Dish of the Day: Model-turned-chef Esther Sham talks about her career

Esther Sham gave up a promising modelling career to indulge her passion for the culinary arts, and now owns two highly-acclaimed restaurants of her own…

Tell us a little about your early years…

Well, I was born in Hong Kong to a Shanghainese father and a Chiu Chow mother. I spent the first half of my childhood here, before moving to Los Angeles. Looking back, it was the perfect combination – I spent just enough time in Hong Kong to become familiar with traditional Chinese culture and was then able to immerse myself in the more Western approach to off-the-wall thinking and self-belief.

What then led you into modelling?

Well, after high school, I studied for a Bachelor’s Degree in Contemporary Art at the University of California. Once I graduated, though, I found I wasn’t actually that keen to become an artist, so I was at something of a loose end. That’s when I decided to come back to Hong Kong and try and find a ‘normal’ job for myself. That, however, turned out to be more of a struggle than I’d expected. It was around then that a number of people suggested I should consider modelling, especially as I had the height for it.

Esther Sham — *Jacket and pants in jacquard, white tee and pumps, all by Prada*

What was your favourite part about modelling, and what proved to be the biggest challenge?

The best thing was that no two days were alike. I was never repeating myself so there was a constant novelty to it all. It helped that I wasn’t just doing fashion, but also commercials and even cameos in TV shows. At the same time, I really came to struggle with the instability and unpredictability of the job. While one particular month could be filled with bookings, the next might be completely empty. Although I was in a relatively stable position, I ended up becoming very insecure about it all, so I feel fortunate that I discovered my love of food just a short while later. It grounded me in a way I had never been before.

So, how did your love of cooking develop and when was it you decided to reinvent yourself as chef?

As a kid, I have to say, I had no real interest in cooking. At the same time, though, my family was very food-oriented. Both my parents come from strong culinary traditions, so eating well cooked meals was always a given. Looking back, though, I think my passion for food is down to my parents – and to my mother, in particular. She came from a family of truly amazing female cooks and she was the one who taught me the importance of bringing happiness to your own family through good food.

While I was working as a model I wasn’t allowed to eat a great deal, so I became extremely picky in my choice of cuisine. It was then when I realised that creating good food is really an art. Then, while on assignment in Singapore, I was then exposed to a whole new culinary scene, one quite distinct from Hong Kong or Los Angeles. It ignited a flame in my heart and I started experimenting with different cuisines. Soon, I realised that my passion for cooking had out stripped my love of modelling. That’s when I finally decided to take the plunge.

Given your upbringing in Hong Kong and the US, why did you opt to specialise in French cuisine?

When I discovered Gallic gastronomy, it was like discovering a new form of art, albeit one with any number of practical applications. Aside from the fantastic techniques and the inherent creativity, I think it was the amazing presentational skills that nouvelle cuisine demands that really appealed to my artistic nature. I fell in love with it wholeheartedly.

How did that lead you to opening your restaurants, Maison Es and Ta Pantry?

In 2008, I opened a private kitchen dedicated to serving a table of just six guests – Ta Pantry. It was a real one-woman show – from taking the bookings and creating the menus to buying the ingredients, cooking and ironing the table cloths, I did it all.

Eventually, I got married and, later, had two sons, so I was looking to develop my career in a more flexible and less time-consuming fashion. Ultimately, that’s what led me to open Maison Es in 2015. Having regular opening hours and a committed, well-trained staff to support me meant I could spend more time with my family, while still indulging my love of cooking.

Do you hope your sons will follow in your foodie footsteps?

Honestly, I think it’s a bit too early to tell, but there’s definitely a part of me that hopes they will. They’ve both already shown a tremendous passion for the culinary arts, and I believe that may be because I would constantly cook when I was pregnant. Even after my sons were born, I’d keep them close to me in the kitchen – and they were so unbelievably calm even in the middle of all that chaos. In a way, it’s already in their blood…

Thank you.

Interview by: Tenzing Thondup
Photos: Jack Law
Art Direction: San Wong
Touch-up: Zoe Fan
Jewellery: Van Cleef & Arpels
Venue: Ta Pantry

For the full interview, find our latest issue of Gafencu’s print magazine or the PDF version on the Gafencu app. Download the app from the Google Play Store or Apple App Store.

