Hon'ne VOL.02

Page 1

www.honnemag.com

VOL.02

JUNE 2015


VOL.02

JUNE 2015


EDITOR’S NOTE /

BE BOLD

MUSIC COLUMN /

HOW TO DISAPPEAR

COVER STORY /

HER NO.5 INTERVIEW /

ZO-EE X ITUM ART EDITORIAL /

I PAINT FLOWERS SO THEY WILL NOT DIE INTERVIEW /

RENATUS WU MUSIC EDITORIAL /

THE IMAGERY OF SOUND INTERVIEW /

JING WONG

BUY IT /

MONO EYEWEAR

ART COLUMN /

LUP

ART COLUMN /

WONGSZECHIT LIFESTYLE COLUMN /

COWRICE PHOTOGRAPHY COLUMN /

STUDIOWILL

PHOTOGRAPHY COLUMN /

QUISTOGRAPHY

PHOTOGRAPHY COLUMN /

BLACK & WHITE STORIES PHOTOGRAPHY COLUMN /

COMPOSETHESTORY

BUY IT /

ANICORN WATCHES MOVIE COLUMN /

THE 4TH WALL

MAOOU & WROOF /

THE CAT & DOG DIARY EXCHANGE PHOTO MISSION /

MOVIE COLUMN /

THE UMBRELLA MAXIM

Hon’ne X EyeEm LIVING BOLD BOLD STATEMENTS /

DESIGN COLUMN /

EDITED

LET’S TALK ABOUT BOLD

MUSIC COLUMN /

BEHIND THE SCENES /

LET'S CALL THE WHOLE THING OFF

EXHIBITION MAKING OF


EDITOR’ NOT

HON’NE 第二期的主題,是“BE BOLD”. 從創刊號到第二期的誕生,我們一直在問自己這個問題:為什麼要做一 本免費雜誌。 如果找不到理由,那就別浪費時間;如果理念明確,就必須一絲不苟。

我們選擇用這一期的內容證明自己的堅持,感謝在credit list中出現過的 每一個名字,為了一本免費網上雜誌,居然動用了這麼多專業人士。 這篇editor’s note排版用8pt字就夠了,多留一點空間給隔壁的credit list. 裡面的每一個名字,要儘BOLD。

“BE BOLD” IS THE THEME OF THIS SECOND EDITION OF HON’NE MAGAZINE. We've been asking ourselves the same question since our launch: Why start a free magazine? We wouldn't waste our time if we couldn't find a reason. With a clear idea in place, we leave no stone unturned. We have chosen to use our second issue to show our perseverance. A BIG THANK YOU to everyone listed in our credits for your efforts in helping to make this free magazine possible. I think we should use an 8pt font for this editor's note section to leave more space to list the names of our contributors in the credits section. Please make them as BOLD as possible.

DANI CHONG

EDITORIAL DIRECTOR JUNE, 2015


EDITORIAL DIRECTOR

REDIT

DANI CHONG CREATIVE DIRECTOR

DANI CHONG PHOTOGRAPHY DIRECTOR

SAVIA CHAN ART DIRECTOR

DANI CHONG JING WONG SAVIA CHAN

TRANSLATOR

BEVERLY JANEMAXWELL CLIFF WU DANI CHONG JESSIE NG SAVIA CHAN SIUYUETT GRAPHIC DESIGNER

DANI CHONG

BILLY CHEUNG CHAN MAN SING C.HONG DANI CHONG EMILY LAU WINGYEE TO

MAKEUP ARTIST

ILLUSTRATOR

PHOTOGRAPHER

SAVIA CHAN STYLIST

YOLA HUNG MAKE UP

LUP

CONTRIBUTOR

CLIFF WU

CAJ CLIFF WU COWRICE JING WONG JOE KWAN LUP MICHELLE CHAN MR. BOYBOY NICK CHEUK QUIST TSANG RENATUS WU SUMMERRAIN VINCENT CHAN WONG SZE CHIT

