We spoke with Olivia Buchon, founder of Excuse My French, a Hong Kong based concept store on redefining the retail experience. With two locations in Hong Kong, Repulse Bay and Central district, EMF offers an immersive shopping experience selling clothing, accessories and home wear. At its core EMF is a natural fibres, slow fashion brand specialising in timeless and high quality pieces. EMF acts as a unique bridge between France and Hong Kong, balancing Olivia’s French heritage with the energy of Hong Kong.  

In a world shaped by consumerist culture, Olivia and her brand act as a beacon of hope for slow fashion. Olivia spoke passionately about slow, ethical and high quality fashion. For every piece there was a story to tell, a detail to highlight. You can tell how much thought and energy go into each piece, reflecting Olivia’s own heritage and beliefs. Olivia invites us to challenge the social norms of consumption, and instead, think about what we buy and what story it can tell. 

T&C: Can you tell us about your journey of becoming a natural fibers fashion brand?

Olivia: I think it simply comes from my origin. I grew up in Brittany in the countryside and would spend a lot of time with my grandma. Everything she had was all natural fibres and made by hand. We used to not have much, but what we had was high quality. This is what you can find in my collection. We do natural linen, embroidery and silk. It’s back to the roots. 

My parents were in the clothing business and I’ve spent 30 years in the fashion industry — from LA, to Paris, to Australia, then to here. I think the big change is when you become a mother, because you know what you want, and what you don’t want. I’ve built another brand before. But for this one, I really focused on what I wanted. It’s really about the value of the family, back to the roots. Nothing fancy, but once again, it’s about natural fabrics. Everything I do is stitch ‘a la française’. There is no overlock and the product is very well done (the boudoir, the right colour). I’m against all plastic. There isn’t one piece in my shop which is nylon or polyester. Even with our main product, which is knitwear, we need to use a bit of polyester to make the yarn and we use plastic bottles from the ocean for the 5 or 6% we need. 

It’s my brand and I control everything from A to Z. From the sourcing, to the drawing, to the grading by hand.

T&C: You are a slow fashion brand, can you tell us more about how this aligns with your brand identity?

Olivia: If a product I develop is not perfect, I’d rather wait. I’ve been working for two years on a product. But I won’t do it until it’s exactly the way I want, until it’s perfect, and until it’s completely ethical. And by ethical, it’s not only the material, it’s the people you work with. I work with the ateliers and with small factories. I don’t want a major collection and I don’t follow the trends much. Of course we have to bring in new products, but I always choose the priority of the product over the lead time, over everything. 

T&C: As a French brand you are heavily inspired by French fashion, but how does Hong Kong inspire your pieces?

Olivia: I’ve been in Hong Kong for 16 years and EMF will soon be 10 years old. I’m French so in my collection you will always find the French touch and the effortless chic. But what’s really inspired my collections is Hong Kong. The old and the new. The heritage and the modernity. All this contrast is what you can find in my brand. 

For example, in the new collection we have silk with dots. The silk is from China (they are so strong in silk), and the dots are retro and very French. So we developed this jacquard silk with dots. For the September collection we have developed another jacquard silk and we drew from the Li River in China. The brand is really the bridge between France and Asia.

T&C: What is the future of EMF and natural, ethical fashion?

Olivia: I think China has been criticised a lot for their production. To me, China is fantastic as they have small ateliers. Hong Kong is a fantastic place to build an ethical brand and there are always interesting ways to develop new products ethically. 

We were really the pioneers in Hong Kong. We were the first to do this super ethical knit. We were the first true ethical brand. I think the brand will keep evolving in the sense of the East meets West. 

We don’t do wholesale and we’re a full concept store. We started our website a year ago and we ship internationally every day right now. We’re also looking for other shops around the world. Maybe we’ll open some pop-up stores in other cities. But to be a concept brand, retail is very important, it’s not only about the product. I don’t want to just open shops to open shops. 

This brand is built for everybody — from babies to 100 year olds. I want to do timeless pieces. Behind every product I design my priority is always quality. The first question when the product is finished is, “how long would I keep it in the wardrobe?”. In the future I think we can still do a lot. We’re really into educating people about buying less, but buying better. Don’t buy your product, buy your story. Take the product, and make it yours.

You can explore EMF online or in person in their perfectly curated, immersive shops in Central and in Repulse Bay, with one more opening soon in a secret location!

