Showing posts with label Profile. Show all posts
Showing posts with label Profile. Show all posts

Wednesday, 19 August 2026

Model moment: The stunning Caroline Santos



From Christian Cowan shows to AS29 campaigns and Prestige, Post magazine adn Vogue Hong Kong editorials, this Paris-based talent is making her mark across continents.

Over the past 20 years, models and strutted in and sauntered out at casting so often, after a while, they all blur into memory. While doing shoots for Prestige, Runway, Post magazine, Style, Galaxy, My Place, West-East... the genetically blessed (and some doctored!), painfully thin (body positivity has yet to hit Hong Kong - the city likes 'em all sample size) sometimes leave an impression, others leave a headache. 

Certain faces capture the quiet confidence that defines modern elegance. Caroline Santos, say her name out loud, represented by Mademoiselle Agency in Paris now, is one such presence. With a growing international roster that includes Official Model Management in New York, Independent in Milan, PRM in London and MGM Models in Hamburg, she moves fluidly between European runways, Asian, and Western editorial pages.

Her recent seasons have seen her walk for Christian Cowan, appearing in both the Fall/Winter 2024 and Spring/Summer 2025 shows - collections celebrated for their bold, optimistic energy. Beyond the catwalk, Santos has lent her poise to commercial and editorial work, including the 2022 Dolce & Gabbana Casa campaign photographed by Branislav Simoncik and a stylish Cosmopolitan France story.




It is her early time in Asia that reveals a particularly refined chapter. In 2021 she featured in a Christian Dior special for Vogue Hong Kong, shot by Ken Ngan, bringing a fresh international perspective to the magazine’s pages. The same year she became the face of AS29 Fine Jewellery’s campaign. The Hong Kong-based brand, known for its contemporary diamond designs and playful yet luxurious aesthetic, found in Santos a natural embodiment of modern femininity- effortless, confident and perfectly at home with fine jewellery meant to be worn every day. 

Caroline for AS29 Jewellery
Photographer: Ruby Law
Stylist: Justine Lee

The casting done by the brand's visionary designer Audrey Savransky, and together with the dream team of photographer Ruby Law and stylist Justine Lee - they found in Santos the perfect muse. A collaboration that created one of the most sensuous, gorgeous jewellery campaigns shot entirely in Hong Kong, that showed that luxury was attainable, could be worn daily, was effortless and elegant. 

I was on set that day and found this chameleon in motion, working every shot with such ease and grace... mesmerised. As stunning as she looks in her photographs, it doesn't do her justice - even more panther like in her slow movement, transitioning shot by shot, pose by pose... And it was all so ... chic. I went on to work with Caroline at Prestige magazine, Runway and recommended her to Post magazine (as ol' chums were working there back then).  She wowed one, she wow'ed 'em all. I KNEW she would! 

These projects underscore her ability to connect Western fashion houses with the sophisticated markets of Hong Kong and beyond. Whether fronting jewellery, denims, gown or glory, Caroline continues to build a career defined by versatility and quiet strength and dignity, proving that true presence travels seamlessly beyond borders.


Tuesday, 18 August 2026

Carl Ng: Hong Kong's own

Saw Carl Ng while rushing through Central, Hong Kong and he's always got a word for me. Usually funny and mostly unprintable. 

Born in pre-handover Hong Kong, 50-year-old actor Carl Ng spent his formative years navigating two distinct worlds. Sent to Surrey’s progressive Frensham Heights boarding school at age 12, he later earned a degree in global corporate strategy at the University of Westminster. Yet, while mastering business models in London, Ng was quietly honing a different ambition in evening classes at the Tony Grecos Acting Studio.

Inheriting his sharp, Anglo-Chinese features from his late father- the iconic Hong Kong screen star Richard Ng- and his mother Susan, a British stylist who famously coiffed Bruce Lee, Carl returned to Asia on his own terms. Before the camera caught him, he was living in Thailand as a certified scuba instructor. When he finally landed back in Hong Kong in the early 2000s, his 6-foot frame and carved jawline made him an instant modeling sensation, fronting major campaigns for Sony and Motorola. There was a massive three-storey poster of him with a beer in Times Square that imposed heavily on passersby. 

The media, naturally, was obsessed. An infamous local tabloid print run featuring secretly snapped photos of Ng sunbathing nude at a beach cemented his early bad-boy mystique. But Ng steered his momentum straight into acting, bypassing easy nepotism by auditioning independently. His brooding intensity quickly translated to edgy celluloid projects: Yonfan’s cult erotic art drama Colour Blossoms (2004), the acclaimed crime prequel Infernal Affairs II (2003), and Olivier Assayas’ international thriller Boarding Gate (2006), along with a long-running TV star turn as DSP Glenn in Singapore's Point of Entry.

