The work is the latest from Banksy, the British artist who has spent the last two decades quietly becoming the most recognisable contemporary voice in modern art without ever revealing his face. His practice has always followed a simple principle, that art should arrive where it is not expected, say something with precision, and leave before anyone can ask permission. The new piece extends that practice into territory he has rarely entered before, and the departure tells us something about where he is heading.

The work is, by any measure, his most cinematic intervention to date. It is also his largest, and the size is the first thing the piece is telling you. Banksy has spent most of his career working in the language of the small subversive gesture. The mural left for someone to find at dawn. The work that rewarded the attentive passerby and asked nothing of anyone else. That artist is no longer on the wall in Waterloo Place. The figure standing there now was hoisted into position overnight by a full construction crew, lit at sunrise as if it had always been there, and it does not whisper. It does not even ask. It stands, monumental and unignorable, in the middle of the city, and it makes you stop. The shift in scale is the work declaring something the murals could only suggest, that subtlety has run out of room, and the message has grown loud enough to demand a monument.

What the figure is saying, once you look at him, is the deepening of an idea Banksy has been turning over for years. The man on the plinth is the universal believer, rendered righteous by a banner that carries no nation, no insignia, no allegiance, every flag and none. And the flag itself is what has blinded him. His pride is his unseeing. He is moving forward with conviction, and he is moving forward into thin air, and Banksy has placed those two facts so close together they collapse into one. The piece does its work slowly. You read the joke first. You read the cold edge underneath it second. The figure is dignified. He looks, in his bronze tailoring and his proud forward motion, exactly like the historical figures whose statues surround him, Edward VII stands a few feet away and the Crimean War Memorial sits in his sightline. He has been planted in the heart of London’s most ceremonial monument quarter, and the longer you look at him, the more the resemblance to his neighbours becomes the point.

That is the gravity at the centre of the piece, and everything else the work is doing radiates out from it. The statues we build for our heroes are also, almost without exception, statues to certainty. To the man who knew. To the leader who did not flinch. To the doctrine that did not pause to look. Banksy’s contribution to that lineage is the same figure with the lights off, identical in suit and posture and forward motion. Just no eyes. The unsettling thing about the work is not that it mocks the men cast in bronze around it, but that it asks how much daylight there ever really was between them, whether the difference between the celebrated and the catastrophic was always a matter of who happened to win, who happened to write the inscription, and what we have agreed not to look at too closely.

What separates Banksy from the cohort of artists who have tried this kind of work is that he is not making art about a single ideology. He is making art about the human pattern that lives underneath all of them. The way human beings, given a banner and a direction, will march. Any banner. Any direction. He is not interested in telling anyone which flag is the wrong one. He is interested in the moment the flag covers your face, and you keep walking. The piece refuses every specific reading and offers itself to all of them, because the pattern itself is universal. That refusal to take a side is, in its own way, the most pointed thing about the work. In a moment when most public art is rushing to declare its allegiance, Banksy has built a monument that simply turns the gaze back on the viewer.

The reflection the piece invites, then, is not really about politics. It is about the texture of belief itself, and what it has come to feel like to live inside one. There is a comfort in conviction that is hard to argue with. Once you have picked up the flag, the world organises itself for you. Belief, in this register, is not really about what you believe. It is about no longer having to hold the weight of not knowing. Banksy has built a statue to that relief, and the relief is what makes the figure both familiar and a little tragic. He looks dignified because he is finally untroubled. He is finally untroubled because he has stopped seeing.

What gives the work its quiet moral weight is the recognition that blindness rarely arrives as ignorance. It arrives as conviction, dressed in the language of values, moving through the world looking like courage. The man on the plinth is not stupid. He is sure. And the piece is suggesting, gently, that sureness without sight is the more dangerous of the two conditions, because doubt at least keeps its eyes open. That is the reflection the bronze keeps offering back to anyone willing to stand beneath it long enough. Not an accusation. Not a verdict. Simply the suggestion that the certainty we have been carrying may have begun to carry us instead.

What the piece ultimately reveals is an artist evolving in full view of the public. Banksy is no longer placing his commentary in the margins of the city. He is putting it in the centre, in bronze, in the kind of permanent material his subjects usually reserve for themselves. The size is the message as much as the figure is. He has spent twenty years asking us to look more carefully at the world we have stopped noticing, and with this new statue, he is asking the same question with more authority, standing among the heroes we have spent centuries building monuments to. The work will not be there forever, and it is the kind of piece that, regardless of how familiar the artist’s name is when you walk up to it, will tell you everything you need to know about him by the time you walk away.

