From La Boum to Bond: Interview and feature with Sophie Marceau: French actress, icon, legendary beauty

 

From La Boum to Bond: Interview and feature with Sophie Marceau: French actress, icon, legendary beauty 

Hong Kong Cinema Icon, Actress and Famed Beauty Rosamund Kwan: Interview and Cover shoot

For Hong Kong cinema buffs, here's an all-too-familiar face; the effortlessly elegant Rosamund Kwan Chi-lam. Born into industry royalty as the daughter of Shaw Brothers icon Kwan Shan and actress Cheung Bing-sai, beauty was practically her birthright. Yet, as audiences across the globe would soon discover, Kwan was far more than an heiress to cinematic lineage; she was the undisputed face of nineties screen glamour.

Making her feature film debut opposite Chow Yun-fat in 1982’s The Head Hunter, Kwan’s porcelain features and expressive, almond-shaped eyes instantly captivated directors. Throughout the boom years of Asian cinema, particularly Hong Kong cinema's movie empire, she became the ultimate leading lady to the region's biggest titans. 

Whether trading banter with Jackie Chan in high-octane blockbusters like Armour of God or matching romantic sparks with Andy Lau in sleek urban dramas, her presence elevated every frame.

Her career reached mythical heights when auteur Tsui Hark cast her in Once Upon a Time in China. As Thirteenth Aunt, a spirited, Westernised beauty straddling the divide between tradition and modernity, Kwan delivered an iconic performance opposite Jet Li. Wearing minimal makeup on screen to highlight her natural elegance, she transformed a classic period archetype into an enduring cultural icon.

Stepping away from movie sets in 2007 after a career spanning more than 60 films, Kwan pivoted gracefully into entrepreneurship, fashion design, and high-profile real estate investment. Today, she remains a timeless fixture in Hong Kong’s social register - a living testament to an unrepeatable era of cinematic magic. 

Giddy, would be the word to describe the team as we photographed for the cover of LIfestyle, the perfectly divine Ms Kwan. Here's our exclusive conversation. 

Before this interview I spoke with a film critic who said, “Oh Rosamund, she was so beautiful in her movies.” That’s the enduring image that’s etched on moviegoers’ minds: how lovely you looked.
Rosamund Kwan: That’s sweet. Of course I’m happy that people are saying nice things about me, but it’s a bit of a pity that people always say I’m pretty in movies but they aren’t saying that I’m a good actress, except for a few films like Once Upon a Time in China – that got me a lot of compliments for my performance. Actually, there are times when I do wish people would think, oh I can act also! I always wanted people to appreciate my talent.

Did you enjoy working in the movie industry?
To be honest... no, not really. When I started, it was all the martial arts movies. I really appreciate Maggie [Cheung]. She had a really good time in that period. She did some wonderful movies. In the 1980s and early ’90s, there were few women’s movies. I felt that of the lot, Maggie got some of the best roles. I got all the commercial movies, the action and so on.

What do you consider beautiful?
I can’t tell from the face of people what’s beautiful. I only find beauty these days in art, in paintings, in sculptures. When it comes to people, I don’t think about beauty. I look at pictures when I look for beauty. I think what’s beautiful is also very abstract. From the scenery I see when I travel, to watching children playing in the street, and of course in galleries around the world.

Is your house filled with art?
Hopefully it will be. I’m just in the process of moving into a smaller house, so I don’t know. I don’t know why, maybe my ex-husband gave me some inspiration, but I really love colours these days.

Now that you don’t have a busy movie schedule, are you enjoying travelling?
Very much so. Recently I went to Paris and Venice. Earlier I went to India, and I saw the colours varying from street to street – that was really beautiful. I was in New Delhi and beautiful Bodh Gaya. The faces of the people were so serene and so beautiful.

In Hong Kong, you’d be recognised on any street. Did the anonymity in India help you just be?
It was nice that no one knew me or recognised me, so I did whatever I liked, went wherever. I wasn’t bothered. Here in Hong Kong I’m aware of being looked at. But I enjoy living here now. I was born here, brought up here, I went to Maryknoll School. This is definitely my home.

Haven’t your fans asked you to act again? Do they wonder why you stopped?
I don’t know what the perception of me is. When people come to me, they’re always saying, “I hope you’re happy and hope you’re living well and are healthy.” Some fans ask me to come back to movies, but I don’t miss it. I don’t feel it, not even a little bit. I don’t think I did any great work. There are so many newcomers in this business who are doing well, so I don’t think I’ll do any more.

I think you’re being modest. You did some wonderful films. Wasn’t there anything about the Hong Kong film industry that you enjoyed?
I did enjoy the process when I started. I was very young, aged 18. My father was in the business. He didn’t really encourage me, but I did it anyway.

When I was young, all my father’s friends and family were in the film industry, my auntie and uncle, and they were all perfect looking, in my eyes. Only the most handsome men worked at Shaw Brothers Studio and the prettiest girls in China were there. Maybe I was a bit dramatic when I was young, so I wanted to join the film business.

My point of view of the film industry was very different then. When I grew up, when I knew what the world was about, I found it a bit cruel. It’s a hard industry. But I think I was lucky. I did enjoy parts of it.

You acted with all the big stars of the time.

All my co-stars and colleagues really treated me well and with respect. I was always treated like a princess on set. I don’t know if it was because I was second generation, because my family was in the industry, or because they found me attractive. They weren’t gay! But my co-stars were always very nice to me. Andy [Lau] took good care of me. Jet Li, Jackie Chan, all were good and we’re still good friends.

It would be hard to ignore the fashion of that era. Has your fashion evolved drastically since your movie days?
I don’t think I wore too many of those terrible, over-the-top ’80s fashions. I don’t look back and cringe or laugh. There were definitely some weird things I wore, especially as a teen. When I was 18, I had a long, thick perm. I never wore wigs when I was working in movies; that’s all me. The wigs back then were terrible quality and itchy. I always styled my own hair. When I look back at photos, I think, it’s OK, it’s not too bad. Fashion always changes and evolves, but I changed and evolved, too.

Now it’s a lot simpler. I like to buy a lot of fashion. I think I have too many things now. As I’m moving homes, I can see how many things I have. I think I’ll have to rent storage to sort everything out, so I feel I need to stop buying things. I’m going to mix and match what I have and keep things simple and easy.

What advice do you have for women today?
I think women should have their own work, business and money. I know most women have their family and kids to take care of – unlike me. It’s just me and my dog! I know it isn’t easy to manage a household, but still I feel that women should be independent. There’s power and beauty in a self-sufficient woman. Women should take care of themselves – as well as their kids and husband, but not put themselves last.