Steering clear of standard high-society socialite loops, Ng’s identity remains rooted in cinema and creative craft. Following his father’s passing in 2023, Ng keeps a relative low-profile stance. Blending European cool with East Asian grit, he selectively works on regional film sets while spending time outdoors, staying focused on fitness, and living on his own terms. 

The picture is deceptive; he's the chill one. 

在香港中環匆忙趕路時偶遇吳嘉龍(Carl Ng),他總會跟我寒暄幾句——通常既風趣,又大半「不宜公開」。

現年50歲的演員吳嘉龍出生於主權移交前的香港,成長歲月一直穿梭於兩個截然不同的世界。他12歲被送往英國薩里郡(Surrey)提倡自由進步的 Frensham Heights 寄宿學校,其後在西敏寺大學(University of Westminster)取得全球企業戰略學士學位。然而,當他在倫敦研習商業模式時,私下卻在 Tony Grecos 表演工作室的夜間課程默默磨練著另一種抱負。

吳嘉龍繼承了已故父親——香港一代影壇巨星吳耀漢,以及母親 Susan(曾為李小龍設計髮型的英國造型師)的中英混血精緻輪廓。他憑藉自己的方式重返亞洲:在鏡頭捕捉到他之前,他正身處泰國,是一位考取執照的潛水教練。2000年代初,當他終於回到香港,6呎高的魁梧身材與深邃的下顎線條讓他迅速成為模特兒界的新寵,一舉拿下 Sony 和 Motorola 等大品牌的巨型廣告。當時銅鑼灣時代廣場外更掛著一張整整三層樓高、他拿着啤酒的巨型海報,氣勢壓人。

傳媒理所當然地對他極度著迷。當年某雜誌獨家刊登了他在沙灘裸體日曬的偷拍照,這篇轟動一時的報導更奠定了他早期的「壞男孩」神秘魅力。但吳嘉龙並沒有沉溺於此,而是直接將這股勢頭轉向演練,拒絕依靠父蔭,堅持獨立參加試鏡。他那深邃而帶有壓迫感的眼神,很快便轉化為大銀幕上的鋒芒作品:包括楊凡的教父級情色藝術電影《桃色》(2004)、備受好評的警匪經典前傳《無間道II》(2003)、奧利維耶·阿薩亞斯(Olivier Assayas)的跨國驚悚片《登機門》(Boarding Gate,2006),以及在新加坡長壽電視劇《Point of Entry》中飾演 DSP Glenn 的代表作。

吳嘉龍一直刻意避開傳統的上流社會社交圈,其身份認同始終深植於電影與創意創作。自父親於2023年離世後,他一直保持相對低調。他融匯了歐洲的冷峻酷感與東亞的堅毅韌性,除了挑選合適的區域電影項目外,其餘時間皆投入戶外活動、專注健身,自始至終按自己的方式生活。

照片也許帶有欺騙性;其實他才是那個最隨和、最 Cool 的人。

點擊此處回顧早前為《Style》雜誌與 Carl Ng 拍攝的專訪與大片。

在香港中环匆忙赶路时偶遇吴嘉龙(Carl Ng),他总会跟我打个招呼——通常既幽默,又大半“不宜公开”。

现年50岁的演员吴嘉龙出生于香港回归前的时代,成长岁月一直穿梭于两个截然不同的世界。他12岁被送到英国萨里郡(Surrey)提倡自由进步的 Frensham Heights 寄宿学校,随后在威斯敏斯特大学(University of Westminster)获得了全球企业战略学士学位。然而,当他在伦敦研习商业模式时,私下却在 Tony Grecos 表演工作室的晚班课程中悄悄磨炼着另一种野心。

吴嘉龙继承了已故父亲——香港一代影坛巨星吴耀汉,以及母亲 Susan(曾为李小龙设计发型的英国造型师)的中英混血精致轮廓。他凭自己的方式重返亚洲:在镜头捕捉到他之前,他正生活在泰国,是一名持有执照的潜水教练。2000年代初,当他终于回到香港,6英尺的高挑身材和棱角分明的下颌线让他瞬间成为模特界的宠儿,一举拿下索尼(Sony)和摩托罗拉(Motorola)等大牌的广告代言。当时铜锣湾时代广场外甚至悬挂着一张整整三层楼高、他拿着啤酒的巨型海报,给路人带来极强的视觉冲击。