The post EXPLORE BANKSY’S LATEST INSTALLATION IN LONDON appeared first on T&C Magazine.

It’s a Friday evening in Kennedy Town. You’ve had a long week and want to escape Hong Kong’s city chaos — to be surrounded by warmth and comfort. Stübli opens its doors for exactly that.

Step inside and you’re instantly met with a buzz of energy. Even on its very first days, dishes flow from the kitchen to dining tables and the aromatic scent of melting cheese fondue greets you at the door. Whether you’re gathering with friends, sharing a meal with family, or enjoying the evening with a special someone there’s a place for everyone at the table.

Alongside the food, you’ll notice playful pop art pieces adorning the walls from a carefully curated selection by the founder himself. A guest favourite is a striking artwork featuring a comedic scene: a long string of fondue stretching from a pot to a dog holding a fork. Its playful touch adds layers of personality and friendliness to the space.

Stübli is more than a restaurant, it’s a sanctuary that transports you straight into a Swiss dining experience. A place of joy, laughter, and indulgent flavours, offering a welcome retreat from the relentless pace of Hong Kong.

Located on Cadogan Street, we step into the world of Head Chef and Founder Matthew Ziemski, where he tells our editors the stories of immersing himself in Swiss culture and the journey that brought Stübli to life.

QUESTIONS & ANSWERS

1. Stübli is deeply personal to you. Can you tell us how your upbringing in Bern shaped the vision?

I was originally born in England, but my mum’s family is from Switzerland, specifically the Bern region. As a child, I spent a lot of time there and learned about Swiss culture. It was during those visits that I discovered the concept of a “Stübli”, a traditional style of Swiss restaurant known for its warmth and intimacy. That early exposure played an essential role in shaping my vision for the concept.

2. Your sister’s concept is Nocino. Can you tell us more about this collaboration and how the two concepts complement each other?

Nocino’s concept stems from another part of my family. My aunt is from Ticino, the Italian speaking region of Switzerland. There, they have a style of restaurant called a “Grotto,” which focuses more on Italian style cuisine.

The two concepts complement each other as they showcase two distinct sides of Switzerland. Stübli represents the German speaking region, featuring classic Swiss dishes like cheese fondue. Nocino, on the other hand, highlights the Italian influence with dishes such as fresh pasta. Together, they present a broader picture of Swiss culinary culture.

3. Let’s talk about cheese fondue! a true Swiss classic. What do you hope to share with Hong Kong?

In Hong Kong, I’ve noticed that people either really love cheese or prefer it in moderation. That’s why we decided to offer our fondue in two sizes. A smaller portion and a more traditional, larger size. The smaller option is perfect for two friends or for those who want to enjoy fondue without feeling too full afterwards.

We also wanted to introduce something more contemporary alongside the classics. For example, we offer a lobster béarnaise fondue and a lobster infused cheese fondue. So while we stay true to tradition, we also bring in a modern twist.

4. Can you tell us about the menu creation process?

With the Stübli concept, we naturally feature many classic Swiss dishes. However, we didn’t want to be overly traditional. Hong Kong is a modern, fast paced city, so we aim to reinterpret classic dishes in a contemporary way.

Balance is important. In addition to fondue, we offer steaks something more approachable and familiar to Hong Kong diners. This allows guests to visit for a comforting steak dinner any day of the week, rather than coming solely for cheese fondue.

5.Why did you choose Kennedy Town as the home for Stübli?

Kennedy Town has a vibrant yet community-driven atmosphere. It feels neighbourhood-focused but also international, which aligns perfectly with what we want: Stübli to represent a warm, welcoming space with European roots, right here in Hong Kong.

Address: Shop B, 39-41 Cadogan St, Kennedy Town Hong Kong

The post SISTER CONCEPT NOCINO OPENS THE DOORS TO Stübli IN KENNEDY TOWN appeared first on T&C Magazine.

The film’s return to ‘Runway’ brings with it the all-too-close-to-home reality of working in publishing in 2026. The Devil Wears Prada 2 has been highly anticipated not only for the return of its iconic characters, but also as a revisit to a world audiences still romanticise. Its press tour understood this perfectly. From fashion partnerships and features to adverts, beauty product collaborations and skits, the rollout became an extension of the story: a film about fashion media selling itself back to an audience shaped by the visibility of the digital age.