Finally, when you see yourself in the morning, do you see how beautiful you are?
When I look at the mirror in the morning, I think, “My God, it’s a disaster!” [She laughs.] That’s why I said beauty’s not in the face, not from the exterior but from within.

More from this cover shoot and feature at PrestigeOnline. 

Photoshoot, my dream team;

Photographer: Olivier Yoan
Stylist: Tasha Ling

對香港影迷來說，這絕對是一張再熟悉不過的面孔——優雅得毫不費力的關之嶺（關之琳）。出生於演藝世家的她，父親是邵氏影帝關山，母親是女演員張冰茜，美貌彷彿是她天生的特權。然而，正如全球觀眾很快就發現的那樣，關之琳絕非僅僅是電影世家的繼承人，她更是九十年代大銀幕港產片璀璨風華的代名詞。

1982年，她與周潤發合作主演《獵頭》（又名《再見江湖》）踏入影壇，精緻如瓷器的輪廓與靈動的大眼睛瞬間征服了無數導演。在亞洲電影業（尤其是香港電影王國）的黃金鼎盛時期，她成為了與各大巨星搭檔的不二女主角。

無論是在《龍兄虎弟》等高成本動作大片中與成龍幽默對戲，還是在時尚都市劇中與劉德華擦出浪漫火花，她的出現總能提升每一個鏡頭的質感。

當名導徐克邀請她出演《黃飛鴻》系列時，她的演藝事業達到了傳奇般的高度。她飾演的「十三姨」是一個性格活潑、接受過西式教育、遊走於傳統與現代之間的女性，與李連杰飾演的黃飛鴻同框對戲，展現了標誌性的精彩演出。為了凸顯其渾然天成的優雅，她在鏡頭前幾乎素顏上陣，將一個經典古裝角色塑造成永恆的文化符號。

在參演了60多部電影後，關之琳於2007年優雅淡出影壇，成功轉型投入商業創業、時裝設計及高端房地產投資。時至今日，她依然是香港名流圈中歷久彌新的焦點——這正是那個無法複製的香港電影黃金時代的活生生見證。

當我們團隊為《Lifestyle》拍攝封面、記錄下這位絕美的關小姐時，大家的心情可謂興奮不已。以下是我們的獨家專訪。

在這次採訪前，我跟一位影評人聊過，他說：「噢，關之琳在電影裡真的太美了。」這是深植在影迷心中揮之不去的印象：你在大銀幕上是多麼動人。

關之琳： 謝謝，這樣說真甜。大家能對我有好評價我當然開心，但也有點可惜，因為大家總是說我在電影裡很漂亮，卻很少誇我是個好演員——除了少數幾部像《黃飛鴻》，那部戲確實讓我收穫了不少對演技的讚賞。其實有時候我也真的很希望大家會想：「噢，原來她也是有演技的！」我一直都希望大家能欣賞我的才華。

你享受在電影界工作的時光嗎？

關之琳： 坦白說……其實不太享受。我剛入行的時候，全都是功夫打鬥片。我真的很欣賞張曼玉，她在那個時期過得很開心，拍了不少非常棒的電影。在80年代和90年代初，女性題材的電影很少。我覺得在同期的女演員裡，Maggie（張曼玉）拿到了不少最好的角色，而我拿到的多數是商業片、動作片等等。

在你眼中，什麼才是美？

關之琳： 我無法從人的容貌去判斷什麼是美。現在我只覺得美存在於藝術之中，比如畫作、雕塑。談到人，我不會去想美不美。我想尋找美的時候會去看畫。我覺得美也是一種很抽象的東西，從我旅遊時看到的風景，到街上看到小朋友嬉戲，當然還有世界各地的美術館裡。

你的大宅裡是不是擺滿了藝術品？

關之琳： 希望以後會是吧。我最近剛好在搬去一間小一點的房子，所以還不知道。不知怎的，可能是前夫給了我一些靈感，我最近真的很喜歡色彩。

現在不用忙於拍戲，你享受旅行嗎？

關之琳： 非常享受。最近去了巴黎和威尼斯，之前還去了印度，看到那裡街頭巷尾變化萬千的色彩，真的太美了。我去了新德里，還有美麗的菩提伽耶，那裡人們的面容是那麼安詳、那麼美麗。

在香港，你在任何一條街上都會被認出來。在印度這種無人認識的感覺，有沒有幫你放下包袱、做回自己？

關之琳： 沒有人認識我、認出我的感覺真好，我可以隨心所欲，想去哪就去哪，完全不受打擾。在香港的話，我會意識到有人在看我。不過我現在很享受住在香港，我在這裡出生、長大，讀的是瑪利諾修院學校，這裡絕對是我的家。

影迷們有沒有要求你復出拍戲？他們會好奇你當年為什麼停下來嗎？

關之琳： 我不知道大家是怎麼看我的。當影迷過來找我時，他們總是說：「希望你開開心心、過得好、身體健康。」有些影迷會叫我復出拍戲，但我真的不想念拍戲了，一點點想念都沒有。我不覺得自己做過什麼偉大的作品。現在行內有這麼多表現出色的新人，我想我不會再拍了。

我覺得你太謙虛了，你拍過很多很棒的電影。難道香港電影界就沒有任何讓你享受的地方嗎？

關之琳： 剛入行的時候，我確實很享受那個過程。那時我很年輕，才18歲。我爸爸也在這行，他其實沒有多鼓勵我，但我還是入了行。年輕時，我爸爸身邊的朋友和家人都在電影圈，我的叔叔阿姨們在我眼裡都長得非常完美。當時只有最英俊的男演員才能在邵氏影城工作，而全中國最漂亮的女孩子都在那裡。可能我年輕時有點戲劇化吧，所以很想加入電影界。那時我對電影圈的看法很不一樣。等我長大了、懂事了，才發現這個行業有點殘酷，是個很辛苦的行業。但我認為自己很幸運，其中的一部分我確實蠻享受的。

你曾與當時所有的巨星合作過。

關之琳： 所有合作過的搭檔和同事對我都非常好、很尊重。在片場我總是像個公主一樣被對待。我不知道是因為我是星二代、家人也在這行，還是因為他們覺得我有吸引力——他們可不是同性戀！但我的搭檔們對我都非常友好。華仔（劉德華）很照顧我，李連杰、成龍，大家人都很好，到現在我們依然是好朋友。