媒体理所当然地对他极度着迷。当年某八卦纸媒独家刊登了他被偷拍的沙滩裸体日光浴照片,这篇轰动一时的报道彻底奠定了他早期的“坏男孩”神秘魅力。但吴嘉龙并没有顺水推舟,而是将这股势头直接转化为演艺动力,拒绝走裙带关系的捷径,坚持独立参加试镜。他那深邃而富有张力的眼神,很快便转化成大银幕上的锋芒作品:包括杨凡的教父级情色艺术电影《桃色》(2004)、备受赞誉的犯罪电影前传《无间道II》(2003)、奥利维耶·阿萨亚斯(Olivier Assayas)的跨国惊悚片《登机门》(Boarding Gate,2006),以及在新加坡长寿剧集《Point of Entry》中饰演 DSP Glenn 的代表作。

吴嘉龙始终远离传统的名流社交圈,他的自我认同依然深植于电影与创意创作。自父亲于2023年离世后,他一直保持着相对低调的姿态。他融合了欧洲的冷酷随性与东亚的坚毅韧性,只挑选合适的区域电影项目,同时把时间投向户外、专注健身,始终按自己的方式生活。

照片是有欺骗性的;其实他才是那个最随性、最酷的人。

点击此处回顾早前为《Style》杂志与 Carl Ng 拍摄的专访与大片。


Monday, 17 August 2026

Is Karen Yiu Hong Kong's most creative makeup artists? Or the world's?!

Renowned for her transformative, avant-garde editorial work and high-concept body art, Hong Kong-based makeup artist Karen Yiu is one of the regional beauty industry’s most creative talents. Those who work with her regularly - magazine editors, top tier photographers, models and muses - swear she's the very best in the biz. When you see her versatile portfolio, it is hard to argue. 

Before defining aesthetics on fashion sets and magazine covers, Yiu earned a degree in social work and served as a social worker. While it may not have taught her how to brush and powder - it her studies helped her understand people, particularly navigating the myriad moods and faces she comes across on a daily basis. How her calm reserve, skillset and sheer excellence translates from concept to editorial page has to be studied to be believed. She is incredible. 

Driven by a desire for artistic expression, she pivoted to fashion design at the London College of Fashion before discovering her true calling in the art of makeup, where she could draw and experiment daily. 

Yiu’s background informs her uniquely empathetic approach. Rather than applying a rigid template to a subject, she takes time to converse with individuals, understanding their personalities and preferences before translating those cues into visual expression. 

Her career gained rapid momentum through key collaborative partnerships, notably with Chicago-born photographer Ike. Together, they collaborated on projects such as the Second Skin exhibition and the photo book Oriental Eye, where Yiu used creative makeup and body art - ranging from delicate face painting to gold dust detailing - to form striking human landscapes. 

Her digital footprint reflects the dual dimensions of her artistry: @karenpaint: Showcases her vibrant, high-concept body painting, theatrical transformations, fine-art canvas work, and elaborate face art. 

@karenyiumakeupart: Highlights her editorial beauty portfolios, high-fashion campaign styling, bridal makeup, and sophisticated commercial work. 

Preferring to draw inspiration directly from life rather than mimicking trend cycles or existing magazines, Yiu prioritises original editorial projects that push boundaries. 

Whether crafting avant-garde looks for conceptual photo shoots or executing polished, radiant skin for commercial features, her work continues to combine meticulous technique with genuine creative passion.


香港化妝師 Karen Yiu 以其具顛覆性的前衛雜誌造型及高概念人體藝術聞名,是本地區美妝界最具創意的天才之一。與她長期合作的夥伴——雜誌編輯、頂尖攝影師、模特兒及靈感繆斯——一致公認她是業界的頂尖代表。只要看過她多元化的作品集,便難以否認這點。

在時尚拍攝現場和雜誌封面定義美學風格之前,Karen 取得社會工作學士學位,並曾任職社工。雖然這段學歷沒有教她如何掃粉化妝,卻讓她深入了解人性,特別是應對日常工作中遇到的各種情緒與面孔。她沉穩的氣質、精湛的技藝以及極致的專業表現,如何將概念轉化為雜誌頁面上的震撼視覺,唯有親眼目睹才能領略。她的才華令人驚嘆。

出於對藝術表達的追求,她轉至倫敦時裝學院(London College of Fashion)修讀時裝設計,其後發現彩妝藝術才是自己的真愛,因為在那裡她可以每天繪畫與探索。

Karen 的背景造就了她獨特且具同理心的造型手法。她不會將僵硬的範本套用在對象身上,而是花時間與對方溝通,了解其性格與喜好,再將這些特質轉化為視覺表達。

得益於關鍵的合作夥伴關係,特別是與芝加哥攝影師 Ike 的合作,她的事業迅速蓬勃發展。他們共同合作了《Second Skin》展覽及攝影集《Oriental Eye》等項目;在這些作品中,Karen 運用創意彩妝及人體藝術(從精緻的面部繪畫到金粉點綴),打造出令人矚目的「人體風景」。