Beneath the fanfare, both created and genuine, the sequel takes a calculated risk. It has to honour the original film without being trapped by it, while showing Runway has something to say in a transformed industry. The first film positioned the magazine as untouchable, almost mythic in its authority. The sequel opens the doors wider, exposing the struggle behind the glamour and the compromises needed to keep an industry titan standing.

Andy’s return to the magazine shifts the perspective. No longer wide-eyed, she comes back seasoned by years of work and survival. Walking away from Runway in 2006 felt like a moral victory for the character, and her return in 2026 is more complicated, showing a character that understands integrity is harder to protect when the industry doesn’t stand on firm ground.

At the centre of the storyline is a magazine struggling to keep control of its own identity. Editorial decisions are now shaped by audience opinion, brand relationships, public image, and overwhelming pressure of commercial survival. Industry leaders are no longer entirely in control; often forced to respond to the noise around them. Miranda Priestley, played by Meryl Streep, remains commanding, composed, and a fierce influence in matters of taste. The problem is, taste alone no longer seems to be enough.

The film has its fun with its classic characters, and repositioning them within this changed landscape. Emily Charlton, played by Emily Blunt, has moved over into the commercial side of fashion as a fashion house executive – a choice that feels pointed rather than accidental. Her character sits closer to the money, reflecting a world where influence is no longer solely held by editors, but by those who control advertising, partnerships and access.

The most interesting tension is not whether Runway can still look powerful, but whether it can still hold power in the same way. The magazine remains visually immaculate, but the authority it holds feels fragile. The film is not without weakness. The sequel is most compelling when it stops reminding audiences why they loved the original and starts asking what has happened to the industry since.

The reality of this storyline touches a little too close to home. That’s All.

The post EDITORS PICK: THE DEVIL WEARS PRADA appeared first on T&C Magazine.

Yesterday afternoon’s exclusive launch event was organised by Zynthesis HK and welcomed a curated crowd of influencers, tastemakers, and media insiders. As guests arrived, the skyline provided a cinematic backdrop for the space to unfold: loungers dressed in the collection’s colour palette, railing of clothes and surfboards sporting the brand name, nothing out of place. With drinks in hand and branded coconuts circulating throughout the space, the atmosphere struck a balance between relaxed poolside ease and elevated social gathering.

This showcase elevated more than a traditional presentation, focusing on the subtle connection of the Calzedonia Group. The narrative for the SS26 swimwear collection was based on the ongoing creative dialogue with Calzedonia’s sister brand Intimissimi. Known for it’s direction towards grace, delicacy and evolving femininity, its attention to detail and elevated loungewear had made a presence in the release. While Calzedonia itself remained true to its playful textures and luxury swimwear narrative, both labels operate under the same group and came together to align their seasonal storytelling into a cohesive lifestyle collection.

At the Calzedonia club this translated into the pool-side environment. Swim looks and coverups were served up alongside the brands custom branded coconuts. Inspiring an immersive experience

 in the hotel, inviting influencers and media to enjoy a sneak-peak of both their S/S26 collection, and this city escape they have created.

Photos @Birdie Chan

The post FOLLOW US TO THE CALZEDONIA CLUB WITH ZYNTHESIS HK appeared first on T&C Magazine.

What began as a networking dinner quickly softened into something playful, meaningful and interactive for the new year. 

Palate itself is made for this kind of gathering. Located in Taikoo Place, the restaurant centres on dining designed for sharing, food becomes a starting point for connection rather than the main event. In the restaurant, there’s a variety offered beyond the dishes, with a dedicated mingling and sports section, aptly named The Sports bar complete with a pool table and large screens streaming sports events. It’s relaxed, unpretentious, and intentionally social.

Signature drinks were served first, something familiar and easy-going to start the night. Guests drifted between tables, slipping into conversations and getting to know one another naturally. By the time everyone was ushered into the dining area, the room already felt warm and open — the kind of atmosphere where people are comfortable leaning into something new.

That’s when things shifted.

Next to each personalised name card sat a pen. And a blindfold.

We were guided through a short mindful meditation by Janet Fong before putting on the blindfolds. With sight removed, attention shifted to taste, texture, and feeling. There was a brief pause across the room, followed by nervous laughter — the kind that comes from stepping outside your comfort zone, but enjoying the uncertainty of it.