Address

Address: 28 Beach Road The pulse, level 2 shop 201(e, Repulse Bay, Hong Kong             

Address: 75 Hollywood Road, Central, Hong Kong

The post EXCUSE MY FRENCH: A BRAND ROOTED IN TRADITION WHICH CONTINUES TO REDEFINE FASHION appeared first on T&C Magazine.

KE: Tell us more about yourself      

LD:  Hi my name is Lena Dang and I am the creative director and chief executive officer for Posthuman Lab. By leveraging cutting edge technology and a futuristic design language, we aim to bring fashion closer to the next stage of evolution, which inspired the name Posthuman Lab. 

KE: Walk us through your creative process when coming up with the concept of a collection. How do you assert your narrative and authenticity ?                                                         

LD: As a brand that experiments and transcends the ordinary, having our own process is crucial when it comes to our creative development. Our first step is philosophical exploration. We believe that every accessory we create should be made with meaning in shaping the narrative and visual language of our designs. The second is technology. We often experiment with emerging technologies, sometimes even outside of the jewellery or accessories industry. In one of our recent collections, we even integrated an NFC chip into a necklace allowing an interactive experience with our buyers through activating important links inside your jewellery. The third would be material exploration. We are constantly researching and experimenting with new materials.

KE: ⁠Futurism and cyberpunk aesthetics have been trending for some time now. What would you say sets Posthuman Lab apart from others of this realm?                                            

LD: Beyond mainstream aesthetics, cyberpunk and futurism to Posthuman Lab are a philosophy, a way of thinking. We are the first adopters of emerging technologies, whether it is a new material or manufacturing method. We like experimenting with developments coming from outside the traditional jewellery & accessories industry throughout our core design process. The brand’s creative direction does not stop at branding but helps focus the exploration on how technology and philosophy can expand human expression through our creations.

KE: ⁠How does your brand, anchored on the notion of estheticized post-humanism, position itself in a global context characterized by growing concerns for the intersection between technological progress and humanity?                        

LD: Our perspective at Posthuman Lab is ultimately optimistic. 

“We see technology not as an enemy or something that replaces humanity, but as something that expands human potential and creative vision. Posthumanism, for us, is not about losing our humanity but rather about exploring how humans evolve alongside technology, beautifully and mindfully”

Through the design, we try to express the possibilities that emerge when technology, fashion & human perception evolve together.

KE: Your label puts a heavy emphasis on sustainability, using 3D printing and releasing limited, on-demand drops to reduce waste. How has this model, contrasting with the short-trend cycles dominating the industry at the moment, been working out for you?                                                              

LD: Sustainability is part of our brand DNA. We believe in creating a posthuman world by minimising our impact on the environment. One of the reasons we work with 3D printing is that it allows a much more precise production process compared to traditional manufacturing. We can reduce unnecessary material waste and produce pieces with far greater efficiency. At the same time, our limited drops allow us to avoid the overproduction that is common in the fashion industry. Instead of producing large volumes in advance and hoping they sell, we release smaller quantities, which make our collections more exclusive than trendy. So in many ways, this model has worked well for us as it aligns with how we see the future of fashion: more thoughtful production, more intentional design, and less waste.

⁠KE: Where do you think the future of fashion is headed and how do you imagine Posthuman Lab to fit within this vision?                                                                                                 

LD: Technology is giving more opportunities for people to express themselves. Knowing how to optimize different creative tools is therefore becoming one of the most valuable skillsets. And in terms of the future of jewellery and accessories, I absolutely believe that at some point, 3D printers are going to be accessible to everyone. I even read that in the future, we might be able to 3D print our own shoes from the comfort of our home. We’re definitely going to be continuously disrupted by technology, which makes me excited to see how our brand evolves in parallel at the forefront of technological development.

The post MEET LENA FROM POSTHUMAN LAB appeared first on T&C Magazine.

The dress code for the evening was clear: florals and dark metallics. Mia arrived in a stunning purple two-piece ensemble, custom alltered to feature metallic detailing along the top. A sleek belt with subtle metal accents added an extra edge to the look. Adorned with Crystaling’s jewelry, she made the entrance, one that set the tone for the night to be remembered by all.

GET TO KNOW MIA MATAYOSHI 

Mia doesn’t write songs for the radio. Instead, she writes them for the girl who overanalyses a text message at 2 a.m. For the girl caught in the vicious cycle of catching feelings and letting them go. Her music captures all the messy parts of love that everyone feels, but no one says out loud.

