, like a

prickly pear margarita or sage mojito.
Tatler tip: For epic sunset views,
choose a Mesa View Suite, or a
Sunset Canyon Pavilion at Camp
Sarika. The Girijaala Suite has a
sprawling sky lounge and a large
swimming pool.
HABITAS ALULA, SAUDI ARABIA

ARABIAN NIGHTS
Habitas AlUla’s co-founder Oliver
Ripley used to organise camps for
Burning Man, and some takeaways
from the legendary desert arts and
music festival can be found here—it’s
home to immersive and interactive
art installations; there’s a strong focus
on wellness, with sound healing,
meditation and yoga on a gorgeous
sculptural deck surrounded by
sandstone outcroppings; and every

IMAGES JOE FLETCHER (AMANGIRI); KLEINJAN GROENEWALD (HABITAS AIULA)

┞労傱ꮪ溸屧悤⼯楓罡廻疿挺▇䠋髀ⶶꏞ䍕㴟耘䯱䯛◗婟玘㞂때ⲇնBy Coco Marett

guest is given a bike to travel from
their villas to the restaurant, spa and
lobby (golf carts are also available).
The property is home to 96
sustainably designed villas that boast
otherworldly views, outfitted with
luxurious linens, floor-sofas and
traditional rugs made from ethically
sourced organic materials. The
grandeur extends outside: take a
dip in Habitas AlUla’s ridiculously
photogenic infinity pool or catch a
documentary at the open-air cinema
Founded in the 6th century BC,
the hauntingly beautiful ancient
city of AlUla has seen civilisations
built and lost, and visitors have the
opportunity to explore preserved
tombs, historic dwellings and sites
like Hegra, Saudi Arabia’s first
Unesco World Heritage Site.

Clockwise, from
left: Amangiri is a
favourite among A-list
celebrities; Habitas
AlUla places guests

in the heart of an
ancient desert; details
at Habitas AlUla; the
mirage-like pool at
Amangiri

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WILLOW HOUSE, TEXAS

WILD, WILD WEST
Located in far west Texas is Willow
House, a cosy property that boasts
360-degree views of the Chisos
Mountain Range, just a few
kilometres from Big Bend National
Park and the Rio Grande.
It comprises 12 villas designed
in an industrial-desert-chic style.
There’s also a community space
featuring a kitchen, living area and
outdoor fire pit.
Willow House is the work of firsttime hotelier Lauren Werner. Every
detail is heartfelt and personal,
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149

of art by Werner’s grandfather,
and she’s sourced dishes by a local
ceramicist and installed hanging
beds positioned to enjoy a front-row
seat to the ethereal magic of the
Milky Way at night.
After breakfast, take a day trip to
the Texas’s art hub Marfa, or hike
Big Bend’s South Rim.
ANDBEYOND SOSSUSVLEI
DESERT LODGE, NAMIBIA

ANCIENT SANDS

150

Here, ten stone suites are spread
out along the curve of the desert
escarpment, each with a secluded
veranda, a private plunge pool,
a living room with a fireplace, a
retractable skylight above the bed
and a bar.
The lodge is set in a recognised
International Dark-Sky Reserve—
meaning it enjoys some of the
darkest skies on Earth, which is
great news for stargazers. Glass
is used liberally throughout the
resort’s design, enabling guests
to marvel at the night skies.
Also on-site is a state-of-the-art
observatory, managed by a resident
astronomer.
During the day, walk across
ancient sands and hike Long Dune’s
winding crest. Alternatively, take
a helicopter flight for aerial views

of jagged mountaintops and dune
fields sculpted by desert winds over
millions of years.
Tatler tip: Book one of the suites
with a private rooftop terrace,
which include large “star net”
hammocks, designed for first-class
stargazing.
,
PARADERO TODOS SANTOS
CABO SAN LUCAS, MEXICO

MUCH TODOS ABOUT
NOTHING
The clever brutalist architecture
at Paradero Todos Santos plays
with light and shadow, constantly
enhancing and transforming the
landscape and mood of the hotel
during the day, while a spectacular
sea of stars appears at night.
Set in Todos Santos, a town on
the southwestern coast of Mexico’s