As the small plates began to arrive, the experience became unmistakably collective. Without visuals to rely on, people leaned on one another. Someone would suggest a flavour they could taste, and suddenly the whole room would light up in debate is it scallop, or something else? A bite that felt subtle suddenly became bold once it was named. Taste stopped being individual and became something shared, something to bond over, even between strangers.

What stood out was how quickly hesitation melted away. The reliance on others didn’t feel awkward, it felt grounding. The room grew louder, warmer, more animated. The food wasn’t being judged or decoded; it was being experienced together.

When the blindfolds were removed, the surprise wasn’t just the reveal of the dishes that had been eaten, but the shift in perception without sight. A reminder of how much our enjoyment of food, and our opinions more broadly are shaped by visuals and by the people around us.

This Taste & Toast Mixer by Palate wasn’t about testing tasting skills or food knowledge. It was about leaning into uncertainty, creating connection through shared experience, and letting food feel social and playful again. And honestly, that’s what made the night so memorable.

The post A BLIND DATE WITH PALATE appeared first on T&C Magazine.

After years of chasing minimalism, algorithm-driven aesthetics, and microtrends, 2026 stamps our calendars with a fresh yet nostalgic type of energy that rejects the 2025 persona of ‘being nonchalant.’ Millennials and Gen Zs alike have crowned 2026—‘the year of chalance’ or the new 2016—calling for the return of explicit effort, emotion, and intention in every aspect of life, including fashion. 

TRYING HAS BECOME COOL AGAIN.

Rather than glorifying industry novelty-led statements or worshipping clean-girl aesthetics, our team predicts that 2026 fashion will prioritise celebrating individuality and authenticity, no matter how cringe it may be. Instead of fitting in, 2026 fashion will be about standing out and living unapologetically, with both fashion designers and enthusiasts gravitating towards pieces that feel familiar, nuanced, and real. 

HERE ARE T&C MAGAZINE’S TOP PREDICTIONS FOR 2026 FASHION

1. A POP OF BOLDNESS

In true Zara Larsson “Lush Life” fashion, 2026 style will echo the boldness and colourfulness of 2016 with a focus on expression and experimentation of personal style. Personality will once again become a pillar of fashion, and the joy of dressing up just for fun will be renewed. Authenticity will emerge from the customisation or personalisation of what you may already own rather than the act of buying something new. Forget the need to ‘save something for a rainy day’—2026 is the year to wear your best dress and dance in your most expensive shoes. 

Pops of colour will be key—think all-black outfits made whimsical with a pair of blue gloves, all-red suits made eccentric with a peeking white collar. Accessories will be vital. Fashion enthusiasts will pull from their own personal collections, transforming jewellery, hats, bags, and more into statement pieces that really make an outfit stand out.

Brooches will provide pivotal accents for styling, elevating basics and delivering a sense of maximalism that echoes the bold, unashamed personas of 2016. We’ve already seen ties as ties, ties as scarves, ties as belts—and in 2026, we expect to see more people ‘wearing things the wrong way’—emphasising styling over just simply wearing clothes. By reworking and playing with layers, accessories and clothes will serve as a feature of personal branding, impossible to recreate, and crucial to everyday looks.

2. SPORTSWEAR REIMAGINED

Sports-inspired clothing has never been far from the surface of fashion, but in 2026, we predict that its popularity will only grow. Between Timothee Chalamet’s religious promotion of the Marty Supreme (2025) jacket and celebrity athletes such as Lewis Hamilton, who are known to dress incredibly well both on the racetrack and the red carpet, the lines between workwear and casual wear—athleisure and streetwear—have blurred. 

Following the rise of fashion subcultures like gorpcore and urban core, 2026 fashion will prioritise function, grit, and comfort. Athleisure and streetwear will blend in a hybrid fashion, with the tracksuit slowly side-stepping its way back into the limelight—especially following the hype of Marty Supreme (2025).  

Casual athleisure is here to stay—tracksuits are no longer about lounging or breaking a sweat, they’re about showing your support, staying relevant, and looking good while doing so. Wearing your favourite sports jersey will be a way of tapping into the shared visual language of fashion and athleisure, connecting the individual to wider cultural moments.

Sportswear is the new streetwear. The approach of this year’s World Cup will likely push this narrative as the purpose of athleisure shifts from pure functionality to creative self-expression. Paired with accessories, layers, and sneakers, 2026 sportswear will be reimagined as an integral part of everyday dress.

