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.

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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.

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.

From audiophile listening rooms to kinetic art installations, Hong Kong’s bar and dining scene continues to push in unexpected directions this month. Tasha Lam dives into the newly refreshed and opened spots around town that you need to know about.

The Green Door Bar x Mr Koo — 2026 Signature Collection “Strangers:friends:lovers”

Central’s speakeasy-beneath-the-wet-market is at it again. The Green Door Bar has teamed up with tattoo artist Mr Koo for a new cocktail collection, “Strangers:friends:lovers”, that’s equal parts playful and precise.

Across 21 original drinks, the bar riffs on classics with off-kilter twists. Think a Perfume Umami Martini laced with mushroom and elderflower (Coco, HK$150), a cornbread-and-jalapeño Gold Rush (Lee, HK$160), and the returning cult favourite Jenny: a Big Mac–inspired Paloma complete with tomato, pickle and secret-sauce shrub (HK$180). Several serves arrive in handcrafted ceramic cups by local artists Laiza and Laven. Four mocktails round out the menu for the sober-curious.

The Green Door, LG/F, 97 Wellington Street, Central. @thegreendoor.bar

Friday After Class — The Third Culture Sip

Friday After Class is raising a glass to the city’s grown-up third-culture kids with The Third Culture Sip, a cocktail programme that ditches the tired “fusion” label for something more personal. Each drink channels the in-between feeling of global childhoods filtered through a Hong Kong lens — black sesame and lemongrass meet bourbon in the Spice & Sesame Martini, while the Butter Pop! spins cinema snacks into a white rum sipper with popcorn, Earl Grey and chocolate.

For the adventurous, Yaki-Caprese Salad mashes Rome and Osaka together with vodka, mozzarella, yaki sauce, ginger and wasabi. All cocktails are priced at HK$130.

Friday After Class, 52 Peel Street, Central. @fridayafterclass.hk

Dead Poets — Liquid Gallery v4: Dead Painters

Dead Poets’ latest concept treats cocktails as canvases. Following menus dedicated to writers and musicians, the Aberdeen Street bar is now channelling art history’s heavyweights for Liquid Gallery v4: Dead Painters.

The Van Gogh’s Sunflower riffs on the Dutch master with gin, absinthe, sunflower seed and marigold cordial, while the Campbell’s Highball nods to Warhol’s pop-art tins via Jack Daniel’s, clarified cola and tomato-strawberry syrup.

The launch ties into bartender Nikita Matveev’s Aberdeen Arts Row initiative, which sees three of his venues — The Old Man, AER and Dead Poets — each spotlighting a different creative discipline this month.

Dead Poets, G/F, 41–49 Aberdeen Street, Central. @deadpoetshk

AER — New Dining & Cocktail Programme

Central’s audiophile hideout AER has levelled up from late-night drinks den to full-blown “Listening Lounge”. A custom quadraphonic sound system — vintage Altec 19 speakers, JBL monitors and Class-A amplification — means the playlist genuinely drives the palate.

The new menu leans American diner: Uncle Andy’s Hot Beef piles roast beef, mustard sauce, fried egg and chilli crisp high, while Irish nods include Spice Bags and a properly poured Guinness.

Cocktails translate record labels into liquid form under the banner “Indulge in the Frequency” — Factory Records channels post-punk via pineapple, lime and allspice; Nervous Records delivers peak-hour energy with espresso and velvet coconut. Weekends bring sets from some of Hong Kong’s sharpest selectors.

AER, UG/F, Ming Hing House, 52–56 Staunton Street, Central (entrance on Aberdeen Street).
Wed 5pm–midnight; Thu–Sat 5pm–1am. @aer_hkg

The Old Man — “Relationships” Sculpture & Relations Menu

The Old Man is pairing cocktails with kinetic art this season. To accompany the bar’s Relations menu — a drinks programme exploring the human connections that shaped Ernest Hemingway’s life — the Aberdeen Street institution has unveiled a contemporary mobile sculpture co-created with design partner Oddity Studio.

Inspired by Alexander Calder’s floating forms and the “accidental sculptures” of Hong Kong’s back alleys (à la photographer Michael Wolf), the piece comprises twelve suspended objects held together by equilibrium alone, each representing a figure from Hemingway’s orbit: mentors, rivals, lovers, friends and family.

Set in gentle, perpetual motion behind the bar, it serves as a living backdrop while bartenders pour drinks that distill those same relationships into liquid form. It’s conceptual, yes, but mostly it’s a very good excuse to sit, sip and stare.

The Old Man, G/F, 37–39 Aberdeen Street, Central. @theoldmanhk

Cruise Restaurant & Bar — Port of Call: Mexico

Fancy a trip to Cabo without the 17-hour haul? Cruise Restaurant & Bar is transforming its Victoria Harbour rooftop into a Latin fiesta for six weeks, partnering with premium distributor Spiritu for Port of Call: Mexico.

Expect frozen margaritas whirring from a custom slush machine (boozy or zero-proof), a cocktail line-up heavy on tequila and mezcal — try the smoky La Paloma or the tropical Banana Old Fashioned — and a food menu that crashes Asian flavours into Mexican street-food staples. Think Mapo Nachos smothered in Sichuan pork and wagyu short-rib tacos with tomatillo chutney.

Every Friday from 8pm, resident DJs drop reggaeton and Latin beats to keep the weekend rolling. Sombreros optional, but encouraged.

Port of Call: Mexico runs 17 April – late May 2026.
Cruise Restaurant & Bar, 23/F (West Tower), Hyatt Centric Victoria Harbour Hong Kong, North Point. @cruisehk

photo credits @tashalam // YK

The post WHAT’S NEW IN HONG KONG THIS MAY! 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

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