她的社群媒體展現了其藝術創作的雙重面貌:

  • @karenpaint:展示她色彩斑斕、具高概念的人體繪畫、戲劇化造型轉變、純藝術畫布創作以及精細的面部藝術。

  • @karenyiumakeupart:呈現她的時尚雜誌美妝作品集、高端時裝廣告造型、新娘美妝以及高雅的商業作品。

相比起盲目跟風潮流或模仿現有雜誌,Karen 更喜歡直接從生活中汲取靈感,並優先投入能打破常規的原創時尚項目。

無論是為概念大片打造前衛造型,還是為商業拍攝呈現精緻透亮的肌膚,她的作品始終將嚴謹細緻的技巧與純粹的藝術熱情完美結合。

Simplified Chinese (For Mainland China - 简体中文)

香港化妆师 Karen Yiu 以其颠覆性的前卫杂志造型及高概念人体艺术闻名,是本地区美妆界最具创意的天才之一。与她长期合作的伙伴——杂志编辑、顶尖摄影师、模特及灵感缪斯——一致公认她是行业的顶尖代表。只要看过她多元化的作品集,就很难否认这一点。

在时尚拍摄现场和杂志封面定义美学风格之前,Karen 取得了社会工作学士学位,并曾担任社工。虽然这段经历没有教她如何打粉施妆,却帮助她深入了解人性,特别是应对日常工作中遇到的各种情绪与面孔。她沉稳的气质、精湛的技艺以及极致的专业表现,如何将概念转化为杂志页面上的震撼视觉,唯有亲眼目睹才能领略。她的才华令人惊叹。

出于对艺术表达的追求,她转至伦敦时装学院(London College of Fashion)攻读时尚设计,随后发现彩妆艺术才是自己的真爱,因为在那里她可以每天绘画与探索。

Karen 的背景造就了她独特且具同理心的造型手法。她不会将僵硬的模板套用在对象身上,而是花时间与对方沟通,了解其性格与喜好,再将这些特质转化为视觉表达。

得益于关键的合作伙伴关系,特别是与芝加哥摄影师 Ike 的合作,她的事业迅速蓬勃发展。他们共同合作了《Second Skin》展览及摄影集《Oriental Eye》等项目;在这些作品中,Karen 运用创意彩妆及人体艺术(从精美的面部绘画到金粉点缀),打造出令人瞩目的“人体风景”。

她的社交媒体展现了其艺术创作的双重面貌:

  • @karenpaint:展示她色彩斑斓、具高概念的人体绘画、戏剧化造型转变、纯艺术画布创作以及精细的面部艺术。

  • @karenyiumakeupart:呈现她的时尚杂志美妆作品集、高端时装广告造型、新娘美妆以及高雅的商业作品。

相比起盲目跟风潮流或模仿现有杂志,Karen 更喜欢直接从生活中汲取灵感,并优先投入能打破常规的原创时尚项目。

无论是为概念大片打造前卫造型,还是为商业拍摄呈现精致透亮的肌肤,她的作品始终将严谨细腻的技巧与纯粹的艺术热情完美结合。

Friday, 7 August 2026

Smooth Operator: Interview with CEO of Rolls-Royce Motor Cars, Tom Purves

Friday Flashback: This was once the most read interview and feature with Tom Purves, who served as the chief executive officer of Rolls-Royce Motor Cars Ltd from July 2008 until 2010, after a long career leading BMW operation in North America. I flew to Singapore to conduct the interview during the car launch and flew back. Glory days when media had... budget! 

Why today? I was at the dentist and rifling through a magazine and found this article.... and the interview was by me!! He was great chat. I've stated this several times, my features are as good as the subject and person I'm interviewing. I always credit the speaker more than my... typing. 



The latest car to roll off the finest production line in the world was showcased for the first time in Asia in Singapore, at an exclusive event hosted primarily for correspondents from leading Asian magazines and newspapers. Even among the most severe critics and car enthusiasts, the new Rolls-Royce 200EX was greeted with applause and breathtaking adulation. It is a gorgeous car. A powerful machine. An icon. The timing of the release, however, did come into question, among many other issues. We sat down with the CEO of Rolls-Royce Motor Cars, Tom Purves, for an exclusive one-on-one chat.

Just before I walked into a private business conference room to meet one of the most powerful and certainly most enigmatic figures in the automotive world — even before the other gathered VIPs — I caught a sneak peek of the new Rolls-Royce 200EX. In a grand ballroom, images of the new wonder car were being hoisted by four men carrying huge canvases bearing beautiful photographs of the sleek new machine. They were taking them to the room prior to the event and grunted, huffed and puffed their way across the Capella resort in Singapore, adding the finishing touches to the venue in the private rooms that would later be revealed to the media and the teeming car dealers. Seeing that briefly put into perspective the grand efforts that have gone on behind the scenes to launch a new car.