INTERVIEWER

SPECIAL THANKS TO

HAIR STYLIST

WINKY WONG MODEL

ADAM CHILLIE NG NICOLINE AAGESEN JING WONG MR. BOYBOY CHINESE EDITOR

DANI CHONG CLORIS NG ENGLISH EDITOR

DANI CHONG VIDEO PRODUCTION TEAM

NICK CHEUK WAI LAM OR

ACO EMILY CHAN KONZEPP ZO-EE


HON'NE | COVER STORY

HER NO.5 Concept & art direction : Savia Chan Photography : Savia Chan Styling : Dani Chong Makeup & hair : Nicoline Aagesen Model : Nicoline Aagesen Accessories : ZO-EE X ITUM Graphic design : Dani Chong



HON'NE | COVER STORY



HON'NE | COVER STORY



HON'NE | COVER STORY



HON'NE | COVER STORY



HON'NE | COVER STORY



HON'NE INTERVIEW | ZO-EE x ITUM

Interview & text : Dani Chong English translation : Cliff Wu Photography : Savia Chan Video production : Nick Cheuk & Wai Lam Or Graphic design : Billy Cheung Special thanks to : Aco 藝鵠


When fashion met architecture; blending craft with technology 當時裝遇上建築 手工結合科技

同為香港土生土長的八十後,蕭兪 (Zoe Siu) 與黃澤源 (Edmond Wong) 這兩位中學同學於中七畢業後往不 同範疇發展,各自創業,分別成為首飾設計師與建築師。一次聚會二人突發奇想,聯手將時裝與建築作 結合,將一個「本來不存在」的抽象概念演化成一系列飾物呈現在我們眼前。

High school classmates, Zoe Siu and Edmond Wong, are two Hong Kong-born post-80s who went their separate ways to pursue careers in jewellery design and architecture respectively. A flash in the pan moment during one meeting between Zoe and Edmond brings us the birth of a series of accessories that combines the concept of their respective discipline.


HON'NE INTERVIEW | ZO-EE x ITUM

ZO-EE

一個用雙手做實驗的設計師, 在實驗裡錯誤,於錯誤中學習, 從學習中創作。

www.zoeebyzoe.com

A hands-on designer, who fails through experimentation, learns through failures, and creates through learning.

為了參加一個時裝比賽,Zoe到中央圖書館找資料,看到一本教人如何綁爬山繩結的工具書。「我喜歡繩結不需要任何 工具,一雙手一條繩已經可以這麼千變萬化,當時的想法是把這個元素放在時裝設計,後來發現繩結本身已經足夠發 展成一件飾品。」最後作品沒有在比賽中勝出,過程卻 發了她將傳統繩結翻新的設計概念。

Zoe was researching at the central library for a fashion design competition when she came across a how-to book on knots for rock climbing. “I like where no tools are needed when it comes to making knots. You can get tons of different combinations using just your hands and a piece of rope,” she said. “So I had the idea of incorporating this element into my designs, but later realized that knot ties in itself can be developed into accessory items.” Although her pieces didn't win the competition, what she gained during the design process was an invaluable idea to revisit an ancient craft.


ZO-EE X ITUM

LOOP A LOOP 「在未有文字前,人類已經使用繩結記載與記錄。東方的繩結可以很複雜很細緻,可以將一條繩子打成一條魚、一條 龍、甚至一個字。在功能以外,人們將這門手工藝發展成裝飾藝術品。對我而言過份執著花巧造型是一種限制,反而 阻礙了創作。西方的繩結著重功能性與實用性,我嘗試將這個結構放大,得到很有趣的效果,我的創作過程是隨心所 欲的。」Zoe形容自己容易犯錯,在打結的過程中,有時候會忘記某個步驟,有時候會在作品裡加入奇怪的配件,不去 在意對錯,反而有助創作。

