To meet Alexander James is to meet someone who has stopped negotiating with the square. There is nothing theatrical about James. Instead, there is a sense of ease, down to earth and friendliness when you speak to him. His strong introspection and deep knowledge in the art world immediately draws you to how he perceives art which is reflected in his current solo exhibition in Hong Kong. Presented by Phillips, the exhibition is titled ‘Dissecting the Square. Colours and Black’ by Alexander James.

A British born multimedia artist, James has previously exhibited in London, Paris, and New York building an international presence and is now debuting his solo exhibition in Hong Kong. This past Friday, we got to experience more of James’ world where the exhibition opened up with an intimate media tour followed with a meet and greet, setting the tone for what is to come for the rest of the evening.

Speaking to James, you come to learn that the title of his exhibition emerged from a turning point in his studio back in the UK. One early morning, a beam of sunlight cuts sharply across his empty canvas where he noticed how the light was “literally dissecting the square.” What might have passed as a fleeting moment of introspection and inspiration had served as a pivotal moment in his journey.

The programme for the evening continued with a panel talk hosted in conversation with Phillips where James expanded on his relationship with the square. Some of his current and signature paintings include Blue Pulse and a Summit of Souls and audience members took the opportunity to share their gratitude towards him for his paintings. They even expressed how purchasing his past works had significantly impacted them and how deeply they appreciate his work.

The evening also had an opening reception that brought together the Phillips auction community, long standing collectors, and a new generation of cultural voices. Throughout the evening, James noted the importance of his metropolitan background, sharing that he hopes audiences can feel that influence when they view his work.

INTERVIEW: ALEXANDER JAMES

T&C: You were born in the UK and your work has been exhibited internationally. What has that journey been like for you?

AJ: Honestly, I feel incredibly grateful. I’ve met so many great people and like minded creators along the way. It’s always special to see the work exist in different spaces. Showing in different countries gives me exposure and new experiences that I take back to London and feed into my work. A lot of my work is about relationships and people, so those experiences are really meaningful to me.

T&C: Let’s talk about “Dissecting the Square.” Can you take us back to that moment?

AJ: Yes. Being in London, we don’t get consistent sunshine, so when the sun does come out, it’s special. I don’t usually rush straight into painting. I sit and think first. When the sunlight comes into the studio, it cuts across the space and creates these symmetrical lines and shapes, dividing the room into light and shadow. It almost creates its own narrative.

This had been happening for years, and I’d just carry on working. But one day, while speaking with the Philips team on a sunny day, I noticed it again and said, “It’s like dissecting the canvas.” That phrase stuck. We sat with the idea and eventually developed it further. I think subconsciously I’ve also been influenced by artists like Sean Scully and Josef Albers, who work with the square in such instinctive and personal ways. They manipulate it so distinctively, and I suppose that connection fed into the idea as well.

T&C: You’ve been to Hong Kong twice now. Have you noticed anything here particularly in the architecture that connects to your work?

AJ: I’ve been here for four days this time, and I came with a friend from London. We’ve been shooting film and taking photos, working on something that co exists with this exhibition. What really strikes me is the energy. I love the chaotic pace. Coming from London, I’m used to a metropolitan rhythm, but Hong Kong feels even faster and more intense. The architecture is amazing. There are a few buildings in particular which had strong 90s feeling which grabbed my attention. I love the Lippo Centre and the sculptural quality of these two towers. Their bold, angular forms make them feel like giant mechanical sculptures rather than ordinary buildings, giving Hong Kong a truly distinctive landmark. It’s as if you placed you in the past and future at the same time and I really enjoy things that create that particular type of confusion.

More generally, I love the openness of the people here. There’s a friendliness and accessibility that feels different from London, and I really appreciate that.

T&C : As a role model for the next generation, what advice would you give to young artists entering the art world?

AJ: You’re going to hear a lot of voices, some of which are positive, some negative. It sounds obvious, but your gut instinct really does matter. You have to try things. Without trying, you don’t get anywhere.

When I was younger, I didn’t know where any of this was leading. And honestly, we still don’t fully know where life takes us. But we usually have a sense of direction, something that feels right. There will be trial and error. Some things won’t work out. But you just keep moving. Otherwise, you’ll sit there wondering what might have happened if you’d tried. People will always have opinions — you have to block out the noise and do what feels right in that moment.