The new Rolls-Royce succeeds the Phantom Coupé, which did great business and was well received by the finest collectors and automotive media scribes. So when most people in the industry received invitations to see an even newer model within months, we cocked an eyebrow in surprise. We were told repeatedly that it is not a better or newer version, merely a sister car, part of the family of Rolls-Royce models.

Even before the unveiling, it was safe to say the car would be great. Rolls-Royce’s legend is bigger than the car itself, and rightfully so. But it was the timing that raised questions. Since last November, even the wealthiest people in the world have tightened their belts and purse strings as the words “economic downturn”, “Madoff”, “recession” and “depression” have become part of everyday vernacular. Let us not forget that a Rolls-Royce, whatever the model, shape, size or vintage, does not come cheap. As Jerry Garrett of The New York Times once said of one of Rolls-Royce’s previous, younger, less expensive models: “Money talks, and ‘Drophead Coupé’ is a US$407,000 way to say ‘convertible’.”

Unlike other luxury cars such as a Porsche, BMW, Bentley or the stretch limousines that litter Hollywood, a Rolls-Royce is for the collector of collectors, the über-wealthy, the truly famous and fortunate — certainly not for the nouveau riche. No matter how new the model or how techno-savvy, sinewy and sophisticated it may be, Rolls-Royce is patronised by classic, old-moneyed people with a refinement and sophistication that comes from heritage, lineage and, perhaps most notably, power.

So how will this car be received in China? As we go to press we do not yet know, as the 200EX, the latest experimental car from Rolls-Royce, was presented at the Auto Shanghai show on 20 April 2009. It is a contemporary four-door saloon that indicates the direction for the RR4, a new model series from Rolls-Royce due for production in 2010.

According to the press release: “RR4 will be powered by a brand-new 6.6-litre turbocharged V12 engine unique to Rolls-Royce. The engine will be combined with an eight-speed automatic ZF gearbox. This new drivetrain will significantly improve fuel and CO₂ efficiency over the already class-leading Phantom series of cars. Engine power will be upwards of 500 bhp.”

Prior to that event in mainland China, correspondents from India, Indonesia, Malaysia, Singapore, China, Japan and Hong Kong were invited to Singapore to preview the 200EX. Given its significance, Rolls-Royce Motor Cars’ CEO Tom Purves and the chief exterior designer Marc Michael Markefka flew in to host the event.

As we sit down for a chat, I ask the newly appointed CEO Tom Purves (previously Chairman and CEO of BMW (US) Holding Corp. and President of BMW of North America, LLC) about the challenges of launching a new luxury car in this market, and whether any dramatic changes were made or budgets reconsidered.

He says: “The fact of the matter is, a project like designing a new model for Rolls-Royce has been in the making for years. The design, the execution and the construction have been progressing for much longer than the current economic climate, so the short answer is no. No changes. We went ahead as planned.”

Experimental models have always played a significant role in the history of Rolls-Royce Motor Cars, from the first — 1EX, built in 1919 — to the most recent — 101EX, built in 2006. Unlike a concept car, the experimental models developed by Rolls-Royce Motor Cars have always been fully functioning vehicles, residing in a tangible world of wood, leather and metals rather than clay and foam. EX cars offer designers and engineers the opportunity for real-world innovation and have been used to showcase new components and engineering techniques as well as exterior and interior designs.

“Modern automotive engineering is a balance of creativity, innovation and application. 200EX is an opportunity to assess these new ideas,” explains Helmut Riedl, Director of Engineering. Tom Purves adds: “We have more in common with aircraft and shipbuilding than we do with other cars. The fact is, we’re in the luxury business; we build aspirational products and, by the nature of that, they become very expensive.”

Leaning back into his chair, he continues: “We also know that our customers who buy our cars are influenced by everything going on around them, including style and luxury, which are heavily influenced by things outside the auto business. Customers also need to be understood. The Rolls-Royce customer has a different style and motivation from most other car customers. If you’re a Ferrari customer, for example, you are probably 90 per cent sure to be a car fan, because you would have to be a car fan to want to own a Ferrari!”

But isn’t that true of a Rolls-Royce customer too?

“Yes, but there’s also more,” agrees Purves. “Our customers come from a wide range of professions. Beyond that, they are from all walks of life. We have a large number of entrepreneurial business people — self-made ones — many heads of state, royalty, film stars, pop stars and athletic stars. Success is a common thread.”