“Humans used ropes and knots to keep records and count before there was text. Eastern style knots can be very complex and intricate resulting in designs that can resemble a fish, a dragon, or even a Chinese character. Western style knot tying is functional and have practical applications so I tried to magnify the structure and ended up with very interesting results. My design process was very ad-lib,” she added. Zoe says she makes a lot of mistakes, and she'll forget steps in the process of tying a particular knot. She might even add in the odd trinket without thinking too much about it to find that it adds to the design. ROPE UNROPE Edmond嘗試以「活化舊建築」的方式將ZO-EE品牌的經典元素「再活化」,探討建築與首飾的關係。「建築不是只有 一種方法,有時候我們在一塊空地蓋一棟全新的建築物,有時候我們會進行活化工作,為舊建築灌注新的生命。與 ZO-EE這樣一個印象鮮明的女性化品牌合作,要如何能令設計不失原本的特色,又能用一個新的面目見大家?我開始 仔細去拆解一條繩、一個結,尋找事情的本質,問自己最簡單的問題。」

To explore the relationship between jewellery design and architecture, Edmond applied the idea of revitalising historical buildings to ZO-EE brand’s core element of “Revitalization”. “Architecture is multi-dimensional. Sometimes it involves building from scratch, while other times it’s about giving new life to old buildings through revitalization,” he said. “So in order to collaborate with a distinctly feminine brand like ZO-EE, I had to come up with some new ideas. So I started to dissect each piece of rope and knot tie to ask myself the most basic questions in order to get to the root of things.”


HON'NE INTERVIEW | ZO-EE x ITUM


一條麻繩原來是三條細的繩扭在一起,不是四條,也不是兩條,對Edmond 來說這是一個有趣的發現,兩人開始構思如何將這個概念呈現:將人們平 常看見的狀態微微解開,凝固在空中,變成一個平時看不見的狀態,讓大家 對一條繩有新的理解,新的閱讀。

Edmond discovered an interesting new knowledge in that ropes are made from exactly three pieces of strings. Not four. Not two. So together with Zoe he set out to formulate a concept: intricately dissecting things we encounter on a daily basis and freeze framing it to capture a form that is not usually apparent – resulting in a whole new interpretation on a piece of rope. 一個畫圖,一個打繩結,兩人用了半年時間互相配合、溝通、改動、試驗、 融合科技與手工,生產一個他們想凝固的狀態:繩非繩,結非結,可以是正 要鬆開,可以是正要結在一起。

Together, Edmond and Zoe spent the better part of half a year drawing sketches and tying knots respectively. They collaborated, tested and combined craft with technology to create their ideal freeze-frame shot that captures neither rope nor knot, and one that is open to interpretation on falling apart or coming together. 如果要用傳統工藝呈現這個概念會出現製作因難,於是他們運用了各種 3D立體打印技術生產並且結合手工藝元素。Zoe認為新與舊的技術應該融 洽並存而非互相排斥:「外國有不少時裝品牌用立體打印生產飾品,大都 是偏向多角形的設計,比較電子化,我們這個系列的設計是另外一種演繹 手法,有概念性又不失人性化。」

It’s obvious that relying on traditional crafting methods to create this concept could become difficult. They subsequently came up with the idea of fusing 3D printing technology with hand craft elements. Zoe believes the combination of new and old should work together rather than against each other, saying, “Many international fashion labels have started using 3D printing for jewellery production. While they mainly focus on more polygonal designs with a more ‘futuristic’ feel, we try to come with a different approach that is strong on concept yet maintains its human qualities.”


HON'NE INTERVIEW | ZO-EE x ITUM

當時裝遇上建築,手工結合科技,也許很多人會問「這怎麼可能」? Zoe與Edmond會先問「為什麼不可能?」

因為創作人自然會為自己創造出可能性。

Many might question the conceivability of our title, “When fashion met architecture; blending craft with technology”. Zoe and Edmond have countered with, “Why not?”

Creative people make possibilities.


ITUM

www.itum.co

為什麼衣褲鞋襪 全部有大小尺寸可供選擇, 唯獨眼鏡沒有?

Why does clothing come in different sizes, but not glasses?