Baja Peninsula surrounded by the
Sierra de la Laguna Mountains, the
hotel boasts 35 suites and common
spaces including an infinity pool with
a crescent-shaped deck overlooking
the wild desert. The surrounding
vegetation includes dozens of
endemic plants.
Provenance matters at Paradero,
where the hotel restaurant serves
authentic Mexican cuisine using
produce sourced from local farms and
its own organic garden, and seafood
from the Pacific Ocean and the Sea
of Cortez. It was the mission of its
founders to protect Todos Santos’s
dwindling family-owned farming
communities without overdeveloping
the region’s rugged wilderness. We
recommend getting into the spirit
with a farming class or a shaman-led
temazcal, or sweat lodge, ceremony.

IMAGES CASEY DUNN (WILLOW HOUSE)

The Namib is the world’s oldest
desert, and at the heart of its vast,
quiet expanse is the 12,715-hectare
Sossusvlei Private Desert Reserve,
home to the andBeyond Sossusvlei
Desert Lodge.

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Clockwise, from top
left: A terrace with a
view at andBeyond
Sossusvlei Desert
Lodge; brutalist
architecture abounds
at Paradero Todos
Santos; desert

views at Willow
House; the casitas at
Willow House are a
minimalist’s dream
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鿯䈙氳婻庠俍鈸8JMMPX

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冓甏╚╬縖氳卞䘶ն

1BSBESP
5PEPT
4BOUPTꏞ䍕♨랓僻
溸ꓩ⫆嵟䐮瞣儙銱⩱绻⾕ꮓ䔕◟溮㝙
䭥缩Ⲏ䒩⾕侊⺈ꏞ䍕溸冎間⾕客㎭
⯒◗㝆兰⮯⮃楓㛺間溸儘嶯նꏞ䍕⛻◟
㙺锟』䉄⿫⶯㼲锟ⷂ嶯㽺溸䩬㝃偅咐
䩬偅ꩍ5PEPT
4BOUPT⽟㎭楒缑濫
4JFSSB
EF
MB
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㞟䨼⾕⺪⟸炨蠯ꓩ屧悤溸⪫⪴疿ꭊ
⻼┞╗ꂞ䱹假劓䓺䌐⺬溸傱ꁉꮪ峯尊ն
⽟㎭溸嗙錻䭇俚ⶥ璀䓝㐌杅劔嗙朮ն
㐃1BSBESPꏞ䍕匡徏蔸⪸ꓨ锢ꏞ䍕
溸넔⸈❵䍎婞㴵㙺锟』倣槏♨匡蔦䓝
㐌⫰㐙⾕ꏞ䍕劔勨褺㎢溸⫰✑朮♨
⹴♈㝛䌐崎⾕璇䳀⫁嶯䯱裯溸嶯랓⪝
눠նꏞ䍕⮱㢽☭溸❈⾀儱㹻ⲇ⟛䫞䩬㝃
偅咐䩬偅傽漩⭀㸵溸㵶䎂䑑⫰腁獘ⶔ
䌔┻┯ꁩ䍳䐷⹿ⶔ⫐㐌ⲹ䀸㼭溸蠯ꓩն
蝄䞰㎈䍎⮱㢽☭溸窢玘⺪♨⹨Ⲏ⫰腁
✅돂䧶觠怮䈹䉞╭䭥溸UFNB[DBM
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151

勔劻㸖긖▇儘㝕⷟u鯪⩴實㢯┱䧰♰匡┞㐙䗪ꭄ䗪瞩նBy Caroline Issa

Role model
I have two: my mum and
my dad. I wouldn’t be the
person I am today if it wasn’t
for them.
Last time you cried
When I worked on the
documentary! Watching
it all back, reliving some
of the key moments in my
life, looking back at the
archive—it took me back
to so many memories that
I hadn’t thought about in a
long time.
Favourite work of art
I have lots of favourites …
but there’s still so much
to discover. I do like
contemporary Japanese
artists like Yoshitomo Nara
and Yayoi Kusama.