Martijn Oremus on the BMW Art Car, Art Journey and what to expect from the carmaker in 2019

The recent Art Basel Hong Kong fair marked the seventh anniversary of the fruitful partnership between the mega art event and renowned German automaker BMW. We spoke to the marque’s new managing director Martijn Oremus about this successful relationship, its Art Basel highlights and what Hong Kong’s auto enthusiasts can expect from the luxury carmaker in 2019.

Tell us about the partnership between BMW and Art Basel, and what makes it such a successful one?

The partnership between BMW and Art Basel spans seven fruitful years, but actually, the engagement of BMW in cultural partnerships goes back even further, encompassing five decades. In essence, it’s creativity that ties everything together. Creativity is key, not only to art, but to innovation, design and technology. To that end, it a fundamental part of our business.

With Art Basel being one of the leading platforms for creativity, it brings together all the relevant people from an expansive array of industries in the name of art. We are very happy to be partnered with Art Basel, not just in Hong Kong but worldwide.

Martijn Oremus with BMW Art Car No1 at Art Basel Hong Kong — *Martijn Oremus, Managing Director of BMW Hong Kong, with the BMW Art Car No.1 at Art Basel Hong Kong*

What can we expect from BMW at Art Basel Hong Kong 2019?

We have a range of activities going on, and one I’m particularly proud of is the BMW Art Journey. Each year, we bring young emerging artistic talents and give them an opportunity to travel the world as part of this unique art competition. It’s not just a prize but an opportunity for them to develop as artists. At Art Basel Hong Kong, we’ve announced the shortlist of potential awardees for the next Art Journey. The winner will be chosen in the coming months. This year, we have three female finalists, which is quite special.

Tell us a little bit about BMW’s all-new Art Car. What were the inspirations behind its design?

Over the years, we have brought a total of nine BMW Art Cars to Hong Kong, but this year it’s even more exciting because we have the original Art Car No.1 from 1975. It’s a particularly special occasion because this was the car that laid the foundation stone for the entire Art Car collection. It was French racer Hervé Poulain who commissioned his friend, the renowned American artist Alexander Calder, to transform on his actual BMW racecar. It is that precise car that is on display at Art Basel Hong Kong, and is the pioneer for a line that now boasts 19 unique models. The Art Car really highlights to blending of creativity and artistic flair with our cars, which evokes emotional responses in people’s hearts and emotions, much like the world of art.

What’s can we expect from BMW in 2019? Which new models will be making their debuts?

First and foremost, we will have a range of new models launching in the market. First of all, the new generation of the 3-series. The 3 series for us represents the core of sheer driving pleasure. It’s the most dynamic and sporty car that we have, and will be coming to Hong Kong very soon. On top of that, this year we’ll be focussing on the luxury segment. For example, we will bring a revamped version of the 7-series, but also two all-new concept cars – the BMW 8-series and the X7, which will be the first full-size SAV in this luxury segment to be introduced to the market.

Thank you.

Interview and photography by: Tenzing Thondup
Video: Kingsley Lau

Mouse Builder: For Allen Au-Yeung, working at Disney is a dream job

Allen Au-Yeung, Disney’s Asia-Pacific Vice President of Creative and Product Development, on indulging his creative spirit, his life-long love affair with Disney, and marking Mickey Mouse’s 90th birthday…

How did you become involved with Disney?

As someone who considered themselves inherently creative, I was always fascinated by Disney’s dedication to putting creativity at the forefront of everything it did, as well as its amazing ability to consistently create the most invitingly interesting products. I felt that this was completely in line with what I was looking for at the time. I joined the company back in 1996 and I’ve never really looked back.

What can you tell us about your current role at Disney?

Right now, I’m the Vice President of Creative and Product Development for the Asia-Pacific region. Essentially, I’m responsible for formulating a unified creative vision for all our team members across the region. This means designing Disney creative assets that tell our brand story, while also working closely with our business strategy teams to help create new products that are in keeping with our overall philosophy while remaining wholly aspirational.

How do you think Disney has managed to stay so relevant for quite so long?

Despite being a globally recognised brand, localisation has really been the key to its success. We do our utmost to incorporate elements of local culture in any relevant and unique Disney story we set out to tell in any of our markets. During last year’s Mid-Autumn Festival, for instance, we released a range of mooncakes featuring some of our best-loved characters.