那個年代的時尚讓人難以忽視。從拍戲年代到現在，你的時尚風格有很大變化嗎？

關之琳： 我覺得自己沒穿過太多那種很誇張、很糟糕的80年代造型。現在回看我不會覺得尷尬或者想笑。以前確實穿過一些怪異的衣服，特別是十幾歲的時候。我18歲時留過很厚很長的爆炸捲髮。我拍戲時從不戴假髮，那全是我自己的真髮。那時的假髮質量很差又很癢，我總是自己做髮型。現在回看舊照片，我覺得還好，不算太差。時尚一直在變、在演變，而我自己也在改變和演變。現在簡約多了。我很喜歡買衣服，我覺得自己東西太多了。最近搬家時，我才發現自己原來有這麼多東西，我想我得租個倉庫來整理一下，所以覺得自己真要控制一下買東西了。以後我會把現有的服飾進行混搭，保持簡單大方。

對於當今的女性，你有什麼建議？

關之琳： 我覺得女性應該有自己的工作、事業和積蓄。我知道大多數女性都有家庭和小孩要照顧——我不一樣，就我和我的狗！我知道照顧一個家庭並不容易，但我依然覺得女性應該保持獨立。自立自強的女性身上有一種力量與美。女性應該照顧好自己——當然也要照顧好孩子和丈夫，但絕不能把自己放在最後一位。

最後，當你在清晨看到鏡子裡的自己，你會覺得自己很美嗎？

關之琳： 早上看鏡子時，我會想：「天啊，簡直是一場災難！」（笑）所以我才說美不在於外表，不在於外在，而是由內而發的。

更多精彩封面大片及專訪內容，請瀏覽 PrestigeOnline。

拍攝夢幻團隊： 攝影師：Olivier Yoan 造型師：Tasha Ling

Dream Visions: Karena Lam’s Subconscious Art Meets Louis Vuitton’s 200th Anniversary Trunk

From dreams and rice bowls to a love letter for Hong Kong, the actress-turned-ceramicist channels gratitude, memory and craft into her Louis Vuitton collaboration. In exclusive conversation with P.Ramakrishnan. 

For Louis Vuitton’s bicentennial "Louis 200" celebration, Hong Kong-based actress, curator, and artist Karena Lam was invited alongside 200 global creative visionaries to reimagine the maison's iconic 50×50×100 cm trunk as a canvas. 

At the Hong Kong viewing, many could see a handful of curated trunks in full display often with the artist in tow. Lam’s creation stands out for its serene blending of fine art, local cultural tribute, and tactile ceramic craftsmanship: she adorned the white trunk with a vibrant sky-blue, hand-painted floral window motif prominently featuring "HONG KONG" emblazed in all cap lettering and topped the piece with dozens of hand-thrown, unglazed white ceramic bowls stacked across its top surface. This juxtaposition transforms the traditional travel vessel into an intimate sculpture that pays homage to her artistic roots, ceramic practice, and connection to Hong Kong's intrinsic cultural identity.

When the opportunity came to interview her exclusively for the magazine, it was an easy yes. Lam wears so many hats so beautifully - actress, mother, wife, artist, sculptor - yet when we meet during the eight-day exhibition at H Zentre in Tsim Sha Tsui, Karena Lam is focused on the trunk she has designed with Louis Vuitton. 

The former Prestige magazine cover girl moves easily between multiple roles, but here, on this fine day, the artist leads. Her latest piece for the house’s 200th anniversary continues a thread that began years earlier: work drawn directly from dreams and the subconscious.

“The common area is that they’re both derived from my dreams and subconscious,” she says of her collaborations with Louis Vuitton. The first involved a magnetron and other images she paired with Lubicon painter Charlotte. This year she returned to Charlotte again. 

“I told her I had this other dream. She’s like, you’re always dreaming. Like I know but isn’t this great?! You can dream about it and then you can actually put it into action. I think that’s one of the best parts about my job.”

As an actress she knows the script by heart long before the cameras roll, but when starting her sculpture or ceramic, she has no idea what the final end result will be. “You read the script like a million times. You go to the set, you’re like, I’ve seen this before, I’ve said these words before and I know this person I'm about to portray... and everything just feels right because your subconscious is so strong.” That same force shaped the new trunk. She chose the Bauhinia flower - Hong Kong’s own bloom - because the piece would travel the world and eventually sit in the house museum in Asnières, France. 

“I really wanted, amongst the two hundred trunks, you can just see this from afar and know it is from Hong Kong.”

She also made two hundred rice bowls. A practising potter, Lam created every single one herself. Louis Vuitton gave her seven days; she stretched it to nine. “It was a killer, because there was one day that I did, I was pulling bowls for twenty hours.” The finished bowls travelled to France while she remained in the city she calls home. The choice of form was deliberate. 

“Rice is something very humbling because you know, to actually grow rice and harvest rice is not easy - it requires patience. I participated in a six-month rice workshop. I grew rice! Oh my god, the labour! All that work - for one bowl of rice is four thousands of those grains. It is so much time and effort - but now every time I have rice, I find it really is precious, not to be taken for granted.”

She cleaned her bowls carefully, each by hand. The shape itself mattered. “The reason why I decided to stick with the form of a rice bowl is because it’s two hands pressed together, so as to give and to receive. It is a very humbling, very simple, very basic gesture. So, I really want to show my gratitude to Louis Vuitton because of their heritage and the craftsmanship and also this is also to show my gratitude to Hong Kong. I call it a love letter to Hong Kong,” she says as we circle around her prized piece. 

The ceramics themselves demand absolute presence. People in the pottery community called her crazy for even attempting two hundred bowls in such a short period of time. She worked twenty-hour days, four days of creating, then the rest of the week trimming, glazing and firing every piece by hand. “When I’m making ceramics, I don’t think about my kids, I don’t think about my husband, I don’t think about what I’m going to do after. I’m there. That’s why in my studio I don’t put a clock. I don’t have music on. My phone is off. And I’m just there. I just feel if you don’t have that kind of dedication, then just don’t do it. I really force myself, but I really enjoy it. I’m not stressed.” 

The deadline, instead of being the Sword of Damocles hanging over her head, only sharpened the care. “Although it is rushed, each bowl was handled and trimmed and glazed and fired by me. I feel that this is precious because taking one’s time is precious.”