Alexander James’ exhibition is on view until May 31, 2026, the exhibition highlights James’s ongoing exploration of the square as both a compositional device and a symbolic boundary.

The post IN CONVERSATION WITH ALEXANDER JAMES: EXPLORING ‘DISSECTING THE SQUARE. COLOURS AND BLACK’ AT PHILLIPS appeared first on T&C Magazine.

As editors, we are often focused on learning and writing about upcoming stories in lifestyle and beauty. Sometimes, even finding it hard to slow down or make time to be present. Walking into the treatment experience withEstheClinic felt like stepping out of the noise.

EstheClinic offers several services, one of which is their recent launch, the ERA Mask. With the mask standing out for its structured, science backed approach with LED therapy, it has a sleek, sculptural presence where it’s inner surface is embedded with arranged LED lights. The shape of it comes with specific cuts dedicated for the eyes and mouth that are functional yet versatile, while remaining minimalistic and modern.

And the results? By following the recommended use of the mask at least three to four times a week, this consistent application will allow your skin to appear brighter and softer, even restoring radiance and improving tone. Retailing at HKD 5,800 with a one year long warranty, the ERA Mask is now available at all EstheClinic branches and is known to be light therapy for the skin in home care spaces.

THE CONSULTATION

As beauty and lifestyle editors, we understand the importance of consultation where it’s crucial to set the tone before the treatment begins. The entire consultation was not rushed at all and was thoughtful and deeply attentive. The clinic carefully analysed what my skin was lacking and what I hoped to see improve from the treatment. Every step felt considered and each question was tailored back to my skin’s condition and lifestyle.

THE TREATMENT

Here is when the lights are switched off and you immediately start sinking into the comfort of the treatment room. Additionally, a Hydrafacial was added and tailored to what my skin needed at that moment. From start to finish, the treatment is delivered with reassuring precision where the whole experience felt consistently controlled.

Post treatment, my skin was hydrated and genuinely replenished. Even the next day, there was this softness and glow that feels refined, not overly dewy but still glowing from within.

INSTAGRAM @estheclinic.hk

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Hosted at the HKGTA Town Club, this exclusive preview welcomed various media platforms and VIP for a presentation on the new edition’s craftsmanship, where editors and guests got an in depth look at the model while learning more about its acoustics. Additionally, the BeoLab 90 has been reimagined in five limited editions to commemorate its 100th year in embracing the brand’s design legacy.

Alongside, the luncheon featured a curated listening session for guests as they enjoy their meal. From Michael Jackson’s greatest hits to the timeless classics of Anita Mui, as well as Queen’s iconic “Bohemian Rhapsody,” this experience took guest through a musicial journey across generations and back to the century of sound. 

A true blend into sound and gastronomy and a showcase of the depth, precision and power of the BeoLab 90.

At the heart of the luncheon, we spoke to the Bang & Olufsen team where they shared more about the design:

“Each BeoLab 90 features 18 handcrafted drivers. This includes seven tweeters, seven midrange drivers, and four woofers. The bass performance is especially powerful, driven by three 10-inch woofers and one 12-inch woofer.”

Stay tuned as the celebration of its 100 year continues,with the next event set to take place at the end of May at Tai Kwun.

photo @BANG&OLUFSEN

The post BEOLAB 90 TITAN EDITION UNVEILED AT HONG KONG MEDIA LUNCHEON appeared first on T&C Magazine.

Founded by Michael “Shoe” Shoemore, SHOE made his mark in Hong Kong with an exclusive pop-up during ComplexCon week and Art Basel month. The Los Angeles label launched a limited‑edition capsule, a move that matched the city’s urgent, electric energy. 

DJs from the female‑led hip‑hop collective FWY Party provided the soundtrack, and the venue had creatives flowing between racks, beats and conversation. Giveaway winners were announced and the room pulsed allowing the brand’s language to speak in a way the city understands: high contrast, high intensity, and no interest in playing safe.

“Combining fashion and culture is at the heart of what we do,” Shoemore said. “This event is an invitation for the Hong Kong community to engage with our brand in a way that resonates with their personal stories.”

– Michael Shoemore

Before SHOE, Shoemore worked as a visual director for artists including Drake, Jhené Aiko and Migos, and that background still shows in the way the brand constructs atmosphere. SHOE doesn’t present itself as polished luxury in the conventional sense; it leans toward a luxury that’s pulled apart, rebuilt and pushed toward something darker, sharper and more emotionally charged.