There are many expensive cars on the market, but Rolls-Royce has become a status symbol more than perhaps any of its competitors. Has the car always been a status symbol?

“Historically, if you go back to the beginning, when Mr Henry Royce bought a French car, he was very disappointed with it. He said, ‘I could make a better car,’” says Purves with a little chuckle. “He set about doing it. His aspiration was to build a better car. Whether he wanted to build the best car in the world is unknown; he wanted to build a better car. He was a brilliant engineer. Having built a few cars in the past, he knew that a certain size and structure would probably be everything that people wanted at that time. It eventually became known as the ‘Silver Ghost’. Until about 1924 it was pretty much unchanged for decades because it was so good. It established Rolls-Royce as the pre-eminent luxury car. And at the time it was definitely the best, aiming to be the best of all. From about 1906 it had set the tone for Rolls-Royce: to be the best.”

Indeed. However, when it comes to experimental cars we do not need to turn the dial back too far. 100EX was the first experimental car unveiled after Rolls-Royce Motor Cars was relaunched under BMW Group ownership in 2003. Revealed at the Geneva Motor Show in 2004, the two-door, four-seat convertible was built to mark 100 years of Rolls-Royce motor-car design and engineering. Just two years later, 101EX was presented, exploring modern coupé design.

Following on from this success, the same group of designers and engineers has created 200EX, itself pointing the way to RR4, a new Rolls-Royce model scheduled for production in 2010.

The brief for 200EX was to create a modern, lithe and dynamic Rolls-Royce that bears all the hallmarks of the great cars that have gone before it: effortless performance, unparalleled refinement, exquisite quality and confident design.

As the limelight fell upon the car for the select crowd in Singapore and again at the auto show in Shanghai, you could literally tick off each aspect of the car’s shiny ambitions: it had the refinement, quality and design all present and correct. The exterior design is dominated by large, uninterrupted surfaces, while finely sculptured horizontal lines add definition and geometric precision. In combination, the upward-sweeping sill line and low-cut roof create a powerful profile. The tapered rear is enhanced by powerful shoulders and flanks that draw in sharply, narrowing as they flow from the rear wings to the taillights.

“Unlike other cars, Rolls-Royce only sells a certain number of cars — not for any shortage of demand, but of supply,” says Purves. “We are in close contact with nearly all our customers and rely on their feedback and comments,” adds a company representative. This is clearly not a mass-produced product for mass consumption, but a classy one.

Short of time, as Mr Purves has been pulled into multiple interviews during his brief stint in Asia, it boils down to a rapid Q&A.

Q: What would Rolls-Royce represent in this modern age?
A: Refinement, success, elegance, style, glamour.

Q: But style and fashion are so transient and temporary. I thought Rolls-Royce has always set out to become timeless.
A: Let’s use a fashion brand as an example: Hermès. Hermès has always been in style, and yet it is an old brand. Some fashion brands actually have to be consistent — consistently good, of consistent high quality. By consistently delivering, they become more than a fashion brand; they become a promise that builds over time, and then they become timeless.

Why would you say champagne is used even more today as a celebration of success than it was 100 years ago? Because young people today love champagne; it has been passed from generation to generation. Of course there has been some clever marketing, but again that consistency of product quality is terribly, terribly important.

For a car that has to deal with the rough and tumble of the road, quality is even more important.

There’s no car company that has succeeded with purely marketing.

Q: How important is the China market this year, especially on the heels of the Western economic recession?
A: China is an important market no matter what the year. 2009 is a year of transition for us and, in the economic environment, China will play an important role, but it is a country that is as important as anywhere else. I don’t expect the greatest results and great growth overnight, but if I look ahead five years, China will become an increasingly important market. There’s no question about it. In fact, it has already done so in many ways.

Last year, in Beijing, Rolls-Royce had the third-largest single dealership in the world, ahead of Beverly Hills and London. I think we could have sold more if we could have supplied more. Yes, China is very important.

Q: There has been a lot of mumbling in the press that taxation on car ownership will go down considerably in China over the coming year. Would something like that affect you?
A: Any time you have a substantial change in areas like that, it does make a difference. Perhaps a bit less for a car like a Rolls-Royce than for other cars, but there is an effect. If the taxes go up and people have to pay a bit more, it has a sort of sticker-shock effect. But after a little while that goes away.

Q: Does the infrastructure of a city make a difference to selling a quality car like a Rolls-Royce? In capital cities with poor infrastructure, I assume that Rolls-Royce is not even available.
A: That’s a really interesting point you’ve made. I think it would be less of a problem for Rolls-Royce than it would be for some of the other expensive brands, such as an Aston Martin or a Lamborghini, that would need smooth roads.