Her pieces kept growing by the hour, day by day, it came to form and fruition slowly - but steadily. “My works are getting bigger and bigger and I find it really interesting because I’m wondering why is it getting bigger? Why am I not making, small, delicate pieces? I just feel like once you’re toiling on bigger works, it’s like your body, it’s like going with my heartbeat, coiling around. And  I don’t know when to stop. Because your heartbeat is so confident, you keep going at it and you’ve got this momentum, which is just taking you further - so I don’t have to think anymore, just do. No stressful thoughts, just action." 

Acting and clay remain equal parts, central to her occupation and interest. “For me they’re both the same, because it is self-expression. You’re still creating things that didn't exist before, and you’re learning about people, the humanity of life. And you see a lot inwardly."

"Clay has memory. So whatever emotion you bring into the studio that day, that clay, it sucks it up. That’s what I find really interesting in the process.” She never studied pottery at school. The medium found her only during the pandemic. 

“I’m surprised that I didn’t pick it up in school. It was because of COVID, I took up this hobby - and now, I really like this medium.” The physical cost amuses her. “Sooner or later, I’m giving up the hand model job [she laughs]. I don't know if I'll be using my hands when acting - all my expressions are now molded in clay."

As we stroll around the room and meet LV's other guests, and gander about the lot looking at other trunk inspired work, Lam narrates how the work came about. Her relationship with the brand deepened after she saw the work behind the monogram. 

“I’ve always known of Louis Vuitton - I mean, who in Hong Kong doesn't know the brand? When you’re younger you can’t afford the items, you would buy what's accessible like the perfume, then accessories, then the bag - its a growing relationship.”

 Later, during the time-capsule project around 2018, she visited the house museum and the ateliers in Italy where the trunks are made. “I saw that in each department; they still use their hands. So, you realise, why some of the items are so expensive, it’s not because of the logo or branding or advertising, it is the effort and artistry. It is because of the stories, it’s connected to people, it’s the heritage. It’s how they still put it all together, they are still very firm about making it with hands, not machines. Seeing that tour of the trunks I was just so overwhelmed by it, the people behind the work.”

At cocktail, as celebrities, socialites, artists swan in and around, we would be remiss to not discuss style. Fashion, for her, is quieter than red-carpet expectation. On the day we meet she wears an oversized Louis Vuitton ensemble she chose for herself. “I liked the fact that they had these lifts, because I’m not very tall, I like it looking vintage. Even though I’ve worn it, it could belong to my dad. It’s so voluminous.” 

On the red carpet her priorities are clear. “Hide all my flaws! You’re not getting any younger. Basically, don’t try to be sixteen on the red carpet. I like to portray my own age. I think beauty comes from acceptance. I’m not going to go back to sixteen by some miracle, so I’m not dressing that way; I want to dress my age.” 

She notes that Asian skin often ages kindly. “Because we don’t go in the sun - we are clever people! We’re always shaded. When I went to Phuket in Thailand and I'm told, 'You’re all covered up, enjoy the weather!' I’m like, nah, ten years down the road, I'll look like a bag!” She laughs when people react to her age. “I love telling people my real age - and they’re like, wow! Asian skin - no sun!”

We titter unbecomingly for a posh event and find a corner, far from the madding crowd. When it comes to travel - we are celebrating the traveling trunk with LV after all - she says museums and galleries remain her preferred form of adventure. “I love going to museums in every country I visit. I’m a big fan of the arts. I feel museums or galleries are like therapy groups for me. It’s like you learn a lot from other artists, you observe a lot, you’re inspired by the work, knowing that they’ve struggled in different times, lived in different eras, all their work is a reflection of their time on earth.” 

One thing she hasn't cared for is tech in sacred spaces. Digital viewing leaves her cold. “How can you just buy art just from zoom? For me it takes time, I need to see it with my own eyes, feel it, I just need to be there, to be witness to great art.” 

When Louis Vuitton offered a digital option for the anniversary trunk she refused. “They said do you want the digital form or the physical? I wanted the real!"

"I know what NFT is - but I didn’t think that, if I was to sign digitally, and create something in the ether... that wouldn't be me. I said No! so quickly. I need the physical trunk. For me the physicality of making things, to touch these, plays a really important role. So, for me I’m still a very old-fashioned kind of girl when it comes to physical sculptures and great art. They have to be real... not surreal."

Here are the translations tailored for both Traditional Chinese (Hong Kong) and Simplified Chinese (Mainland China) readers. Standard system fonts are used so you can directly copy and paste the text into Blogspot without formatting issues.

夢境視界：林嘉欣的潛意識藝術碰撞路易威登（Louis Vuitton）百年百年百年紀念硬箱

從夢境與飯碗，到寫給香港的情書，這位由演員轉型為陶藝家的藝術家，將感恩、記憶與工藝注入她與 Louis Vuitton 的合作中。P.Ramakrishnan 獨家專訪。

為了慶祝 Louis Vuitton 創辦人二百週年誕辰的「Louis 200」紀念企劃，總部設於香港的演員、策展人兼藝術家林嘉欣，獲邀與全球 200 位創意先驅一同將品牌標誌性的 50×50×100 厘米硬箱轉化為創作畫布。

在香港展覽現場，不少訪客都能親眼目睹數款精選硬箱，並常常能看到藝術家本人的身影。林嘉欣的作品憑藉純純藝術、在地文化致敬與溫潤手感的陶藝工藝之寧靜融合脫穎而出：她在白色硬箱上繪上了色彩鮮艷的天藍色手繪花卉窗芒，並以大寫字母醒目地印上「HONG KONG」字樣，頂部則堆疊了數十個由她親手拉坯、未上釉的白色陶瓷碗。這種對比將傳統的旅行載體昇華為一件親密無間的雕塑作品，向她的藝術根基、陶藝實踐以及與香港內在文化身份的連結致敬。

當有機會為雜誌對她進行獨家專訪時，答案自然是毫不猶豫的「Yes」。林嘉欣完美地身兼數職——演員、母親、妻子、藝術家、雕塑家——然而，當我們在尖沙咀 H Zentre 為期八天的展覽期間見面時，林嘉欣正全神貫注於她與 Louis Vuitton 共同設計的這款硬箱。

這位前《Prestige》封面女郎在多重身份之間游刃有餘，但在這個明媚的日子裡，藝術家才是主角。她為品牌 200 週年創作的最新作品，延續了多年前就已開啟的創作脈絡：直接取材於夢境與潛意識的作品。

「共通點在於，它們都源自我的夢境和潛意識，」她在談到與 Louis Vuitton 的合作時說道。第一次合作涉及磁控管以及她與 Lubicon 畫家 Charlotte 搭配的其他意象。今年，她再次與 Charlotte 合作。