3. ALTERNATIVE ANIMAL PRINTS

Alternative animal patterns can add an unfamiliar, maximalist texture to designs, playing with materials—like fur, leather, and feathers—to curate a lived-in sensory experience for both the wearers and the observers. In 2026, the ‘mob-wife’ zebra stripes of 2025 will evolve into other alternative forms. 

Young Gen Z women are already leaning into bambiesque aesthetics, embracing the softer brown and fur textures of deer skin. Whereas stronger patterns—such as leopard, snake, and crocodile—have formed a strong bond with Millennials and luxury designers, appealing to their tastes as strategic accents and loud, iconic statements that tie the whole ensemble together

If that isn’t enough, with the lead-up to the new The Hunger Games: Sunrise on the Reaping (2026) movie, we’re also starting to see the fashion of the Capitol leak into the real world and onto our for-you page. Clothing inspired by the fictional dystopia of The Hunger Games (2012) has already begun to make its way onto the streets with showy statement pieces like Alex Cosani’s iconic Gucci tiger print coat and Elle Fanning’s leopard scarf, breaking fashion headlines around the world.

Whether it’s crocodile or snake-textured leather for bags, wallets, or belts, animal patterns—both real and inspired—connect fashion to the organic world through tactile experiences. 

Animalistic motifs turn street fashion into a medium for reconnecting with nature, bringing comfort through shared references and identities. Dressing up like a deer conveys a sense of otherworldly innocence, while cheetahs stand strong as feisty, chic, warrior-like animals that are not afraid to bite. 

4. OLD WORLD UNIFORMS

Approached as anchors of construction and not authority, Old World uniforms in 2026 will offer a bit of structure within the otherwise fluid culture of contemporary fashion. Across catwalks and online forums, pre-modern silhouettes such as naval tailoring, aviator references, and structured hats have been reappearing like ghosts, bringing back the streamlined cuts of the 1920s.

2026 fashion will project whimsy into what was once considered a direct symbol of authority. Strong lines and double-breasted tailoring will be layered with jewellery and scarves. Naval blues, khaki, and deep tones will be offset by brass hardware and expressive details. Aviator jackets will be worn casually, and hats from berets to officer caps will be styled for silhouettes—not rank.

Playful offshoots will also emerge with ringmaster-inspired jackets and circus-coded polka dot patterns, adding a certain lightness to an already disciplined aesthetic. With its 2026 reinvention, these Old World uniforms will no longer be about maintaining hierarchy or defending obligations—they will express confidence, control, and offer an alternative route for belonging without erasing personality.

5. FEMININE FOCUS 

As an alternative to the more hyperfeminine modern styles that accompanied the fallout of Barbie (2023), 2026 women’s fashion will lean away from the playfulness of exaggerated, saturated colours and instead take on a softer approach, embracing a more muted colour palette. 

The ‘trad wife’ trend that took over the algorithm has undoubtedly accelerated this jump to traditionally feminine clothing, as silhouettes similar to those of aprons and pinafores reappeared on the catwalk for Miu Miu’s SS26 collection.

Feminine silhouettes, lace, and sheer will become subtle features of everyday outfits rather than a spectacle reserved only for special occasions. These sharp accents signal the return of intimacy and intricacy in womenswear, but without the same old sense of fragility and timidness, reclaiming the act of dressing for yourself and facilitating the experimentation of personal style.

Gothic romantic references reinforce this shift towards alternative femininity rooted in atmosphere and depth. Darker colour palettes, classical silhouettes, and details like pointed shoes all reflect the visual language of recent gothic style media such as Nosferatu (2024), Frankenstein (2025), and Season 2 of Wednesday (2025). By the end of 2025, the costume designs from these viral films and television shows took the internet by storm, creeping into the realm of everyday wear and blurring cinematic fantasy with reality.

T&C PREDICTIONS WRAPPED

Our predictions suggest that 2026 will be a year that is less about chasing trends or discovering new niches and more about reconnecting with what is familiar. Our advice? Dress to participate, not to perform. 

Through personalisation, construction, reimagination, and alternative takes on long-time established aesthetics such as animal prints and hyperfeminine styles, 2026 fashion will refocus to prioritise authentic self-expression. Fashion taste and style will become a way to highlight personal branding—an extension of creativity in everyday life—elevating outfits by revealing personality. 

The post T&C PREDICTS 2026 appeared first on T&C Magazine.