The capsule continues SHOE’s exploration of movement, cultural exchange, and the evolving relationship between cities and creative communities. The collection features hoodies, graphic T‑shirts and a leather trucker hat, each piece designed to reflect the connection between Los Angeles and Hong Kong.

At the center of the capsule are two graphic motifs that explore both the journey and emotional link between the two cities. One is an aviation‑inspired graphic: a red aircraft bearing the SHOE logo across its fuselage, anchored by the Chinese characters 香港 (Hong Kong) — a literal symbol of the brand’s movement from LA to the city. The second is a bold heart motif formed from stylized Chinese characters representing Hong Kong, transforming language into a symbol of appreciation and cultural connection. Visual artist Sam Wong created the artwork, contributing to the collection’s visual language while remaining true to SHOE’s narrative‑driven design direction.

That mood — instinctive, disruptive and cinematic — made immediate sense in Mong Kok. Founded by Michael “Shoe” Shoemore, SHOE comes out of Los Angeles with a visual world shaped by instinct, disruption and a taste for the cinematic.

For a label already rooted in artist and athlete communities, the Hong Kong pop‑up wasn’t about proving arrival; it was about seeing what happens when SHOE’s world drops into another world with equal pulse.

EVENT IMAGES

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Despite yesterday’s rain, crowds still turned out in full force. From the packed crowd to the shift from daylight into night, it felt like one of those moments where the city was fully locked in. Their long-awaited East Asia debut turned West Kowloon into something bigger than a headline set: a reminder of how far music can travel when the right crowd meets it.

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By early evening, the space was already thick with that Magic Room energy. Not overworked, just a crowd, a setting and a sound that made sense together. Red light cut across the audience, hit faces in flashes, bounced off scaffolding and soaked the entire site in something almost cinematic. It felt distinctly Hong Kong: dense, dramatic, a little chaotic, and all the better for it.

The line-up helped. Musumeci B2B Lehar brought the sort of set that suited the skyline perfectly — immersive, driving, and expansive enough to stretch across the open air without losing the crowd. Radeckt added another layer to the evening, while the Nodes crew — Leon, Mo-Shi, Milam and Nat Dunn — kept the pulse of the night closely tied to home. It spoke to the kind of platform Magic Room has become: one that knows how to hold space for both the expansion of Hong Kong and those who have built it.

In a city where nightlife can so often be over-explained, over-branded or over-designed, Magic Room’s fifth anniversary was a reminder that the strongest parties are still the ones that understand feeling first. This was not just as a celebration of five years, but proof of what can happen when a party grows with its city instead of simply happening inside it.

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A few days ago, we dived into STAPLE’s Spring/Summer 2026 collection at their Hong Kong flagship store in Hysan Place, where creator Skylar guided us through an exclusive preview that captures the essence of resilience.

The store was filled buzzed with bright energy where streetwear enthusiasts and trendsetters sported the latest looks. Creators showcased their personal flair while media representatives highlighted the collection’s innovative designs and stories.

The items in this collection aren’t just clothing, they are powerful statements of strength in the face of adversity.

Originally founded in New York City by Jeff Staple, STAPLE has since expanded to other regions, including Hong Kong where the brand continues to spread the New York spirit and iconic pigeon through their campaign’s in store activations and cross-disciplinary collaborative approach. STAPLE’s philosophy on movement is viewed as both a lifestyle and a form of spiritual expression. This collection brings transitional moments in modern urban life to the surface for their audience and buyers to experience in real time.

Titled “WE WERE NEVER BURIED,” SS26 resonates with Jeff Staple’s impactful mantra: “THEY TRIED TO BURY US. THEY DIDN’T KNOW WE WERE SEEDS.” A phrase that fully embodies the spirit of resilience and transformation STAPLE embodies.

SS26 is not about the destination, but the ongoing journey where hardship is transformed into the momentum to keep moving forward.

The collection builds its overall colour system through a visual language centred on the coexistence of nature and the city. The palette is grounded in earthy tones, with beige-brown, black, and grey, which serve as steady core shades throughout the collection and echo its key themes of resilience, growth, and forward momentum.