「我告訴她我又做了這個夢。她說，你總是在做夢。我說我知道，但這難道不是很棒嗎？！你可以夢到它，然後真正把它付諸行動。我覺得這是我工作中最棒的部分之一。」

作為一名演員，她在開機前就早已將劇本背得爛熟，但在開始創作雕塑或陶瓷時，她完全不知道最終的結果會是什麼。「你看劇本看了成千上萬遍。你來到片場，會覺得，我以前見過這個，我以前說過這些話，我認識我即將塑造的這個人……一切都感覺剛剛好，因為你的潛意識太強大了。」同樣的力量塑造了這款新硬箱。她選擇了洋紫荊——香港自家的花卉——因為這件作品將環遊世界，並最終陳列於法國阿斯涅爾（Asnières）的品牌故居博物館中。

「我真的很希望，在兩百個硬箱之中，大家能從遠處一眼看到它，就知道它來自香港。」

她還製作了二百個飯碗。作為一名實踐中的陶藝家，林嘉欣親手製作了每一個碗。Louis Vuitton 給了她七天的時間；她將其延長到了九天。「這簡直是種折磨，因為有幾天我连续拉坯拉了二十個小時。」完成後的碗飛往了法國，而她則留在了這座她稱之為家的城市。對形狀的選擇是經過深思熟慮的。

「米飯是非常謙遜的東西，因為你知道，真正種植稻米和收穫稻米並不容易——這需要耐心。我參加了一個為期六個月的種米工作坊。我親手種了米！天哪，那種辛苦！所有的努力——一碗米飯背後是四千粒稻谷。這需要花費大量的時間和心血——所以現在每次吃米飯，我都覺得它真的很珍貴，絕不能視為理所當然。」

她仔細地清洗著自己的碗，每一個都是手洗。形狀本身就很重要。「我決定堅持使用飯碗形狀的原因，是因為它就像雙手合十，既是給予，也是接受。這是一個非常謙遜、非常簡單、非常基本的姿態。所以，我真的很想向 Louis Vuitton 表達我的感激之情，感謝他們的傳統和工藝，同時這也是為了向香港表達我的感激。我稱之為寫給香港的情書，」當我們繞著她珍愛的作品走動時，她說道。

陶藝本身需要全神貫注的投入。陶藝界的人都說她瘋了，居然敢嘗試在這麼短的時間內製作二百個碗。她每天工作二十個小時，用四天時間創作，然後在一周剩餘的時間裡親手修坯、上釉和燒製每一件作品。「當我在做陶瓷時，我不去想我的孩子，不去想我的丈夫，不去想之後要做什麼。我就在那裡。這就是為什麼在我的工作室裡我不放鐘。我不放音樂。我的手機是關掉的。我就只是在那裡。我只是覺得如果你沒有那種專注，那就乾脆不要做。我真的很逼自己，但我真的很享受。我沒有壓力。」

截止日期並沒有成為懸在她頭頂的達摩克利斯之劍，反而讓這份用心更加銳利。「雖然很趕，但每個碗都是由我親自處理、修坯、上釉和燒製的。我覺得這很珍貴，因為花時間本身就是珍貴的。」

她的作品隨著時間推移不斷長大，日復一日，慢慢地——但堅定地——走向成形和圓滿。「我的作品變得越來越大，我覺得這很有趣，因為我在想為什麼它會變得越來越大？為什麼我不做些小巧精緻的作品？我只是覺得，一旦你在大型作品上辛勤耕耘，它就像你的身體一樣，就像隨著我的心跳一起盤築延伸。我不知道什麼時候該停下來。因為你的心血是如此自信，你一直保持著這種勢頭，它帶你走得更遠——所以我不需要再去思考，做就對了。沒有壓力的想法，只有行動。」

表演和泥土依然平分秋色，都是她職業和興趣的核心。「對我來說，它們是一樣的，因為這都是自我表達。你依然在創造以前不存在的東西，你在了解人，了解生活的考驗。而且你能向內看到很多東西。」

「泥土是有記憶的。所以無論你那天帶什麼情緒進工作室，泥土都會把它吸收進去。這就是我覺得這個過程中非常有趣的地方。」她從未在學校學過陶藝。這種介質是在疫情期間才找到她的。

「我很驚訝自己在學校時沒有接觸它。是因為 COVID，我才拾起這個興趣——而現在，我真的很喜歡這種介質。」身體上的代價讓她感到有趣。「遲早我要放棄手模這份工作了［她笑了］。我不知道演戲時還能不能用手——我所有的表情現在都用泥土塑造出來了。」

當我們在房間裡散步，結識 LV 的其他賓客，並到處看看其他受硬箱啟發的作品時，林嘉欣講述了這件作品是如何誕生的。在看到了 Monogram 背後的工藝後，她與該品牌的關係進一步深化了。

「我一直都知道 Louis Vuitton——我是說，在香港有誰不知道這個品牌？當你年輕的時候，你買不起這些商品，你會買一些負擔得起的東西，比如香水，然後是配飾，然後是手袋——這是一個不斷發展的關係。」

後來，在 2018 年左右的 Time Capsule 時空樞紐展覽企劃期間，她參觀了品牌故居博物館以及製作硬箱的意大利工坊。「我看到在每個部門，他們依然在使用雙手。所以，你意識到，為什麼有些商品如此昂貴，這不是因為 Logo、品牌推廣或廣告，而是因為投入的心血和藝術性。是因為背後的故事，它與人連結在一起，是那種傳承。是他們如何依然將這一切整合在一起，他們依然非常堅持用手而不是機器來製作。看到硬箱的參觀過程，我完全被震撼到了，被作品背後的人們所打動。」

在酒會上，當明星、名流和藝術家們如天鵝般優雅地穿梭往來時，如果不討論時尚，我們就太失策了。對她來說，時尚比紅毯上的期許要安靜得多。在我們見面的這一天，她穿了一套自己挑選的 Oversized 歐美風 Louis Vuitton 套裝。「我喜歡它們有厚底設計，因為我不是很高，我喜歡它看起來帶有復古感。即使是我穿著它，它看起來也可以屬於我爸爸。它是如此有廓形感。」

在紅毯上，她的優先事項非常明確。「遮住我所有的缺點！你不會越來越年輕。基本上，不要試圖在紅毯上裝十六歲。我喜歡展現我自己的年齡。我覺得美源於接受。我不可能通過某種奇蹟回到十六歲，所以我不會那樣穿著；我想穿出符合我年齡的樣子。」