Set against the Harbour presence of Hong Kong, the opening ceremony was held at the Ocean Terminal Deck, while the closing ceremony took place at POPCORN. The events were organized by the Hong Kong Design Institute (HKDI) and supported by the Cultural and Creative Industries Development Agency. The festival set the tone for a new generation of designers who are unafraid to challenge convention. Effectively reintroducing denim to Hong Kong audiences, the festival presented it not as a static material, but as an ever-evolving medium shaped by the vision and determination of local designers.

TENCEL’S CONTINUOUS PARTNERSHIP

As a continued thread of support throughout the festival, and a gold sponsor for this year’s Denim Festival, TENCEL emerged as a defining mark on the material presence. In emphasis of how the evolution of fashion at even fibre level can reshape the future of denim, TENCEL provided certain innovations to the projects, as well as provided tours and AIC to the up and coming designers.

When reflecting on the collaboration of the institute of design, TENCEL and the Hong Kong Denim Festival (HKDF), Travis Li, Senior Lecturer at the Hong Kong Design Institute (HKDI), commented that “The collaboration between the HK Denim Festival and Lenzing had served as a vital bridge between academic creativity and industrial innovation, empowering designers to reimagine the future of denim.” This observation was embodied fully through the work of two alumni from the second edition of Lenzing’s Global Denim Talent Programme, both of whom integrated TENCEL fibres into their collections on display at Harbour City. Jesse Lee’s Blue Fossil Record used “the fibre’s smooth nature as a canvas for laser-printing,” resulting in what Li describes as a “‘living fossil’ effect where patterns emerge over time.” In contrast, Jason Lee of YMDH “challenged denim norms in Ready to Formal,” leveraging “TENCEL’s soft drape to execute reversible, deconstructed designs that blend refinement with sustainability.” Both approaches highlighted the versatility of the fabric and the importance of quality sustainable materials in the designing process. Rather than appearing as a standalone showcase, TENCEL was embedded within the wider exhibition narrative, reinforcing Li’s belief that “by equipping talent with such materials, we ensure the next generation creates fashion that is both aesthetically daring and environmentally responsible.”

The warmth and commitment to a supportive sponsorship of this kind was even mentioned by Rex Mok, Global Director of Technical Marketing & Development of LENZING. This was more about “sharing the beauty of collaboration”, not only nurturing young talent, but fostering education, mentorship and material support in line with the future of the denim and fashion industry. At LENZING, we connect deeply with the textile world to deliver excellence for generations to come”, a sentence that truly reinforced the company’s involvement with the Denim Festival and how that it is also an investment towards the future of fashion itself.

Many of these conversations throughout the venue remained heavily focused on the next steps, as several of the featured designers prepared to showcase their work beyond Hong Kong, including upcoming appearances at Paris Fashion Week. The evening felt more like a confident declaration of intent than an ending, signaling the growing presence and ambition of Hong Kong’s denim talent on the global stage.

At T&C, we spoke to several designers who have collaborated with TENCEL this year when it came to the design process of their collection.

JESSE LEE

Speaking to Jesse Lee, there’s an immediate spark that lights up his eyes when you mention fashion and sustainability. It’s clear that fashion, design, and creation have been significant parts of his life. As a recent graduate with a master’s in menswear design from the University of Westminster in London, Jesse has been paving his path in the fashion world. Consequently, he shows attention to detail and care when selecting fabrics for his collections and expresses immense gratitude to TENCEL and LENZING for their continuous support over the years.

This year, Jesse’s collection inspiration stemmed from his love for dinosaur fossils, a representation of the exhibitions and exploration of evolution’s journey. “I used TENCEL’s denim with a firm and soft touch to the body to create garments in my collection.” making it an ideal choice for contemporary menswear. The textiles he uses are not only animal-free but also sustainable, often incorporating TENCEL’s fibers into his designs, reflecting his commitment to ethical fashion, and innovative practices.

When we asked what his message was to the fashion community in Hong Kong, Jesse dove into his love for sustainability, and urged his peers to prioritize reducing carbon footprints while fostering creativity. Through not only this year, but in all of his collections, he demonstrates that it is possible to create captivating designs that are both stylish and environmentally responsible.

JASON LEE

Founder & Creative Director of YMDH, Jason Lee talks to Vincent Leung, Head of Global Brand Communications, and shares his journey as a designer while reflecting on the role TENCEL played within his recent collection. Originally beginning as a dedicated vintage fashion enthusiast, Jason spoke about how his appreciation for timeless craftsmanship and garments shaped his approach to sustainable design.