Rolls-Royce is a good car in terms of ride quality and its ability to deal with less-than-wonderful roads. But maybe the other aspect is that people don’t want to own a car unless there’s a nice road to drive it on.

I remember years and years ago I was trying to sell cars in Riyadh (Saudi Arabia) and I was stunned at the lack of response. At the airport I was sitting there with a long face — there weren’t many Europeans there at the time — and this chap came up to me and said, “What’s your problem?” I explained to him. He then said, “Ah, you’ll never sell a single car here until they open a hotel. As soon as they open a luxurious hotel, you’ll sell as many cars as you need.” Do you know, he was right?! As soon as the InterContinental hotel opened in Riyadh, we started selling cars. Customers wanted a destination. It wasn’t just enough to own the car — many there could afford to do so — but you needed to take it somewhere.

My customers from Riyadh already had Rolls-Royces in London or Paris, but they had an SUV or a Jeep or something in Riyadh at the time. You need a good theatre for the car. You need an ambience for it.

And, finally, what is the common link between a Rolls-Royce customer in the West and one in the East?

"There are two common strings among Rolls-Royce collectors: the desire to have the best,” concludes Purves, “and the ability to acquire it.” 

Sunday, 14 June 2026

First Person: Thomas Ng (伍禮騫)


At 34, Thomas Ng has carved a distinctive space in Hong Kong’s entertainment and wellness spheres as an actor, former Mr Hong Kong finalist, and dedicated athlete. A psychology graduate who spent his formative years in the UK, Ng returned to Hong Kong with a sharpened discipline forged through competitive rugby, athletics, and a passion for fitness that evolved into professional certification as a personal trainer.

After placing as a Top 10 finalist in the 2016 Mr Hong Kong pageant, he joined TVB and steadily built a reputation as a reliable and physically commanding supporting actor. Memorable roles include the dual university student characters in the long-running Come Home Love: Lo and Behold, alongside appearances in action-oriented series such as Flying Tiger and The Invisibles. His athletic edge earned him the affectionate nickname “體能怪物” (Fitness Monster) at TVB’s Star Sports Day, where he dominated in badminton - a sport in which he remains a registered player with the Hong Kong Badminton Association.

Beyond the screen, Ng maintains a disciplined lifestyle that blends performance with purpose. Whether delivering intensity on set or sharing training insights on Instagram (@thomas_nglaihin ), he embodies a modern Hong Kong archetype: grounded, versatile, and relentlessly driven. As his career matures, Thomas Ng continues to redefine what it means to be a complete performer - one whose presence commands attention both on and off camera.

Original photography: Natalie Dunn







Tuesday, 19 May 2026

Designer Profile: Hong Kong's own Susanna Soo of S.Nine Celebrates 15 Years

As the brand S.Nine celebrates its 15th anniversary, a chat with founder and designer Susanna Soo as she reflects on the elements that brought her vision to life. In conversation with
P.Ramakrishnan.


Hong Kong-based designer Susanna Soo, a Parsons School of Design alumna with formative stints at Diane von Furstenberg’s New York sample rooms and Anne Valerie Hash’s Parisian atelier, launched S.Nine in 2009 - mere months before her own wedding. The label, now celebrating over fifteen years, has become a popular chapter in the mighty tome of Asian womenswear: a poetic fusion of New York polish and French couture refinement. Beloved for versatile ready-to-wear that moves seamlessly from day to night, S.Nine fuses classic foundations with romance, practicality, and an intuitive sensuality. Susanna’s garments celebrate the female form while honoring real life draped, tailored, and quietly empowering for the modern woman who values both presence and ease.
She speaks of clothes as if they were extensions of breath, something felt before named. “Even as a child I had a sensitivity to what ‘feels right’ on me,” she recalls. “I picked my own clothes very early on.” Watching her mother command airports and boardrooms in power suits revealed fashion’s alchemical power: “It was amazing how an outfit could elevate one’s energy.” By her mid-twenties, the path had clarified itself. Fashion was not chosen so much as recognised, something that aligned with her creative energy so completely that deviation felt impossible.
Everything was a challenge at the beginning. “But there was so much excitement in seeing a collection come to life and learning every little thing about the fashion business along the way.” The steepest early terrain was finding the right audience: tradeshows, persistent collaborations, the patient work of translation between private vision and public desire. Yet the memory that lingers is tactile - the bolts of sample fabric, the slow birth of silhouette in the garment district.
Her hands had already been trained in the right places. At DVF she bypassed the glossy Meatpacking showroom for the raw pulse of production: fabric and trim sourcing, pattern making, sample sewing. “That was precisely what I love about fashion: the unglamorous inner workings,” she says. “The sample fabric galore had me bedazzled and inspired. The obsessive pursuit of beauty, and a group of people with relentless grit to get there, to bring the show to life, is the most poetic thing in the fashion industry.”
Paris deepened the register. After winning the Arts of Fashion competition, her time at Anne Valerie Hash exposed her to the delicate navigation between ready-to-wear and couture. “The combination of NYC glamour and grit with female empowerment, mixed with Parisian effortless allure and couture refinement, were the elements that shaped my design journey.” Those dual influences still pulse through S.Nine: structured yet fluid, confident yet understated.