她注意到亞洲人的皮膚往往老得比較慢。「因為我們曬不到太陽——我們是很聰明的人！我們總是在遮陰處。當我去泰國布吉島時，有人跟我說：『你都包裹得嚴嚴實實的，享受這天氣吧！』我說，不，十年後，我看起來會像個皮包！」當人們對她的真實年齡做出反應時，她笑了。「我喜歡告訴別人我的真實年齡——他們會驚呼，哇！亞洲肌膚——曬不到太陽！」

我們在一個豪華的場合裡發出了與環境不甚相符的咯咯笑聲，並找到了一個遠離吵雜人群的角落。談到旅行——畢竟我們是在與 LV 一起慶祝旅行硬箱——她說博物館和畫廊依然是她最喜歡冒險形式。「我喜歡去我訪問的每一個國家的博物館。我是藝術的忠實粉絲。我覺得博物館或畫廊對我來說就像心理治療小組。就好像你可以從其他藝術家身上學到很多東西，你觀察很多，你被作品所啟發，知道他們在不同的時代掙扎過，生活在不同的時代，他們所有的作品都是他們留在地球上的時間的反映。」

有一件事是她在神聖空間裡不太在意的，那就是科技。數字觀展讓她感到冷淡。「你怎麼能僅憑 Zoom 就買藝術品呢？對我來說這需要時間，我需要親眼看到它，感受它，我只需要在那裡，去親眼見證偉大的藝術。」

當 Louis Vuitton 為這款週年硬箱提供數字選項時，她拒絕了。「他們問你要數字形式還是實體形式？我想要真實的！」

「我知道什麼是 NFT——但我並不認為，如果我要進行數字簽名，並在虛無中創造一些東西……那不會是我。我非常迅速地說了不！我需要實體的硬箱。對我來說，製作物品的實體感，觸摸這些東西，扮演著非常重要的角色。所以，對我來說，在實體雕塑和偉大藝術方面，我仍然是一個非常傳統的女孩。它們必須是真實的……而不是超現實的。」

简体中文版（中国大陆读者 Simplified Chinese - Mainland China）

梦境视界：林嘉欣的潜意识艺术碰撞路易威登（Louis Vuitton）二百周年纪念硬箱

从梦境与饭碗，到写给香港的情书，这位由演员转型为陶艺家的艺术家，将感恩、记忆与工艺注入她与 Louis Vuitton 的合作中。P.Ramakrishnan 独家专访。

为了庆祝 Louis Vuitton 创始人二百周年诞辰的“Louis 200”纪念企划，总部设于香港的演员、策展人兼艺术家林嘉欣，获邀与全球 200 位创意先驱一同将品牌标志性的 50×50×100 厘米硬箱转化为创作画布。

在香港展览现场，不少访客都能亲眼目睹数款精选硬箱，并常常能看到艺术家本人的身影。林嘉欣的作品凭借纯艺术、在地文化致敬与温润手感的陶艺工艺之宁静融合脱颖而出：她在白色硬箱上绘制上了色彩鲜艳的天蓝色手绘花卉窗格，并以大写字母醒目地印上“HONG KONG”字样，顶部则堆叠了数十个由她亲手拉坯、未上釉的白色陶瓷碗。这种对比将传统的旅行载体升华为一件亲密无间的雕塑作品，向她的艺术根基、陶艺实践以及与香港内在文化身份的链接致敬。

当有机会为杂志对她进行独家专访时，答案自然是毫不犹豫的“Yes”。林嘉欣完美地身兼数职——演员、母亲、妻子、艺术家、雕塑家——然而，当我们在尖沙咀 H Zentre 为期八天的展览期间见面时，林嘉欣正全神贯注于她与 Louis Vuitton 共同设计的这款硬箱。

这位前《Prestige》封面女郎在多重身份之间游刃有余，但在这明媚的一天，艺术家才是主角。她为品牌 200 周年创作的最新作品，延续了多年前就已开启的创作脉络：直接取材于梦境与潜意识的作品。

“共通点在于，它们都源自我的梦境和潜意识，”她在谈到与 Louis Vuitton 的合作时说道。第一次合作涉及磁控管以及她与 Lubicon 画家 Charlotte 搭配的其他意象。今年，她再次与 Charlotte 合作。

“我告诉她我又做了这个梦。她说，你总是在做梦。我说我知道，但这难道不是很棒吗？！你可以梦到它，然后真正把它付诸行动。我觉得这是我工作中最好的部分之一。”

作为一名演员，她在开机前就早已将剧本背得烂熟，但在开始创作雕塑或陶瓷时，她完全不知道最终的结果会是什么。“你看剧本看了成千上万遍。你来到片场，会觉得，我以前见过这个，我以前说过这些话，我认识我即将塑造的这个人……一切都感觉刚刚好，因为你的潜意识太强大了。”同样的力量塑造了这款新硬箱。她选择了洋紫荆——香港自家的花卉——因为这件作品将环游世界，并最终陈列于法国阿斯涅尔（Asnières）的品牌故居博物馆中。

“我真的很希望，在两百个硬箱之中，大家能从远处一眼看到它，就知道它来自香港。”

她还制作了二百个饭碗。作为一名实践中的陶艺家，林嘉欣亲手制作了每一个碗。Louis Vuitton 给了她七天的时间；她将其延长到了九天。“这简直是种折磨，因为有几天我连续拉坯拉了二十个小时。”完成后的碗飞往了法国，而她则留在了这座她称之为家的城市。对形状的选择是经过深思熟虑的。

“米饭是非常谦逊的东西，因为你知道，真正种植稻米和收获稻米并不容易——这需要耐心。我参加了一个为期六个月的种米工作坊。我亲手种了米！天哪，那种辛苦！所有的努力——一碗米饭背后是四千粒稻谷。这需要花费大量的时间和心血——所以现在每次吃米饭，我都觉得它真的很珍贵，绝不能视为理所当然。”

她仔细地清洗着自己的碗，每一个都是手洗。形状本身就很重要。“我决定坚持使用饭碗形状的原因，是因为它就像双手合十，既是给予，也是接受。这是一个非常谦逊、非常简单、非常基本的姿态。所以，我真的很想向 Louis Vuitton 表达我的感激之情，感谢他们的传统和工艺，同时这也是为了向香港表达我的感激。我称之为写给香港的情书，”当我们绕着她珍爱的作品走动时，她说。