Edmond喜歡同時間做幾個項目,當有一邊遇到瓶頸,他 不會把自己困著,可以跳去另一個範疇尋找靈感。在與 Zoe推出合作項目的同時,他也正在為自己的品牌ITUM 籌辦另一個項目- MONO立體打印眼鏡。

「我的概念是整副眼鏡一體成型打印出來,眼鏡的絞 位是 個難 題 。因為立體打印使 用的膠料 不能屈曲,於 是繩結的項目令 我想到以『半解開的繩 』的形態處理 絞 位 ,做 到一體 成型又能摺疊。而傳統的眼鏡 工序要 分開二,三十個步驟,這個設計配合立體打印,將工序 簡化至只需要一個主要工序,再配合打磨和染色,就能 完成一副眼鏡的生產。鏡片可以拆除輕易更換,需要時 變身成為太陽眼鏡。」

Edmond likes to have a few on-going tasks at any given time allowing him to switch when he gets stuck in a rut or is in need of fresh ideas. While collaborating with Zoe, he was also working on developing the MONO glasses series through his own ITUM brand. 為什麼衣褲鞋襪全部有大小尺寸可供選擇,唯獨眼鏡沒 有?這個問題讓Edmond開始構思一副可以讓消費者按照 自己尺寸訂製的眼鏡。

Edmond asked himself the question: Why does clothing come in different sizes, but not glasses? The result was the development of custom-made glasses that fits the individual’s dimensions.

“My idea was to print a mono-piece frame, and obviously the hinges were a big challenge because the plastic used in 3D printing is unbendable,” said Edmond. “Working with Zoe on the idea of knots inspired the ‘half-tied knot’ design on my classes to achieve a mono-piece frame with foldable hinges. The production of normal glasses involves around 20-30 working steps. I was able to cut down this process to one major step using 3D printing which only requires additional polishing and pigment dyeing. You can even change its lenses without fuss turning it into a pair of sunglasses when needed.”


HON'NE INTERVIEW | ZO-EE x ITUM

Hong Kong’s fashion in the eyes of Zoe Siu 眼中的香港時裝

我從學生時代說起吧,外界總以為以為時裝設計很華 麗,其實有很多設計學生畢業以後不知道要做什麼,我 記得有不少同學畢業後當了空姐。感覺學校的老師並不 鼓勵學生讀設計,導師不怎麼願意上課也不太願意與學 生溝通。讀書的時候老師會說我畫錯,我覺得很疑惑, 為什麼畫畫有分錯對?當時的教育讓我感覺很負面。

I guess I’ll begin from my school days. Many from the outside think fashion design is a fancy idea. A lot of fashion design graduates didn’t have a clue what the next step was for them, and I remember many of my classmates ended up as flight attendants. My feeling at school was that design is not a discipline that is encouraged. The teaching faculty were not too bothered about class or communicating with their students. I used to feel unsure when teachers told me my drawings wrong. “How can a drawing be wrong?” I used to think. That kind of education was very negative for me.

離開學 校,我到 Daydream Nation跟 Kay Wong與 Jing Wong工作,他們給我的感覺是原來創作的領域可以這 麼大,他們告訴我不用害怕錯誤,在錯誤當中可以創造 出很多可能性。畢業半年後他們帶我到巴黎和倫敦參加 fashion show,那是很珍貴的經驗,當時Kay已經讓我設計 好幾款衣服與飾物,我做了一條項鍊被 Joyce選入店,對 一個新人來說是很難得的機會。

I joined up to work with Kay Wong and Jing Wong at Daydream Nation after I left school, and they showed me how broad the horizon can be in the creative industry. They taught me not to fear mistakes as you can discover endless possibilities through making them. They gave me some invaluable experiences, taking me to fashion shows in Paris and London six months after I graduated. Kay had already left me in charge with designing a few clothing and accessory items. One of my necklaces got selected to join the collection at Joyce. That kind opportunity is rare for a budding designer.