Then, of course, there’s digitisation, which is clearly the most rapidly-developing sector right now. Apart from the expected social media platforms, many of which we are already using to help broaden our demographic, we’re also placing a real emphasis on e-commerce, especially within the Greater China market.

How do you juggle Marvel, Pixar and Star Wars with the more traditional aspects of the wider Disney universe?

The key to finding the right strategy lies in knowing just what consumers are looking for. To that end, Disney spends a huge amount of money on research, commissioning studies and analysing a wide range of demographics. The end result is that we are very aware of what people want.

We know, for instance, the strong appeal our princess characters – such as Cinderella and Snow White – have for young women. Equally, we know that men prefer the action and superheroics that come courtesy of Marvel and Star Wars. Meanwhile, with the younger kids, Pixar characters like Wreck-It Ralph are hugely popular. Ultimately, it’s all about targeting the right products at the right consumer group and making sure they fall in love with us regardless of their age or gender.

Given the breadth and depth of your back catalogue, is there still one character that really stands out for you?

That would have to be Mickey Mouse. He’s the character that Walt Disney himself developed and one that remains synonymous with our entire brand. His engaging personality, innate curiosity and happy-go-lucky nature have seen him consistently win hearts over the years, even though he’s now 90 years old. At heart, though, I think his appeal lies in the fact that he is pretty much the embodiment of eternal hope.

What did you do to mark Mickey’s 90th in Hong Kong?

We rolled out a variety of promotions, exhibitions and products that all commemorated this particular milestone. A few months ago, we also partnered with Times Square Hong Kong to stage an exclusive 90 Years of Mickey exhibition, which featured more than 90 unique pieces of memorabilia from the Walt Disney Archive, including 20 that had never been seen in public before. We’ve also partnered with a number of local companies to create various limited-release designs that are exclusive to the city.

Thank you.

Interview by: Tenzing Thondup
Photos: Neville Lee
Art Direction: San Wong

Edward Green: Classic English shoes for the modern gentleman

Renowned British shoemaker Edward Green recently celebrated the 12th anniversary of its partnership with Tassels, Hong Kong’s leading leather accessories expert, with an exclusive trunk show at the Tassels Landmark Store. We spoke with Michael Howard, Retail Stores Manager for Edward Green, to find out more about the luxury marque’s 128-year legacy of producing classic English footwear, its relationship with Tassels, and embracing Asia’s burgeoning population of fine shoe aficionados.

Michael Howard, Retail Stores Manager for Edward Green — *Michael Howard, Edward Green Retail Stores Manager, at the Tassels Landmark Store*

Tell us a little bit about Edward Green.

Edward Green is a quintessentially British shoemaker that was first founded in 1890, so it’s got a long history of producing top-quality leather shoes in the classic British style. The ethos of our company is to create the best possible shoe using the finest materials that we can find.

What sets Edward Green apart from other shoemakers?

Longevity and durability are the hallmarks of our designs, so much so that we’ve even made shoes for the British Army. We stay true to the tenets of traditional British shoemaking. For example, where Italians aim for a more sartorial style with slimmer fits and lighter construction, we focus on more robust designs elements, such as Goodyear welted soles where an added welt is stitched into the outsoles to make it wholly waterproof.

How did your partnership with Tassels come about?

Our relationship with Tassels came about because we were looking for a partner who understands and shares our commitment to delivering the best-quality leather shoes. In the 12 years that we’ve worked together, we’ve built up a really strong partnership, and they’ve helped establish our brand in Hong Kong, and within other Asian markets like Japan and South Korea. In fact, this association has proved so fruitful that Edward Green has even designed special styles such as anniversary editions exclusively for Tassels.

What do you think are the biggest differences in taste between Asia and Europe?

In Europe, there’s a trend towards the casual at the moment, which we’ve adapted to by introducing aspects like rubber shoes to lend a sporty, laid-back element. In Asia, though, the market is more geared towards traditional designs with leather soles. Here we see Edward Green’s classic British designs like the Chelsea, the Belgravia and the Picadilly as among the top favourites.

But even here, tastes are definitely changing. These days, it’s more about soft tailoring and lighter leather. To respond to this, we’ve introduced shoes with softer, more supple leather like the Utah and the Delapre from France and incorporated them into our new collections.

Thank you.