Honeymoon Phase traces the full life cycle of a romantic relationship — from the giddy, terrifying beginning to the quiet, bruised acceptance at the end. Over the span of a year, working closely with producer Michael Lance, a familiar voice on RTHK Radio 3, Mia built Honeymoon Phase with endless vocal layers and ear candy. In the album, Mia uses two symbols to guide the listener: flowers for emotional stages, moon phases for timing. A budding romance gets a sprout; a breakup gets a wilted petal; the full moon shines on delusion, so it was only right that Gossip was draped in five foot tall flowers to match.

MOMENTS FROM THE NIGHT 

It was such a special night and I was thrilled to see everyone singing along to the singles that have been released, and being the firsts to hear the unreleased tracks from the album. I can’t wait to see more independent artists come out of Hong Kong to liven up the music scene here.

– Mia Matayoshi

The crowd showed up for Mia in a spectacular way, with friends, family, industry members, and long-term supporters eagerly waiting. Opening with close friends Zolie Chan and JOCE. who are both musicians in their own right and, much like Mia, balance the local and international aspects of Hong Kong’s music scene. Zolie brought her own piano to match her softer melodic voice, and Joce gave deep energy and Cantonese rapping, all preparing for the unreleased songs to be performed.

A night to remember, transforming Hong Kong’s Cocktail Club Gossip into an exclusive concert for Mia’s album release along with a surprise outfit change and dance number with two backup dancers for the finale of the night, and it definitely got everyone dancing along.

Her training as both a dancer and model, have taught her one thing: that vulnerability is a performance too. And oftentimes, it’s the hardest one to nail. This album is the true embodiment of that. Her songs don’t tell young girls to toughen up. They tell them to feel it fully, write it down, and then maybe turn it into a next hit single.

The post THE FULL BLOOM OF LETTING GO: MIA MATAYOSHI’S ‘HONEYMOON PHASE’ appeared first on T&C Magazine.

DON PEDRO

Sai Ying Pun has welcomed a new Argentinian steakhouse, and it’s a refreshing choice for your next romantic date spot. Helmed by Chris Mark and Vidur Yadav, the 35-seat space channels the laid-back Buenos Aires’ classic bodegones with beef sourced from the same farms as the legendary Parrilla Don Julio and dry-aged in-house—75 days for the ribeye, 40 for the tenderloin. The short menu rounds out with chorizo flambé, beef empanadas, and a Malbec-focused wine list featuring a flight exclusive to Hong Kong. Finish with the namesake Don Pedro dessert: fresh gelato, toasted walnuts, and a generous pour of whisky.

Second Street, Sai Ying Pun; bookings from 2 June; around HK$600; @DonPedroHK

GOKAN LAUNCHES NEW COCKTAIL MENU

Shingo Gokan‘s Ice House Street bar GOKAN unveils nine new cocktails drawing on Japanese festival culture, Okinawan ingredients and Hong Kong influences. Organized by the five fundamental flavors (gomi)—sweet, sour, spicy, bitter and savory—highlights include the Omatsuri Banana, a clarified milk punch celebrating the chocolate-covered bananas of Japanese summer festivals, and the Mango Hot Pot, a playful sha cha–infused creation with beef, cilantro and tamari. Other standouts feature the Geisha Espresso Martini made with premium Colombian Geisha coffee from Koffee Mameya and Okinawa purple sweet potato, plus the Black Tomato Tree, a dark twist on Gokan’s iconic Tomato Tree using Shandong black tomato and Shizuoka Amela tomato with a black olive salt rim.

30 Ice House Street, Central | @gokan.hk

Cafe TOO’s “Taste of Japan” Buffet, Island Shangrila

Island Shangri-La’s buffet goes full Japanese this month with a new theme launching on June 3. The spread spans three zones: a sashimi and sushi station with otoro and chu-toro on weekends, a hot section featuring yakitori, tempura, and unagi don, plus a dinner-exclusive wagyu zone with sukiyaki, teppanyaki, and crispy wagyu cutlet. The usual cafe TOO hits—steamed lobster, oysters, roast lamb—stay on rotation. Shangri-La Circle members get 20% off, and there’s a flash sale running 27–29 May with buy-one-get-one-free deals.

Level 7, Pacific Place, Admiralty; lunch from HK$568, dinner from HK$868; (852) 2820 8571

The Silver Tray Society at Cassio Social Club

Cassio’s terrace has a new Wednesday night residency, and the tagline says it all: “Grow up. Get a Happy Meal.” Running 7pm to 10pm from 27 May, The Silver Tray Society pairs a roving martini trolley—shaking classic and Nusantara espresso martinis tableside—with an Adult Happy Meal served on a silver platter. Tiers run from a premium burger with one martini ($180) up to the full works with truffle fries, chicken bites, and a limited-edition happy meal box ($250). The last Wednesday of each month goes bigger with a Special Edition featuring guest female mixologists and pop-ups from female-founded lifestyle brands.