Within his conversation, he highlighted that TENCEL’s mission ‘sustainability definitely has an impact on the fashion world’, even down to their use of lasers on denim it ‘reduces pollution and promotes a lower carbon footprint,’. These values align very closely with his own creative philosophy, making the collaboration and use of TENCEL’s fibre a natural choice for his work. Jason’s innovative and sustainability first approach is evident in his creation of reversible garments, enforcing greater consideration for designs and the longevity of a piece. Fortunately, all of these ideas take advantage of TENCEL’s fibers , as well as them being “soft to the touch, which ensures comfort on the skin”, factors that ensure variety, and ease of wear, whichever way the garment is worn. His designs reflect in a collection that balances versatility with refinement, reflecting the modern customer’s desire for adaptable and responsible fashion.

Jason also expressed a keen interest to ‘study on how the blend of fibers in denim can create a different feel on skin through garments’, exploring how to better understand how different material combinations can enhance texture, movement, and tactile experience. With plans for ongoing research, he is eager to continue refining his practice, aligning future collections with the evolving landscape of sustainable fashion while contributing meaningfully to its progression.

Both designers we spoke with returned to the same idea: sustainability is not a surface-level consideration, but something embedded into every decision, from the fastenings, constructions, to even the fibers. Their approach reflects a wider shift within fashion, where responsibility is treated as a part of the creative process rather than an afterthought. In this mind, access to innovative materials and informed collaborations become an essential foundation for experimentation, education and longer-term change- shaping how designers work, how garments are worn, and how the industry itself evolves.

The post TENCEL™DISPLAYS CONTINUOUS SUPPORT FOR THE 4TH HONG KONG DENIM FESTIVAL appeared first on T&C Magazine.

It is his steadfast belief that pursuing the dreams that call to us isn’t just passion but a requirement as “Each of us has a talent that is our duty to share with the world,”

That philosophy sits at the core of what Guardini calls ECOture. At its heart is a simple idea: “We are part of life, and life is part of us,”. Yet somewhere along the way, we constructed a world so detached from what is true, what is natural. FASHION TO RECONNECT exists as a response to that separation, a platform designed to bring people back together, and return to dialogue with the natural world.

The roots of this vision lie in a conversation between living beings and nature. For Guardini’, many of his earliest creations were made from raw materials, instinctive and unrefined. Though his approaches and method evolved into a more considered and embraced approach over time, the intention remained the same. Guardini challenged the perception that sustainable fashion had to be dull and boring, instead he remained determined to restore joy, beauty, and vitality to responsible creation.

Clothing, he believes, is the first layer between ourselves and the natural world. Rather than acting as a barrier, it should be approached as an extension of who we are, moving with us, evolving with us and all of the stories, and carrying our stories. Through conscious dialogue with nature, creation becomes a living process. “It’s about coming home,” he says. “Coming home to nature.”

Presented in Hong Kong, FASHION TO RECONNECT is supported by and shaped by the influence of artist Michelangelo Pistoletto and his concept of The Third Paradise. This is a space that exists between the natural and the artificial, the exploration of which is clearly key within this exhibition but also to Tiziano himself. Each designer featured explores this balance, questioning where fashion sits between innovation and responsibility.

FASHION TO RECONNECT challenges the idea that clothing loses value with wear, instead framing garments as living pieces that deepen in meaning through care and time. While sustainability has slipped from the industry’s spotlight amid commercial pressures, Tiziano Guardini sees hope in a new generation of designers who embed responsibility instinctively into their work. More than an exhibition, FASHION TO RECONNECT is an invitation to slow down, reflect, and remember fashion’s power to reconnect us as “we are nature, and life, we should be existing in harmony” with the world, with each other, and with ourselves.

FASHION TO RECONNECT Exhibition

Date: 25 November – 24 December

Time: Monday to Friday (12:00 – 20:00)

Saturdays, Sundays and Public Holidays (11:00 – 20:00)

Venue: ArtisTree, Taikoo Place

The post FASHION TO RECONNECT: RETURNING TO WHAT IS TRUE appeared first on T&C Magazine.

The launch set the tone for a month-long culinary takeover across Hong Kong, offering diners an early glimpse into the excitement that followed. Rather than treating avocados as a passing trend, Urban Coffee Roaster approached the partnership with a commitment to ingredient integrity and an elevated sense of craft; presenting avocados not as an accessory, but as the foundation of each dish.