Interview by: Tenzing Thondup

Interview: Yue Minjun, the artist behind the famous laughing face portraits

Yue Minjun, whose colourful depictions of maniacally laughing figures have captured the imaginations of critics and collectors alike, is commonly regarded as one of China’s pre-eminent contemporary artists…

How did you become one of China’s most significant and influential contemporary artists?

Well, it’s a little complicated. I was to drawn to art from a very young age. I was always very fond of using images and drawings to express my inner feelings and emotions. It was the way I tried to make sense of the things and events that surrounded me. As I grew older, I realised it was something that I wanted to pursue more seriously. That’s when I decided to devote myself to art – and painting in particular – full time. Thankfully, I eventually managed to carve out a career for myself in this field…

Along the way, you worked as an electrical engineer…

That was just one of the many jobs I had after I graduated from high school. At that time, I didn’t really have any real leaning towards a specific career. Instead, I thought I would take my time and explore the avenues opening up in the art world, something that allowed me to escape the limitations of the traditional education system.

Eventually, the pressures of work got me to a point where I could no longer paint or expand personally in any meaningful artistic way. That’s when I decided to enrol at a professional art school. Thinking about it now, It might have been the most important decision I ever made and was a key element in my eventual success.

After that, you moved to Beijing…

I decided to move to Beijing as I wanted to pursue a full-time career in art. I just loved art, and when you love something, sometimes you have to sacrifice everything else for it. Sometimes you choose an extreme path. I made a conscious choice to forsake everything else to pursue my one true passion in life.

Today, you are internationally known for your iconic laughing face portraits. Where did the initial inspiration for these particular works come from?

Actually they are all derived from my early life experiences. I was born at the tail-end of the Chinese Cultural Revolution, so there were a lot of government-commissioned propaganda paintings around that illustrated the apparent joy of being working class. In most of the these paintings, the subjects were laughing, but it was never clear why. People would be standing around Chairman Mao or around the produce resulting from a clearly bumper harvest, laughing all the while. I thought such images were somewhat ironic, so the inspiration for many of my later works were deeply rooted in this early experience.

*The Massacre at Chios by Yue Minjun sold for HK$31.6 million recently*

Many people see your work as steeped in cynicism and being quite critical. Do you agree?

Well, yes and no. I think one of the biggest challenges in creating the laughing series was that there is really only one primary face on show and that it was always laughing. The challenge lay in creating a new story with every iteration and being able capture a new scenario every time I decided to add to the collection. They also needed to evoke different emotions and prompt the audience to consider what was really being said…

Your work often features strong colours and repeated motifs..

I think paintings – and any artwork in general – are really a reflection of their creators’ states of mind. Even when the completed piece is not a realism-driven encapsulation of an earlier experience, it’s still something very much anchored in reality, whether in terms of being an accurate depiction or a more symbolic recreation. For me, the use of strong colours and repetition actually come from the way I view the world.

You’ve said before that freedom is a major theme in your work. How do you, personally, define this fairly contentious term?

I don’t think I could explain that in just a few words, but I will try. For me, freedom is really how you relate to other people. When considering the notion of freedom, most people only think about themselves, while I believe it is actually deeply rooted in society’s sense of community and the relationships built within that framework.

What are your views on China’s current approach to art education?

I think the system is quite rigid. For instance, the programmes can’t be tailored to the needs or interest of any one student. It’s all homogenised and, should anyone want to veer away from the traditional approach, they will pretty much have wasted four years of their life. At the same time, it’s difficult to improve the system when there are so many students currently within it. As a result, I think it’s vital for serious students to be flexible enough to reposition themselves in terms of favoured mediums and overall approach.

Thank you.

Interview by: Dai Xuan
Text by: Tenzing Thondup
Photos: Zhang Yunjiang
Wardrobe: Loro Piana

Charles Pang on failure, ‘tiger parents’ and educating China

For Charles Pang, Executive Director of the Canadian International School of Beijing, success is more than just academic…

You grew up in Canada. What do you recall of those years?

I moved to Toronto when I was about five or six and went to boarding school there, which proved to be one of the most wonderful experiences of my life. Some of the people I met during that time became lifelong friends.

What brought you back to Hong Kong?

You could say that I never really came back to Hong Kong. After university, I headed off to join the family education business in Beijing. It was only after I got married that I started to spend more time in Hong Kong, largely because my wife – and then, later, my kids – lived here.