Cassio Social Club, Lan Kwai Fong; every Wednesday from 27 May; from HK$180+10% SC

BLANC DE NOIRS

This summer we’re indulging in bubbles and refined bites! Located on the seventh floor of the Landmark Mandarin Oriental, an intimate and glamorous bar has joined the hotel’s seven Michelin starred restaurant collection. In striking black and white marble tones and accented with vintage photography, the space has been set for serious bubbles with champagnes available by the glass and a 500-label cellar spanning grower cuvées and rare vintages. Chef Richard Ekkebus brings you into the kitchen and oversees the food along with caviar topped comfort: think a fried chicken with ranch and caviar, a fillet-o-fish with ravigote mayo, and Beaufort gougères. There’s also artisanal charcuterie sliced tableside on a Berkel and a Hokkaido milk soft serve with olive oil and Maldon salt.

7/F, Mandarin Oriental The Landmark, Central; open daily from 11:30am; (852) 2132 0077

DIECI

Six months in, Chef Paolo Olivieri‘s intimate Central osteria is doubling down on regional Italian cooking with its most ambitious menu refresh yet. Over 60 percent of the dishes are new this summer, built around the chef’s “Osteria Futura” philosophy—tradition as a starting point, not an endpoint. Expect a refined Mozzarella in Carrozza (the Roman fried sandwich, layered with prosciutto cotto and garlic mayo), Catalana (Sardinian-style lobster with Tropea onions and cherry tomatoes), and a lighter take on lasagna with zucchini flowers and summer black truffle. The wine list has also been overhauled to spotlight small, family-run Italian producers.

Basement, 29–31 Gough Street, Central

ARGO’S NEW “EXPLORATION” MENU

Four Seasons’ perennially ranked bar (No. 11 on Asia’s 50 Best Bars 2025) has turned the spotlight, dropping a new cocktail menu to try now. Under beverage manager Jonathan Gabbay, the 12-drink Exploration programme unfolds in two chapters: the first centred around collaborations with local Hong Kong makers –  from a Chinese medicine practitioner to a cha chaan teng and even a tattoo artist – and the second inspired by seasonal ingredients. 

Highlights include Hong Kong Punch, a cognac-and-shochu number topped with egg tart foam and served with a butter tartlet for scooping, and the Rooty Slushy, a rum-based frozen drink with sweet potato, truffle honey, and balsamic. Ten house classics round out the list for those who know what they like.

Four Seasons Hotel Hong Kong, Central; cocktails from HK$180+10% SC

O’RM X THE GREEN DOOR: A NIGHT OF KOREAN DELICACIES AND SPIRITS

On June 11, The Green Door invites guests deeper down the rabbit hole with a one-night-only Korean takeover. The whimsical speakeasy, hidden beneath Graham Street’s wet market, welcomes O’rm—Hong Kong’s high-casual Korean snack bar—for an evening of elevated bites and curated traditional liquors. Fresh off its new menu collaboration with artist Mr. Koo, The Green Door continues pushing creative boundaries by bringing O’rm’s refined Korean flavours into its Alice in Wonderland-inspired space. Owner Chef Junwoo Choi (formerly of OBP) and Beverage Director Ted Ko of KAVE Group bring the kitchen takeover to life, where underground magic meets warm Korean hospitality and city pop energy.

June 11, 2026 | The Green Door, Graham Street

TIFFANY BLUE BOX CAFE OPENS AT LEE GARDENS

Starting from June 13, Tiffany & Co. invites Hong Kong into its world of Tiffany blue with the opening of its new Blue Box Cafe at its new Lee Gardens flagship in Causeway Bay.  The culinary experience comes from one-Michelin-starred ANDO’s Chef Agustin Balbi, who has crafted a menu of reimagined classics incorporating local ingredients. The all-day offering moves through breakfast—including the legendary Breakfast at Tiffany’s, available throughout the day—to the internationally celebrated Tiffany Afternoon Tea and weekend brunch. The café sits on the first floor of the 773-square-meter store, alongside a watch salon and Home & Accessories space, with artworks by Gregor Hildebrandt, Shim Moon Seup, Vik Muniz and Sho Shibuya throughout.