152

Favourite place in Asia
There are many. The family
love visiting Japan—it’s such
a fascinating and unique
place, and we always have
the best time when we go.
I get the opportunity to go
to China on business often
and I always enjoy my time
there, while recently I was
in Macau and loved the
energy.

Comfort dish
I’m from the East End of
London, so it has to be pie
and mash! It takes me back
to my childhood.
Life motto
When I do something, I
always want to do it to the
best of my ability. Work
hard and follow your
passion.

Proudest moment on
the field
Playing for England will
always hold such a special
place in my heart. I was
so proud to be picked as
captain of the team and to
play so many games, and
also be part of World Cup
squads.
Proudest moment off
the field
Meeting Victoria and having
a family! I have four amazing
kids who are growing up
and embarking on their own
adventures. I couldn’t be a
prouder dad.

劅ㄼ姐溸◱嵌㐌掾
㝛㝃◗䧰♰⪢㵶☭ꌬㄼ姐⹜傽
勔偳廷ꊙ澶儱┞╗ꃟ☭┻栃
杅溸㐌做䧰♰嬓姍ꌬ㐃ꊙꓧ
䍳ꁩ劅䐷䖦溸耘㟲僓⩱ն䧰缋
䊬⹜╚㎼⪫䌏䙰儱䔻☑⺇㐃ꊙ
ꓧ溸僓⩱❛㠁劅ꂀ溸憬ꬾ▇
鉿♥䧰䠋⺇⯒┞艧⩪怮劸官
溸嵛ⲇն
泈䟙䖦挺溸褺芐
䧰匡蔦⛆俌╅ⶔ䨿♨┞㴼儱
눑눈⾕㏸骀峗駑䧰㟲⦑㎈⯒
盅䌑ն
✘溸囒呤
䧰溸㠎㠎⾕曎曎ն㠁卸屳劔♑
♰㹧屳劔♁㝙溸䧰ն
☭气呬阌
ⲛⲇ䈰✑ꃰ갫搑䝠傱駢⢳
☴▂◜䧰䙰儱㹻劅㝕溸茤ⲇ
⹜㴟䧯ն
┪姍〛儱☴▂僓⡀
䬚ꂘ㞟笡⮬绦䓡曩溸僓⡀㎈
뀎ꁩ䔯ꓨ廛气⾀╚溸┞◲
⪸ꨴ僓⯤脌䐷僀僓咨呿♥
䧰ꓨ假䞰鱎䔻㝃㸾㸖䉂╽溸
駘䖫ն
劅ㄼ婛溸虪勘
䧰劔䔻㝃䖦♭溸虪勘㵶⺪茤
ꂖ劔剳㝃㹀勑⹿䱢溸⮃虝虪勘
㵶ն┯ꁩ䧰燛㵄ㄼ姐傽勔溸䓝
♣虪勘㵶❛㠁㞃虙耘冝⾕蠗
ꭊ䑾气ն
㐃槊㐙┪劅뎺⥛溸僓⯤
㸉䧰匡騜茤╬蝠呬⪳ꭶ⮃鰨
寏ꂜ儱┞⚂杅⯋⡽䕒뎺⥛溸⩱
衇ն䧰䔻蔦髀茤錻ꄑ╬槊ꭶꭶ
ꪍ♣銩㎼㵶⮃鰨ꂘ▂㝃姍
䧯╬┿汕匭槊ꭶ溸┞⽄ն
槊㐙♨㜾劅뎺⥛溸僓⯤
駌駮缰㝃⯈◱䌔⾕㟧缀䐮㵶
䎂䧰♰劔㎃╗◗┯鱎溸㳘㲳
♑♰ꄢ庱䧯ꪍ䌔㸞锢鵕┪蔦䉁
溸☭气ꇔ鴤䧰儱┞╗傱嬠蔦
髀溸曎曎ն

PHOTOGRAPHY ANNA KOUSTAS

Every issue, we ask our cover star a round of quickfire questions
that give us a little more insight into their personalities.
This month: David Beckham

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