Read: Singer Charlene Chou Xuan on spreading traditional Chinese music to new audiences

Initially, your family was heavily involved in the textile sector, but then switched into education. What triggered such a dramatic change?

Around 1994, my father was part of Team Canada, a business delegation invited to meet Li Peng, then the Chinese Prime Minister. One of the issues discussed was the possibility of exporting the Canadian education system to China. With Li’s blessing, we then launched the Canadian International School of Beijing (CISB), with my father as one of the founders. Today, CISB has more than 30 branches across China, catering mainly to the expat community.

Do you see your schools as having had an impact on China’s education system overall?

Education in China is very much focused on the gao kao, the National Higher Education Entrance Examination, an approach that I find quite one dimensional. Typically, the teacher speaks and the student just listens. In our schools, the teacher is more of a guide, rather than forcing education on students.

We also took a lead in terms of technology. Some 10 years ago, we were the first to bring Smart Boards into the classroom. Now, nearly all of the schools in China have followed our lead.

Over recent years, the education sector has been transformed. What do you see as the most dramatic change?

When we started CISB 16 years ago, education was not at all technology-based and everything was still taught in a traditional fashion. Now, the internet has become an integral part of the educational process.

This is to the extent that we rarely use blackboards or whiteboards anymore, with many schools set to become entirely paperless. Similarly, homework and assessments can now be submitted online, with teachers able to instantly award grades and provide feedback. It also allows parents to go online and check grades in real time.

Moving on, you’ve now ventured into the luggage sector…

Ah, Ventris; it’s an aspirational lifestyle brand. The concept came about two years ago and then a few of us got together and informally launched the brand. Initially, we were just making luggage for family and friends but, after a few people commented on its commercial potential, we decided to get more serious about it. The brand has been under development ever since, with an online launch planned very soon.

The luggage sector is famously competitive – what do you see as Ventris’ USP?

It’s made from carbon-fibre, the same material racing cars are built from. As a result, it’s super-sturdy, yet very light. While we hope it will appeal to those who enjoy a fast-paced, jet-set lifestyle, it’s not going to be mass-produced. It’s a bespoke line for a distinctly niche clientele. We definitely won’t be going up against TUMI, Rimowa or any of the other big brands.

Does that complete your business portfolio or do you have other plans?

Well, I have just opened a restaurant in Causeway Bay – the Phó Metro. We also have a number of new schools opening this year – two in the US and two in Canada. Just as we brought Western education to China, we’re now looking to export Chinese language and culture to North America, with the Chinese Ministry of Education being one of our key backers. It’s also partly about giving the children of Chinese ex-pats the opportunity to learn about their own language and culture.

Read: A guide to gentlemen’s grooming and skincare in Hong Kong

In terms of teaching your own children, what are the most important values you have sought to instill in them?

For me, it’s important that they grow up well-mannered and considerate. I am actually okay if they don’t turn out to be too academically-inclined. I am a great believer in the importance of kids being kids.

Right now, I see a lot of ‘tiger’ parents in Hong Kong, mums and dads who are constantly pushing their kids to over-achieve at school. Many of them are packing their kids’ after-school hours with endless extra-curricular activities and supplementary tutoring, with their children having little say in it.

I feel most Hong Kong kids don’t really get the freedom to enjoy their childhood. While I was growing up in Canada, we really had the chance to be ourselves and kids need that. They shouldn’t be burdened with their parents own unfulfilled ambitions.

Read: The 300 Most Powerful People in Hong Kong

Overall, then, do you see yourself as a laid-back parent?

No, not laid-back, but I do want my children to realise their full potential in as natural a way as possible. Of course, that doesn’t mean there are no ground rules. While I ensure that homework is done, I don’t force them to do things they don’t like. Inevitably, if you force your children into learning something they have no interest in, they will never excel at it.

Finally, as a successful entrepreneur with several businesses under your belt, what advice would you give to those looking to follow in your footsteps?

As an entrepreneur, you should never be afraid to fail. Not all businesses will succeed, and failure is part of the learning process. On top of that, you need a good business plan, solid finances and a willingness to work very hard indeed. Above all, though, learn from your mistakes and apply that knowledge to your next venture.