陶艺本身需要全神贯注的投入。陶艺界的人都说她疯了，居然敢尝试在这么短的时间内制作二百个碗。她每天工作二十个小时，用四天时间创作，然后在一周剩余的时间里亲手修坯、上釉和烧制每一件作品。“当我在做陶瓷时，我不去想我的孩子，不去想我的丈夫，不去想之后要做什么。就在那里。这就是为什么在我的工作室里我不放钟。我不放音乐。我的手机是关掉的。我就只是在那里。我只是觉得如果你没有那种专注，那就干脆不要做。我真的很逼自己，但我真的很享受。我没有压力。”

截止日期并没有成为悬在她头顶的达摩克利斯之剑，反而让这份用心更加锐利。“虽然很赶，但每个碗都是由我亲自处理、修坯、上釉和烧制的。我觉得这很珍贵，因为花时间本身就是珍贵。”

她的作品随着时间推移不断长大，日复一日，慢慢地——但坚定地——走向成形和圆满。“我的作品变得越来越大，我觉得这很有趣，因为我在想为什么它会变得越来越大？为什么我不做些小巧精致的作品？我只是觉得，一旦你在大型作品上辛勤耕耘，它就像你的身体一样，就像随着我的心跳一起盘筑延伸。我不知道什么时候该停下来。因为你的心血是如此自信，你一直保持着这种势头，它带你走得更远——所以我不需要再去思考，做就对了。没有压力的想法，只有行动。”

表演和泥土依然平分秋色，都是她职业和兴趣的核心。“对我来说，它们是一样的，因为这都是自我表达。你依然在创造以前不存在的东西，你在了解人，了解生活的考验。而且你能向内看到很多东西。”

“泥土是有记忆的。所以无论你那天带什么情绪进工作室，泥土都会把它吸收进去。这就是我觉得这个过程中非常有趣的地方。”她从未在学校学过陶艺。这种介质是在疫情期间才找到她的。

“我很惊讶自己在学校时没有接触它。是因为 COVID，我才拾起这个兴趣——而现在，我真的很喜欢这种介质。”身体上的代价让她感到有趣。“迟早我要放弃手模这份工作了［她笑了］。我不知道演戏时还能不能用手——我所有的表情现在都用泥土塑造出来了。”

当我们在房间里散步，结识 LV 的其他宾客，并到处看看其他受硬箱启发的作品时，林嘉欣讲述了这件作品是如何诞生的。在看到了 Monogram 背后的工艺后，她与该品牌的关系进一步深化了。

“我一直都知道 Louis Vuitton——我是说，在香港有谁不知道这个品牌？当你年轻的时候，你买不起这些商品，你会买一些负担得起的东西，比如香水，然后是配饰，然后是手袋——这是一个不断发展的关系。”

后来，在 2018 年左右的 Time Capsule 时空枢纽展览企划期间，她参观了品牌故居博物馆以及制作硬箱的意大利工坊。“我看到在每个部门，他们依然在使用双手。所以，你意识到，为什么有些商品如此昂贵，这不是因为 Logo、品牌推广或广告，而是因为投入的心血和艺术性。是因为背后的故事，它与人链接在一起，是那种传承。是他们如何依然将这一切整合在一起，他们依然非常坚持用手而不是机器来制作。看到硬箱的参观过程，我完全被震撼到了，被作品背后的人们所打动。”

在酒会上，当明星、名流和艺术家们如天鹅般优雅地穿梭往来时，如果不讨论时尚，我们就太失策了。对她来说，时尚比红毯上的期许要安静得多。在我们见面的这一天，她穿了一套自己挑选的 Oversized 欧美风 Louis Vuitton 套装。“我喜欢它们有厚底设计，因为我不是很高，我喜欢它看起来带有复古感。即使是我穿着它，它看起来也可以属于我爸爸。它是如此有廓形感。”

在红毯上，她的优先事项非常明确。“遮住我所有的缺点！你不会越来越年轻。基本上，不要试图在红毯上装十六岁。我喜欢展现我自己现在的年龄。我觉得美源于接受。我不可能通过某种奇迹回到十六岁，所以我不会那样穿着；我想穿出符合我年龄的样子。”

她注意到亚洲人的皮肤往往老得比较慢。“因为我们晒不到太阳——我们是很聪明的人！我们总是在遮阴处。当我去泰国普吉岛时，有人跟我说：‘你都包裹得严严实实的，享受这天气吧！’我说，不，十年后，我看起来会像个皮包！”当人们对她的真实年龄做出反应时，她笑了。“我喜欢告诉别人我的真实年龄——他们会惊叹，哇！亚洲肌肤——晒不到太阳！”

缓和了奢华场合的严肃氛围，我们在远离嘈杂人群的地方找到了一个角落。谈到旅行——毕竟我们是在与 LV 一起庆祝旅行硬箱——她说博物馆和画廊依然是她最喜欢的冒险形式。“我喜欢去我访问的每一个国家的博物馆。我是艺术的忠实粉丝。我觉得博物馆或画廊对我来说就像心理治疗小组。就好像你可以从其他艺术家身上学到很多东西，你观察很多，你被作品所启发，知道他们在不同的时代挣扎过，生活在不同的时代，他们所有的作品都是他们留在地球上的时间的反映。”

有一件事是她在神圣空间里不太在意的，那就是科技。数字观展让她感到冷漠。“你怎么能仅凭 Zoom 就买艺术品呢？对我来说这需要时间，我需要亲眼看到它，感受它，我只需要在那里，去亲眼见证伟大的艺术。”

当 Louis Vuitton 为这款周年硬箱提供数字选项时，她拒绝了。“他们问你要数字形式还是实体形式？我想要真实的！”

“我知道什么是 NFT——但我并不认为，如果我要进行数字签名，并在虚无中创造一些东西……那不会是我。我非常迅速地说了不！我需要实体的硬箱。对我来说，制作物品的实体感，触摸这些东西，扮演着非常重要的角色。所以，对我来说，在实体雕塑和伟大艺术方面，我仍然是一个非常传统的女孩。它们必须是真实的……而不是超现实的。”

Thank you for the great chat Karena! 

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3 South Asian actors challenge Hong Kong cinema’s casting rules: Post Magazine feature

 

Hong Kong’s film industry once dazzled the world, but it has never been especially inclusive. Today, South Asian actors – a Nepali movement artist, a Punjabi performer and a Sikh action enthusiast – are attempting to rewrite the city’s casting rule book

Read the entire (long!) feature at SCMP.com/PostMag

In conversation with Hong Kong icon Rosamund Kwan

In conversation with Hong Kong icon Rosamund Kwan.

Actress, entrepreneur, beauty, legend, icon... 