Opens June 13, 2026 | Lee Gardens, Causeway Bay

DEAD POETS LAUNCHES DRAFT NATURAL WINE FROM LA CABANE

Dead Poets on Aberdeen Street is teaming up with natural wine pioneers La Cabane to introduce draft wine to the Arts Row. Starting June 15, the cocktail bar will pour two exclusive New Zealand natural wines from Amoise winery straight from the tap: the Keg Chenin Blanc 2025 and the Keg Amphora Gamay Noir 2025, both at $90 per glass. Available whether you’re stopping by the daytime barbershop or kicking off a night on the slope.

Aberdeen Street, Central | From June 15

The post WHAT’S NEW TO TRY THIS JUNE IN HONG KONG appeared first on T&C Magazine.

One of the exhibition’s biggest highlights is the rare display of some of Bang & Olufsen’s most iconic creations. Visitors can trace the evolution of home entertainment through legendary pieces such as The Eliminator (1926), the company’s first commercial success, the acclaimed Beogram 4000 turntable, and the sculptural Beosound 9000 CD player. Stealing the spotlight is the highly anticipated Hong Kong debut of the Beolab 90 Titan Edition—a centennial masterpiece limited to only 10 pairs worldwide. 

The exhibition unfolds through four thoughtfully curated zones. Sound. Elevated. explores a century of groundbreaking products, while Factory 5 offers a fascinating look into the brand’s mastery of aluminium craftsmanship, from micron-precision cutting to intricate anodization techniques perfected over six decades. Design for Sound showcases 11 era-defining creations that transformed audio products into cultural icons. At the same time, Recreated Classics highlights how heritage pieces are restored and reimagined with modern technology for the streaming era. 

The opening ceremony carried an atmosphere that felt both celebratory and intimate. Industry insiders, creatives, media representatives, and long-time Bang & Olufsen enthusiasts gathered to reflect on the brand’s century-long journey. A memorable moment came when Hong Kong singer-songwriter Jay Fung took the stage to share his personal connection with the brand and its role in his creative process. During a press conversation, Jay Fung was invited to sing a few lines, drawing smiles from the crowd and adding a spontaneous, distinctly local moment to the centennial celebration. 

Beyond the exhibition, visitors can take home a piece of the 100 years celebration through the “Echoes Yard” newsstand, featuring limited-edition newspapers, collectable postcards, and exclusive commemorative souvenirs. As Bang & Olufsen looks toward its next century, A Century of Beautiful Sound is a tribute to how the brand blends exceptional design and sound to continue to shape the way we experience music, art, and everyday life. 

The post A CENTURY IN SOUND: BANG & OLUFSEN CELEBRATES 100 YEARS OF ACOUSTIC EXCELLENCE AT TAI KWUN appeared first on T&C Magazine.

What began as a humble pasta bar in a Wan Chai cul-de-sac has become one of Hong Kong’s most beloved dining institutions. This summer, Pici celebrates its 10th anniversary with a world-first collaboration with Chef Kwon Sung-jun, the champion of Netflix’s hit Korean cooking competition Culinary Class Wars known to fans as Napoli Matfia.

The partnership marks Chef Kwon’s first collaboration of this scale and his Hong Kong debut. Trained in world-class kitchens with deep roots in Italian cuisine, the chef brings a perspective that bridges Seoul and Naples—a fitting match for a pasta bar that has spent a decade making Italian tradition feel like home.

A Menu That Crosses Continents

From July 1 to 31, all nine Pici locations will serve a limited-time collaboration menu. Highlights include the Tagliolini Sicilian Prawn Tartare e Bottarga, a contemporary take on classic aglio olio; the Pici White Poultry Ragu & Truffle featuring duck, guinea fowl, yellow chicken and turkey finished with fresh truffle; and the Ravioli Galbi-jjim, a Korea-meets-Italy creation of braised short ribs with pear and pineapple on demi-glace, finished with Parmesan cream. The Chestnuts Tiramisu recreates the legendary dessert that helped Chef Kwon claim victory on the show.

Launch Events

The celebration kicks off on June 26 and 27 with Guest Chef Dinners at Pici Central, where Napoli Matfia will premiere the menu in person. Bookings are open now.

On June 27, Pici takes over the PMQ Atrium for its 10th Anniversary Market, a free public celebration from noon to 7pm. The market features pasta-tasting stalls, hand-rolling workshops, Aperol Spritz stations, and two live stage moments with Napoli Matfia—including a spontaneous “Pasta Challenge” and a “Young Pasta Chef Competition” presented by FWD Insurance, culminating in a live cooking demonstration.