The full version of this interview appears on Gafencu Magazine’s March 2018 print issue as “Class Act” by Suchetana Mukhopadhyay. You can download the free app for digital editions of the magazine.

Yen Kuok gets candid on fashion and identity (Part II)

In an online exclusive for Gafencu magazine, Robert Kuok’s youngest daughter talks about giving up her Malaysian passport and fashion inspirations. Gafencu sits down for an exclusive interview with the sprightly fashionpreneur.

Yen Kuok at the *Gafencu* photo shoot last December 2017 at her father’s Island Shangri-La

In part two of our exclusive digital-only edition Q&A with Yen Kuok, we get up close and personal with the founder of second-hand luxury business Guiltless, who considers herself full Hong Kongese. If you missed the first part, read all about it here.

Would you say that the tag of ‘Robert Kuok’s daughter’ has been a heavy presence following you around?

Growing up, it was definitely not something I was proud of. At school I was a good student, so I was picked to join interschool organisations. I remember we would go to meetings and afterwards my driver would come pick me up, but obviously it would be awkward if everyone’s taking the MTR. They’d be like, ‘How are you getting back?’ to which I would say, ‘Oh, I’m walking to the bus stop.’ ‘Which bus stop?’ ‘Oh I don’t remember the name, somewhere down that road’ – I would try to cover it up.

If I had been sent to an international school like my older siblings, I probably would have been very different, but my parents decided to send me to Diocesan Girls’ School – one of the most academically competitive local schools in town. The environment was cutthroat, pushing me to prioritise doing well in my studies. I was much more chilled and less driven before going to DGS as a kid!

Your dad being Malaysian Chinese, would you consider yourself Hong Kongese?

I consider myself one hundred percent Hong Kongese. I gave up my Malaysian passport – I don’t speak the language, don’t have any friends there, rarely go there. I might as well call myself Japanese ‘cause I go to Tokyo more often than KL!

You would never catch me dead in something like Céline or Haider Ackermann, I’m not going for that aesthetic. I have been in this maximalist phase for the past few years versus minimalism.

What do you like to do in your free time?

I had a really horrible break up a year and a half ago, and it wrecked my skin. I’ve gone through really tough periods before, but that was the only time my skin was affected so dramatically by emotional stress. I broke out had rashes everywhere – it was horrible. I didn’t leave the house, I was crying everyday… I finally said, ‘I need to fix my life. Let me start with my skin.’

I began looking into skincare, going deep from ingredients to ‘What is the best kind of exfoliator?’ or ‘What’s the difference between an apricot shell scrub and a walnut shell scrub??’ [Laughs]

When I set my heart on something I go all in, so ever since then I’ve become all my friends’ go-to person whenever they have skin problems or want recommendations. I’m always the first to know about beauty gadgets, home lasers, nano-current devices, LED facial machines… That’s what I do in my free time – I read beauty blogs to research on skincare!

Styling by San Wong; Photography by Neville Lee

Let’s talk about fashion, since you’ve taken the deep dive into doing business in the industry ever since. Who are your favourite icons and go-to designers?

You would never catch me dead in something like Céline or Haider Ackermann, I’m not going for that aesthetic. I’m all about Erdem, Nanette Lepore, and of course the Dolce & Gabbanas, the Cavallis, the Versaces…I have been in this maximalist phase for the past few years versus minimalism.

There’s a fine line between what I mentioned and being overdone or tacky, sure, but I can’t help but be drawn to complexity and pattern. Etro is one example, for the diversity of textures, and then there’s Iris van Herpen who does 3D printing, which is all about the intricacy. Check out some of her runway pieces, they’re really beautiful. I remember she came out with this innovative skeleton dress which visualized the inside of the body outside [Editor’s Note: The piece was later acquired by the Metropolitan Museum of Art].

Iris van Herpen’s plastic skeleton dress represents her feeling of being reborn during a parachuting jump. (Cariole June 2011)

Today it’s women’s fashion, lifestyle goods and gadgets; tomorrow you mentioned wanting to expand into men’s and children’s wear. What’s next – with the recent success of your pop up, do you plan to open a physical shop eventually?

We had never entertained the idea of opening a permanent physical shop because looking at the likes of Net-a-Porter, staying online has been one of the reasons they’ve been able to maintain a successful international business model with an image extending to all corners of the world. Once you have a physical shop, you become localised to a certain place. But this pop-up has been a pleasant surprise, so I wouldn’t completely rule it out, but right now I’d rather focus on online.