Rishi Kapoor in Hong Kong: The Birth Anniversary of the underrated actor who was once the prince of Bollywood

Rishi Kapoor in Hong Kong: The Birth Anniversary of the underrated actor who was once the prince of Bollywood! 

A long career, a jobbing actor - after shedding the image of the leading man and designer-sweater wearing hero, strumming a guitar chasing after (increasingly younger) actresses, the actor in him reawakened in his second innings. So many memorable performances, a flood of awards were heading his away... alas fate had to deal a cruel hand and took him at the age of 67. 

Remembering this fun shoot and interview with the thespian - the most fun and fear-induced (the man was larger than life and if he didn't like a question, my the volume went up!) interview, he was also witty, charming and the hard-earned laugh I got at the end of our chat was well worth it. When we met later at a dinner, I desperately wanted an autograph of Neetu Singh, his gorgeous and effortlessly elegant wife and former-co-star. He personally took me to her and made her sign my mighty tome Faces, which had portraits of the Kapoor family. I cherish the book. And the brief time we spent together. 

Happy birthday Rishi Kapoor - wherever you are. The films, the music, the performances will live on. Om Shanti Om indeed. 

You can read my interview with the Indian actor at SCMP.com here.

Rama writes. Nominee for Voices from the Margin

Rama. Pic by Dino Busch

P. Ramakrishnan’s feature on rising actor Bipin Karma is one of the nominees for excellence in feature writing for its compelling storytelling, cultural relevance, and journalistic excellence. By spotlighting Bipin Karma’s rise as a Nepali actor in Hong Kong cinema, the piece not only celebrates an individual’s achievements but also advocates for greater inclusion in an industry often lacking diversity. Its vivid prose, thematic depth, and ability to connect personal and societal narratives make it a standout feature that informs, inspires, and challenges readers to rethink representation in media. Topped with excellent photography, layout and graphics to enhance the narrative, Ramakrishnan’s work is a testament to the power of journalism to amplify marginalized voices and drive cultural change, making it a worthy candidate for recognition. 

Compelling Storytelling:

• Ramakrishnan crafts a narrative that is both personal and universal, making Bipin Karma’s story relatable while highlighting its unique cultural significance. The article’s ability to balance an individual’s journey with broader societal themes demonstrates exceptional storytelling that resonates with diverse audiences.

Cultural Relevance and Impact:

• By focusing on Karma’s role as a Nepali actor in a predominantly Chinese industry, Ramakrishnan addresses a pressing issue of representation. The article serves as a call to action for more inclusive storytelling, making it timely and impactful in the context of global diversity movements. Its focus on an underserved community’s pride in Karma’s success adds emotional weight and social relevance.

Clarity and Accessibility:

• The author’s clear, engaging prose ensures that complex themes like identity and representation are accessible to a broad readership. The use of vivid imagery and Karma’s own words creates an authentic, immersive experience that draws readers into the subject’s world.

Journalistic Excellence:

• Ramakrishnan’s research and contextual knowledge shine through in references to Hong Kong cinema’s history, the film’s accolades, and Karma’s background. The article’s integration of industry details with personal insights reflects a high level of journalistic rigor and storytelling finesse.

Inspiration and Advocacy:

• The article inspires by showcasing Karma’s journey from an unlikely actor to a cultural icon, while advocating for greater diversity in media. Ramakrishnan’s ability to weave this narrative into a broader call for change makes the piece a standout for awards recognizing impactful journalism.

Craft and Style:

• The author’s evocative language, seamless integration of quotes, and balanced pacing demonstrate a mastery of the craft. The article’s ability to maintain reader engagement while tackling serious themes like marginalization and identity makes it a model of feature writing. 

P. Ramakrishnan’s writing for Prestige magazine  - Hong Kong is characterized by a sophisticated, engaging, and aspirational style tailored to a high-net-worth audience. His work blends vivid storytelling, interview-driven narratives, and cultural commentary, with a focus on profiles, social issues, and luxury lifestyle. While concise and polished, his articles reflect the magazine’s commercial priorities, balancing journalistic insight with the glamour expected by its readership.

Feature and images below. 

Prestige magazine, Hong Kong. 

Outtakes: Bipin Karma on set: Young Actor from Nepal in the Bustling Hong Kong Film Scene

Outtakes from a shoot with young actor Bipin Karma, you can read the full interview with the promising, rising young star in the November 2021 edition of Prestige Hong Kong. 

Star of Hand Rolled Cigarette, it's a phenomenal debut. The young nominee is heading to awards season. Fingers crossed. 

Signed with Model One agency-- that resemblance to Zayn Malik (without the awful tattoos!) paying off in some ways... 

First Action Hero: Bipin Karma: Actor from Nepal who leaps across the pages of Prestige Hong Kong, Nov issue.

First Action Hero: Bipin Karma: Actor from Nepal who leaps across the pages of Prestige Hong Kong, Nov issue. 

The hunt for exquisite Jade

For a profile of Hong Kong designer Barney Cheng, I did an extensive multiple day interview and shoot, marking the 25th anniversary of his eponymous brand. The popular designer has several celebrity fans, including Michelle Yeoh and model turned actress Celina Jade.

Between her packed film shooting schedule, I interviewed the actress regarding her long-standing collaborations with Cheng and we did several looks featuring Barney Cheng couture and jewellery, as an accompanying piece to the main article. Everything you see in the left picture is from Cheng's design house. While photographer Ruby Law was taking perfect snaps of the perfectly poised Jade, who was studded with rubies and glittering diamonds, I was taking BTS shots in my often blurry phone camera. I posted this picture on social media for my.. 10s and 12s of followers!

What followed was... unprecedented on the account. An avalanche of trolling and hate speech, the likes of which I have never seen, bombarded the page. A mixture of bile filled comments in both Chinese and English. Apparently some... crazy person... in China? In some God-forsaken artery in Kowloon?.... slammed us for the shoot and feature as they hated Celina Jade for dating or breaking up some guy. Allegedly. We would delete the comment and three more would pop up the following day. Someone very unemployed who had time to write near-essays of virulent trolling.

For the record, Jade was a wonderful interview, a thorough professional at the shoot and lovely to work with. So the spewing that we read online was shocking.

We don't know if it was a bot or some aggressive person with severe mental issues, but it was relentless for weeks on end and we had to turn off the comment section on both the official account of the magazine and my personal account. Oyve.

The perils of fame, fandom with a pinch of cray cray.

On the plus side, the normal somnambulism of our social media account has never seen so much fire and ire. ..