The resulting menu balanced familiar comforts with reimagined flavours, highlighting the naturally buttery, smooth character of Australian avocados. The limited dishes included:

• Avocado Crab Toast –  fresh crab layered with creamy avo and aromatic spices, creating a light yet refined bite.
  
• Smoked Salmon Avocado Tartare – a modern composition of smoked seafood, lemon and egg yolk folded into silky avocado for depth and brightness.
  
• Avocado Milkshake – the unexpected standout, blending avocado with banana, cheese and crushed almonds for a textured, energising indulgence.
  

Beyond the dishes, the launch event fostered a warm, community-driven atmosphere. Guests were treated to limited-edition take-home gifts: koala plush toys, avocado knives and branded tote bags. Thoughtful gestures that amplified the collaborative spirit and allowed guests to leave with something memorable.

This month-long takeover offered Hong Kong’s fast-paced dining culture a rare moment to slow down and savour intentionally curated flavours. Through this partnership, Urban Coffee Roaster and Australian Avocados demonstrated how a single ingredient, when treated with care, can inspire new conversations within the city’s ever-evolving café scene.

organized and photos by Wine-Luxe

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From Tyson Yoshi’s special appearance to performances by Pandora and Hung Kaho, the night unfolded as a multisensory expression of Hong Kong’s creative pulse, drawing together fashion, music, and movement in a way that felt internationally expansive while still close to home.

At the heart of the night was the runway itself, where Global Denim Talent Programme (GDTP) designers sent bold, structured, and forward-looking designs down the catwalk. MC’ed by Vincent Tang, the show reflected a deep appreciation for the history and evolution of denim, while pushing its boundaries through contemporary form and experimentation. From here, the focus naturally turns to the designers themselves and the materials that enabled them to rethink denim for a new era.

THE DESIGNERS

We had the opportunity to have a sit-down talk with designers Jasmine and Max from this year’s festival to understand more about their process, inspirations, creations, and craftsmanship.

Jasmine, Cheuk Tsz Fa

In a world where trends come and go, Jasmine Cheuk Tsz Fa’s passion for artistic fashion speaks for itself. She knows how to draw inspiration from her life and express her voice through her collections. Jasmine’s journey as a designer is deeply intertwined with her life experiences and cherished relationships. “My creations stem from the emotions and stories of those around me,” she explains. The experiences of her friends are not just sources of inspiration; they are fundamental to her artistic voice.

With her latest collection, “Folded Rings: Sea Rhythms,” which was exclusively showcased last month, Jasmine’s vision was to have her platform empower women and embody strength. She emphasises that while girls can be seen as soft, they can also be tough—a duality she seeks to interpret in her designs. This year, her collection focuses on six garments that empower women while incorporating elements of nature. Jasmine acknowledges the support of her sponsors, Prosperity Textile (HK) Limited, recognising their partnership in bringing her visions to life. As she prepares for the denim festival, her commitment to her collection is evident; she has been involved with the event since its inception, participating in both its first and second seasons.

When showcasing her designs, Jasmine emphasises functionality and versatility in her creations, particularly in her denim pieces, where each item is thoughtfully designed to meet

the practical needs of everyday wear without sacrificing style. Her love for her craft and dedication to sharing her voice through her work serve as an inspiring reminder that fashion is a powerful form of self-expression and dialogue.

Max, Tsang Chi Fung

Sitting down with Max, the founder and designer of IP Axis Industrial studio, you immediately sense his perseverance in pushing the boundaries of fashion. With a futuristic vision in mind, he describes his brand as a canvas for innovative storytelling.

To Max, fashion is more than just clothing; it’s about conveying a story. Each collection follows a chapter-based approach, allowing him to explore different themes. “Every season brings something new,” but also reflects what we might wear in the future. When asked about his inspiration, he draws heavily from tech wear, a style that merges functionality with forward-thinking aesthetics.

With denim as the theme of the event, Max expresses his wish for denim. “I want to see denim evolve beyond its traditional uses,” he reflects, envisioning a future where these garments are both innovative and environmentally responsible.

With Max’s voice carrying a blend of determination and optimism, he reminds us that fashion can be a powerful vehicle for change. “I hope to inspire others to rethink what clothing can be,” leaving us with an exciting glimpse into the future and the evolving landscape of sustainable fashion. As we discuss his brand’s journey, Max expresses immense gratitude for the support of his sponsors. “Visiting their studio and factory opened so many doors for us.”

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