Thank you.

Catch our main interview with Yen Kuok on Gafencu magazine’s March 2018 print issue coming out in newsstands on the 1st of March 2018!

Interview by: Julienne C. Raboca

Perfecting the journey with TUMI’s Spring Summer 2018 collection

Premium travel and lifestyle brand TUMI has just launched its new collection for Spring/Summer 2018, inspired by the landscapes and creative energy of California. To celebrate the occasion, they set up a TUMI House, recreating a beautiful beach house in sunny California, right in the middle of the Atrium at the ifc mall from 18 to 21 January.

There’s something for every traveller in the new TUMI Spring/Summer 2018 assortment. We particularly loved the Alpha Bravo, Mariella and Merge collections.

We caught up with Victor Sanz, TUMI’s Creative Director, and Adam Hershman, GM of TUMI Mainland China, Hong Kong and Macau to talk more about the inspiration and creative process behind the collection. Check out TUMI’s Spring Summer 2018 collection as well in our video.

Sa Sa director Melody Kwok-Chan talks beauty and brand strategy

Melody Kwok-Chan is the director of corporate strategy and development at cosmetics retailer Sa Sa International Holdings Limited.

You spent a decade abroad. What brought you back to Hong Kong?

I attended high school in Canada for two years and then moved to Australia. I went to university in Melbourne, first studying marketing at RMIT and then earning my master’s in international business from Monash.

I’m a pretty independent person, but after eight years in Australia I started to feel homesick so I decided to move back to Hong Kong. I love everything about Australia – the food, the weather, the vacation spots – but career-wise Hong Kong is a better fit for me. Plus, my family is here.

Based on my experience, I would advise students to go abroad to learn about another culture firsthand. Experiencing it for yourself is much more meaningful than reading about it in a book or seeing it on TV. Looking back, I wish I could have studied in more countries and learned different languages.

Your parents founded Sa Sa nearly 40 years ago. Did you think you’d end up working for the family company?

I’ve had an interest in cosmetics ever since I was young and always dreamed of working in the beauty or fashion industry. I think that can be attributed to my parents’ influence and all the hours I spent in Sa Sa stores growing up. My parents occasionally let me sample the products while helping out at the shop. Cosmetics were practically my toys.

On top of that, after graduation I wanted to help reduce my parents’ workload, so I decided to complete the company’s management trainee programme. After that, I joined Sa Sa’s marketing department.

What does your role at Sa Sa entail?

I oversee marketing, product development and business plans. On the product side, I’m tasked with selecting the highest quality products for our stores.

I also monitor beauty trends. European and Japanese brands used to be the most popular, but customers now want Korean products.

On the marketing side, we organise a few major annual events, like the Sa Sa Ladies’ Purse Day, held in conjunction with The Hong Kong Jockey Club.

How has Sa Sa grown over the years?

The first Sa Sa store was in a basement and measured only 40 sq.m. There were two employees: my mom and dad. As the first male consultant at Sa Sa, my dad quickly learned the value of his opinion. When my dad told a customer that a certain shade of lipstick looked beautiful on her, she almost always bought the product. Now you can see many male beauty consultants in our stores.

My parents then opened their second shop in Causeway Bay, right beside Sogo. From there, Sa Sa continued to grow. We now have about 60 shops in mainland China, 100 in Hong Kong and more than 280 altogether in Asia.

To what do you attribute Sa Sa’s success?

I think it all boils down to our products and service. We stress the importance of quality and train our staff to provide excellent customer service. Our beauty consultants undergo nearly 260 hours of training, enabling them to provide personalised beauty advice to our customers.

How did you get involved with the Hong Kong Girl Guides Association?

My mom is also a member, so I learned about it through her involvement. I love having the opportunity to work with teenage girls. I created a cosmetics course for the girls to learn how to look professional and put-together when they enter the workforce.

I also helped establish Sa Sa’s first charity platform – the Sa Sa Making Life Beautiful Charity Fund – in 2013. It has been helping young people build self-confidence and spread positive energy throughout the community.

Do you have a role model?