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Edits: Greg Law

talents JASMINE KELLY ANDRE LEUNG SANJAY NEWAR stylist YUKA YU mua SAPPHIRE SHEN hair stylist EARL YAM photography GIOIA CHEUNG YK brands SENSE_STORE SENSE_ANNEXES MOONLIGHT GANG DIE\./YOUNG [TIE] STARRYRAMUNE [ACC] HMAD.OFFICIAL [SHOES]

The storm outside is relentless. Through a fractured Zoom connection, rain drums against the window behind Sanjay, Lushroom (Andre), and Jasmine Kelly. Fresh from re- hearsal for their upcoming Asia tour, there’s something beautifully unguarded about the trio—a familial ease that transcends pixelat- ed screens. They aren’t merely bandmates; they’re a self-contained engine of Gen Z creativity, their origin story unfolding like a constellation of serendipitous moments, instinctive trust, and quiet determination.

Sanjay’s musical awakening began at sixteen with SoundCloud covers—a starting point he describes with characteristic humility. ‘I never really thought about writing songs like original music seriously or having a sort of style,’ he admits. When his track ‘Heart of Steel’ unexpectedly dominated the platform’s folk charts (a classification that still makes Jasmine laugh), it propelled him to Spotify and, eventually, to a casual recommendation from a high school friend: ‘You should check this guy out.’ That guy was Lushroom.

Jasmine’s path to music was more circuitous. Piano lessons at five felt like punishment; she despised them, fabricating her way through sheet music until she escaped at ten. Music only clicked years later when a friend’s broken ukulele sparked her curiosity. You- Tube became her conservatory, leading to
a folk duo that busked across Hong Kong and graced the Clockenflap stage. Yet by university, she was recording on her phone, battling COVID-induced writer’s block that nearly ended everything. ‘I said, okay, I’m just gonna study economics and go to work.’

Lushroom’s initiation came through Green Day and Skrillex, sounds that defied his understanding of what music could be. ‘I was like, whoa, what the… that’s not real.’ By thirteen, he was DJing school fashion shows and house parties. A competition win brought equipment, Logic Pro 9 followed, and suddenly the possibilities seemed infinite. ‘oh, you can make this stuff on your comput-er.’ He began releasing music as Lushroom, cultivating a local following whilst studying audio engineering, until COVID redirected him back to Hong Kong.

When discussion turns to their blend of Eastern and Western influences, Jasmine responds with characteristic pragmatism. ‘I think just the world is gonna be more local- ised anyway.’ She writes predominantly in English but embraces Mandarin following the viral success of ‘Dancing in the Dark’

Their convergence happened in the most ordinary of places: the floor of Tin Hau MTR station. Lushroom, scrolling through Spotify with Apple headphones, stumbled upon a track by Scaredkrow—Sanjay’s former alias. ‘I played it and I was like… I need this guy. Who is this? How come nobody knows who this guy is? His writing was crazy.’ The mes- sage he sent changed everything. Sanjay, refreshingly open to possibility, ‘said yes to everything.’ Their experimentation yielded

in China. ‘It’s just fun to play with rhymes.’ Lushroom views their genre-fluid approach
as evolutionary rather than rebellious. ‘It’s very easy to put yourself in a box. But humans are fluid. We like a lot of different things.’ Their creative process thrives on productive tension—where one person’s discarded idea becomes another’s breakthrough.

a licensing deal for their debut EP during Lushroom’s gap year. ‘Oh, whoa. It’s kinda really serious now.’

For them, authenticity isn’t about rejecting the mainstream; it’s about refusing compromise. Sanjay distils it perfectly: ‘As long as you stay happy with what you enjoy making, that’s the best way you can really feel like you’re still expressing yourself.’

Their immediate future is refreshingly grounded: an Asia tour, new music, elevat- ed merchandise. They’ve learnt not to force outcomes. ‘You plant all these seeds and you don’t know when you’re gonna be reward- ed,’ Lushroom muses. Fame isn’t the goal— sustainability is. ‘We want to prove that you can make it work,’ Jasmine states. ‘You don’t need a lot of people—you just need good friends.’

As the call ends, the rain in Hong Kong softens. What remains is the echo of a shared ethos: that creativity thrives not in isolation, but in community. That the most compelling art often comes from trusting your circle, learning as you go, and letting your work speak in more than one language.