Her core philosophy remains anchored yet alive. “I believe in building on classic foundations, mixed with an authentic, intuitive touch.” The S.Nine woman embodies inner strength, kindness, justice, sensuality, and creative spirit. “Sometimes a piece starts with the touch of a new fabric; I love draping and seeing how it falls on the body. I want to showcase as much of the beauty of the female body as possible.”
Inspiration arrives on its own schedule. It might whisper through Scarlett O’Hara’s resilient fire in Gone with the Wind, or the luminous emergence in Botticelli’s Birth of Venus. “It is a vibe that keeps whispering to me in a particular moment while I am sketching, and it all happens when it decides to happen.” The original muse, however, remains closest to home. “My original muse is really my mom. I think, as with all creative pursuits, it is always based on love.” Strong, kind, just, sensual, creative - the description circles back like a perfectly draped slip dress.

That personal foundation has sustained her through the industry’s louder demands. “Fashion is a big business, and because it is so visible in our culture and so commercialised, people hold certain expectations and labels about those inside the industry,” she observes. Chasing the media’s version of success, she warns, leads to burnout and hollow victories. “If you chase what you think you want based on what the media shows, you will most likely end up disappointed, burned out, and losing more than you gain in the process.”
Instead, she draws strength from quieter sources: a steadfast support system, spiritual practice, and the art of attentive living. “My mom and my husband have always given me shelter when I needed rest,” she shares. “Bringing inspiration into life, connecting with others through my own offering, finding my own way to do this in the different seasons of my life: that is the art of living.” The deepest reward remains profoundly human. “The most rewarding part is how much I have learned about myself along the way, and how many amazing human beings I have connected with through this journey.”
Bridal work has offered some of the most intimate of those connections. “To be part of the most important ceremony in their life is such a great honour,” she says. It demands trust and openness. One Covid-era gown tested the entire studio: less than a month from first fitting to final, with the bride preparing to relocate. “That was a real test for my team and me to make sure every step was precisely executed.” The memory carries respect rather than complaint, for the precision such moments require and the trust they inspire.
Looking ahead, S.Nine’s evolution feels like an unfolding. She aims to share the brand’s creative spirit with a wider audience while preserving its essential intimacy. More travel, expanded trunk shows in cities like Tokyo and Singapore, and “more fun, meaningful collaborations and projects are always welcome.” The focus stays on inspiration and connection rather than unchecked scale. “I would like to continue bringing new inspiration and creative spirit through S.Nine, sharing it with a wider audience, and travelling more to connect with different people.”
Legacy as a grand concept does not preoccupy her. “I don’t think about legacy,” she says plainly. She hopes the clothes have delivered something more immediate and enduring: joy, beautiful memories with loved ones, a lift to the spirit. Perhaps, too, that they offer quiet permission. “It also encourages young people to find their own path in their creative pursuit, to believe in themselves and not blindly follow someone else’s idea of success.”
In an era that often mistakes volume for relevance, S.Nine moves with deliberate quiet. The garments honor the body’s native elegance rather than shouting over it. They understand that true power in dressing frequently resides in what is felt rather than announced, fabric falling just so, confidence rising in response. A woman moves through her day, or through the most pivotal day of her life, carrying both armor and ease.
Susanna Soo’s own trajectory embodies the philosophy. From childhood sensitivity to maternal example, from garment-district rigor to Parisian refinement, from personal milestone to professional devotion, each chapter has informed the next without forced symmetry. The result is a brand that feels less like a declaration and more like an extended conversation between maker and material, woman and garment, private intuition and shared experience.
She returns often to the idea of energy: clothes that elevate it, moments that honor it, a life aligned with it. In her hands, fashion becomes less an industry category than a form of attentive presence paying close attention to how fabric meets skin, how silhouette meets spirit, how a well-chosen garment can quietly recalibrate the day. The pursuit remains obsessive, the grit remains real, yet the ultimate measure stays intimate: Does it feel right? On the body, in the moment, across the seasons of a life.
That question, asked early and answered daily, continues to guide S.Nine forward one precisely draped, intuitively tuned piece at a time.

Images courtesy of Susanna Soo.