Pici is also opening its 10th location at YOHO Mall in Yuen Long this summer, bringing handmade pasta to the New Territories for the first time.

Details

Guest Chef Dinner: June 26 & 27 at Pici Central

Pici 10th Anniversary Market: June 27, 12pm–7pm at PMQ Atrium (free entry)

10th Anniversary Menu: July 1–31 at all locations

Visit pici10.com for reservations.

Co-presented by FWD Insurance. Produced by Pirata Group.

The post PICI MARKS 10 YEARS WITH NETFLIX STAR NAPOLI MATIFA IN FIRST HONG KONG COLLABORATION appeared first on T&C Magazine.

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.

May is lupus awareness month, and this week T&C attended the Lupus Revolution Volume 2 – a fashion showcase of confidence and resilience. Every May, communities around the world come together to spread awareness about lupus, whilst celebrating the strength and passion of those with lupus. 

Dressed in touches of purple (the colour associated with lupus), guests gathered to the Eaton Club to watch the runway, listen to heartwarming speeches and educate themselves. This event was more than a fashion show, it gave us all the power to redefine beauty and hope, whilst learning more about lupus.

Founded by three lupus warriors, My Lupus Diary is a non-profit organisation supporting and empowering lupus patients, as well as spreading awareness about the condition. Lupus is a long-term, autoimmune condition which has physical and mental health symptoms. It is an invisible illness, and this means that it is often invisible to the rest of society. Through this event, and the work of MLD, lupus has been made visible to Hong Kong society.

IMMERSIVE ART EXHIBITIONS

The immersive art exhibition, led by Jacqueline Hester, allowed guests to experience the physical sensations of lupus, including blurred vision, muscle spasms and muscle weakness, showcasing the importance of empathy for conditions you can’t see. These are some of the many sensations lupus patients constantly experience, which means that activities, such as walking down a runway, require more focus and resilience. 

THE FASHION SHOWCASE

Hosted by Vincent Tang, the main event was the incredible fashion showcase. Supermodel Janet Ma coached 11 beautiful lupus warriors down the runway. Each walk and pose was distinct to each model – just as every outfit, styled by Bebe Mak, was unique. At one point, one of the lupus warriors tripped and fell on the catwalk. With the support of Janet Ma, she got back up and they walked down the runway together. This was a beautiful moment of resilience and strength. Midway through the show, Ping nam and Yonex performed a powerful dance which encapsulated the running theme of the event – courage and self-expression. Then, dressed in purple, the warriors returned for one final walk down the runway. The show ended with the audience showing their support through applause for the 11 radiant lupus warriors, this truly demonstrates our strength through unity. 

MLD co-founder Sapphire Shen gave a heartfelt speech of hope and bravery, prompting an emotional response from the audience. She discussed a heartbreaking story about people online reducing a man to his lupus illness. These kinds of narratives can be destructive and dehumanising to lupus patients. Lupus, and other illnesses, are often deeply tied to one’s identity. However, Sapphire made it clear that “having lupus doesn’t mean you don’t have the right to live beautifully”. Creativity and fashion are also sites of identity. Fashion is crucial to exploring and expressing our individuality. It was incredible to see each lupus warrior express themselves how they desired, and by doing so, they redefined beauty and power. 

Sapphire’s main message was to “be kind or be quiet”. This slogan was also printed on the MLD t-shirts being sold at the event. As the guests were watching the runway and learning about lupus, there was truly a sense of kindness, support and community. It was beautiful to see Sapphire’s words reflected in the energy of the guests.

THE EVENT

The day didn’t end there, with countless support coming through for the event. Following founder Sapphire’s speech, DJ BB Lamb changed the tone and focus back to the uplifting community with her set. Lucie Petit got everyone involved with the model experience leading a workshop for the guests, and Sara’s Henna offered beautiful henna designs to remember the night by. Accompanied by custom made purple drinks by Dead Poets society to match the theme, it was clear how many people this event touched.

There is still much to look forward to including a documentary showcasing the lives of two lupus warriors. The documentary, directed by Marie Yi-Qing Bouvéron, will be released soon, and will be an amazing extension to this meaningful work with My Lupus Diary.

The post THE LUPUS REVOLUTION VOL 2: HOW A FASHION RUNWAY REDEFINES BEAUTY AND HOPE appeared first on T&C Magazine.

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.