It would have to be my parents. They started Sa Sa in 1978 when it was just a tiny shop in Causeway Bay and transformed it into the first cosmetic one-stop shop in Hong Kong. My mom is extremely detailed, while my dad is adept at managing a business. They’ve taught me so many important lessons, and I’m still learning from them.

Thank you.

Interview: Emily Petsko

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Former tennis star John Hui on pro career and helming the relaunched Fleming Hotel

Gafencu gets up close and personal with John Hui. Hong Kong’s top-ranked tennis player is now growing into his new role as owner and managing director of The Fleming – a revitalised boutique hotel in the heart of Wan Chai.

Let’s start at the beginning – when did you start playing tennis professionally?

I was 15 when my parents approached me and asked, ‘Do you want to quit school and play full-time?’ Back then I was already on the junior circuit, but being a typical teenager, I thought, ‘No school? Hell yeah!’

Reality didn’t quite match the fantasy, though. For a year, I travelled all over with my coach; I didn’t really get to experience teenage life. After that, I continued to play but was also homeschooled.

Instead of turning pro in my teens, I went to college for four years at Pepperdine University in California. They have an incredibly rich history in tennis and my coach there was excellent. He’s still coaching today and is probably one of the most successful instructors at the collegiate level.

At 20, I decided to take the plunge and competed for four years. I loved it and have no regrets. I’d started when I was 12 and didn’t stop until 24. After I went pro, I’d train for four to seven hours per day including off-court work. It was extremely tough, both mentally and physically.

You are the most successful Hong Konger yet to compete in pro tennis – attaining an overall ATP ranking of 157 at the age of 24. How did you achieve this feat?

I discovered my passion when I was very young. Obviously, you have to love the sport. I lived for tennis and put my blood, sweat and tears into it. Like any sport, if you don’t have the passion for it you’re not going to be any good. You have to have the hunger. A solid foundation and the desire to improve are essential.

Good guidance is also key. When I went to Pepperdine I was lucky enough to have not one, but two world-class coaches who influenced my decision to turn pro.

Was there a particular catalyst for your decision to shift career paths from professional sports to the hospitality industry?

Eventually I got to a point in my career when I had to decide whether to continue playing for the next decade or switch professions. I believed I had done quite well in tennis, having achieved a certain ranking, so I decided to retire from the sport, return to Hong Kong, get married and pursue hotel management.

What made the redevelopment of The Fleming hotel such a special project?

For a long time, my family operated the property as a serviced apartment. I convinced them to convert it into a hotel in order to capitalise on our proximity to the Hong Kong Convention and Exhibition Centre. ‘Fleming 1.0’ was focused on business travellers.

For the current iteration, I wanted to develop a hotel property that stayed true to Hong Kong. We didn’t want to take those New York and LA properties and shoehorn them into a completely different city.

Why did you choose to partner with Max Dautresme for the re-launch of The Fleming?

We met several overseas and local designers but felt a strong connection with Max. He designed restaurants that I’d always enjoyed going to like Bibo and The Ocean. Max is a passionate designer and – this being his first hotel – he was as excited about this project as we were.

You’ve said that your goal is to launch a hotel that authentically represents Hong Kong. How has that been achieved?

When you arrive, right from the get-go, it’s unmistakably a Hong Kong hotel. In the concierge area, you’ll notice a narrow twisting passageway that’s reminiscent of back alleys in Kowloon. In reception, you’ll see bamboo walls and post boxes that hark back to old Hong Kong. Our rooms follow the dimensions of ferry cabins; even small things like the umbrellas were designed to resemble Chinese oil parasols. Much of the furniture throughout the hotel is reversible, much like the seating on the Star Ferry!

You’ve known your wife, Jacklyn Fu, since the age of 12. How have you two managed to maintain such a long and successful relationship?

We used to play tennis together in Hong Kong. When we were 16, we won two of the big local competitions as partners in the mixed doubles category. There are many ups and downs in marriage – you have to be able to give and take. It’s not always easy raising three fast-growing kids, so it’s important to help one another.

Do any of your children have a talent for tennis?

Well, my eldest son is on the national tennis squad for Hong Kong, and my youngest was on the national team for wushu. I play casually with them but that’s about it – it’s extremely hard to coach your own children. I read an article recently about Bjorn Borg. He never even watched his son play tennis! As for my daughter, she loves gymnastics and dance. Each one of them has diverse hobbies, which is great.

Thank you.

Text: Randalph Lai