Jasmine’s return to music was beautifully direct. Pandemic-bound in Hong Kong, she impulsively messaged Lushroom on Sound- Cloud. ‘Oh, your beats are cool.’ His imme- diate response—’Do you want to sing on this track?’—sparked recognition between two displaced souls: she from Budapest, he from Florida. After several sessions, Lushroom’s de- livered the confrontation she needed. ‘I was upset. You’re gonna stop doing music? I said no. it’s only risky if you suck.’ His directive was simple: buy a laptop, download Logic, commit. ‘I think I needed that push.’

Nice Young Records emerged not from strategic planning but from internet culture. Lushroom’s explanation is wonderfully mat- ter-of-fact: ‘There was a meme of an alien with text that says “nice young man, loves
his mom.” I thought it was funny.’ The name migrated from DJ gigs to clothing, finally becoming their musical platform. When Sanjay and Jasmine joined, it transformed into something greater. ‘It was made out of necessity,’ Lushroom reflects, ‘but it’s become an identifier.’

Their strength lies in complementary skills and shared dedication. Sanjay orchestrates art di- rection, Jasmine crafts websites and graphics, and Lushroom drives production. There’s no passenger mentality here. ‘We all try really hard to pull our weight,’ Jasmine observes. ‘If we don’t know how to do something, we just go online and search how to.’ They operate with startup agility: multilingual, adaptable, fiercely independent.

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Step into the role of a detective where every piece tells a story and everyone is a suspect. This captivating collection is framed as a classic whodunit, seamlessly blending high fashion with the intrigue of crime fiction. Expect to see a dramatic array of designs inspired by unforgettable character tropes, from enigmatic spies to charming yet dangerous figures.

You’re the detective and everyone’s a suspect. Framed like a classic whodunit murder mystery, SSSTUFF’s newest ensemble plays into the iconic character tropes of crime fiction. Think spy coats, murder weapons, colour-changing fabrics, and more. 

The clues are dotted all across the wardrobe. Are you ready to solve the mystery?

Collection Details

The Characters’ names

Suspect 01 The Hotel Management

Suspect 02 The celebrity on Rehab  

Suspect 03 The Plumber 

Suspect 04 The Posh Daughter

Suspect 05 The Lobby Boy 

Suspect 06 The Handy Man 

Suspect 07 The Honey Moon Husband 

Suspect 08 The Posh Mum 

Suspect 09 The Posh Son 

Suspect 10 The Gardener 

Suspect 11 The Security Guard 

Suspect 12 The Posh Dad 

Suspect 13 The Honey Moon Wife 

The Victim The Undercover Spy 

Character dressing has been taken to a whole new level! Which would you choose? Murder or Victim?

The post SSSTUFFF RETURNS TO PARIS FASHION WEEK “THE CASE OF CHATEAU” appeared first on T&C Magazine.

2016 was a pivotal year for global pop culture and internet memes became cultural currency. Trends like the Bottle Flip Challenge, the Mannequin Challenge, and the Running Man dance were just the few that captivated users by leaning into humor and showcasing playfulness at the heart of social media. Recent posts of throwback content and marketing have reignited conversations about trends from that year, and the idea that the internet is a shared playground more than a stage.

Fashion followed this energy too! bomber jackets were everywhere, heavy 90s nostalgia permeated the fashion scene, and streetwear was blended pretty seamlessly into high fashion.

Pokémon Go was on the rise, redefining the crossover between digital experiences and real life, while a new wave of rappers dominated the charts, with major releases from Kanye, Beyoncé, Drake, and more. All of which cemented 2016 as a year driven by digital-first cultural moments.

BUT WHY NOW?

Part of this renewed fascination has come from the decade mark of entering 2026, and how Gen Z views 2016, not only as a memorable year in itself but a representation of the spontaneity and carefree attitudes pre-pandemic and pre-AI. It was a year not focused on perfection.  

Additionally, brands and the marketing world have been pushing for the nostalgia of the 2016 comeback. Revisiting the storytelling of the year offers familiarity and comfort, offering a bit of a reset from the overstimulation of algorithm pressure. This revival isn’t about a time-machine, it’s about reclaiming the internet as: unserious, communal, and creatively free.

WE’VE PUT A 2016 THROWBACK PLAYLIST TOGETHER FOR YOU!

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