後來我到一個大型國際品牌工作,那個模式令我很 泄 氣,經常收到指令要抄襲另一個品牌。那是一份只要有 手 有眼就能完成的工作,其 實 我想幫公司創造一些突 破,熱情卻一直被淋熄,最後決定離開那個工作環境,成 立自己的品牌。

I joined with an internationally established brand in a subsequent job, but their working style was very discouraging. You would frequently be told to copy a certain design from another brand. Working there really didn’t require brains whatsoever. I was passionate and really wanted to bring something new to the table. In the end, I decided to leave and establish my own brand.

我很開心看到這個行業開始有很多新血設計師成立創 作品牌,做自己想做的事,但說到維生,其實我們的空間 並不大。經營一個品牌需要用到的資金不少,除了需要 生產成本,負擔最重的是租金。加上整個時裝界正在被 fast fashion侵噬,別說我們獨立創作品牌,就連國際大型 品牌也不倖免,我覺得不止香港,這是全世界的時裝界 正在面對的難題。

I am really happy to see more and more budding fashion designers establishing their own brands. While it’s much more rewarding, it’s also very hard to make a living out of it. Getting the money needed to start your own brand is very tough. The production costs are high, and not to mention the heavy burden of rent in Hong Kong. Additionally, the impact of fast-fashion on the overall industry is devastating even for established international brands, let alone independent labels like us. This is a global problem that spreads beyond just our local market.


HON'NE INTERVIEW | ZO-EE x ITUM

Hong Kong’s architecture in the eyes of Edmond Wong 眼中的香港建築

我認為最大問題在於設計與市場的關係,香港的建築 90%以上是地產商樓盤,以市場作主導,極度商品化,幾 個龍頭發展商壟斷了整個行業,情況和電視台很相似— 市民既沒有選擇,也不懂得選擇 。

I think the most obvious question is the relationship between design and market forces. More than 90% of buildings in Hong Kong are property belonging to real-estate developers. And in this capitalistic market dominated by developers, commercialism is king. It’s the same with our TV stations – people don’t have a choice, let alone knowing what choices to make.

香港群眾的羊 群 心態是另一個問題,大眾對 設計未必 有自己的思考與批判,很容易被別人的價值觀蒙蔽了自 己。再加上很多發展商的古怪銷售手法,廣告裡面根本 連建築都看不到,內容與建築完全抽離,這是長久以來 樓盤的宣傳手法,久而久之市民也就更不會突然對建築 的質素有所認識了,是一個惡性循環。

Heard mentality in Hong Kong is another problem. The public might not have their own thoughts and judgement when it comes to design. They are too easily manipulated by others. Developers also use all sorts of “creative” marketing tactics. You don't even see the buildings in their ads – its content has nothing to do with architeture. Developers have long employed this tactic to advertise their products, and the result is a real detatchment of what quality architecture really is from the consumer's point of view. It's a vicious cycle.


香港建築師很無奈,當服務對象是本地發展商,其實你 不需要太有創意,不用發揮太大作用,你只需要成為一 件工具一顆棋子,幫忙生產市場需要的商品,把利益最 大化就成了。外國有很多條件比我們優越,例如公民對 建築的認識強,有獨立屋的需求,發展商也不是只鬥價 錢也會鬥建築的質素,這些都是 對國外建築師有利的 地方。

Architects in Hong Kong face a real dilemma. Your clients, the developers, don't need your creativity. You're viewed as a tool, a pawn in the grand scheme of things to satisfy demand for the greatest returns. Conditions in the overseas markets are more conducive in that consumers are better informed and more aware in terms of architecture. They have the market for detatched houses. Real estate developers not only compete on prices, they compete on offering quality in their buildings. Architects abroad work in much more favourable conditions.

正因我們缺乏這些條件,於是我們更需要創意,在思考 怎樣做好建築之前,要先思考怎樣尋找機會給自己發揮 創意。我正在嘗試走出建築,運用建築的知識與技巧, 尋找更多的可能性。

Ironically, architects in Hong Kong need to be much more creative as a resullt of what is on offer. We need to first think about how to find ways to be creative before we think about architecture. Using my skills and knowledge as a architect, I am looking to expand into further possibilities beyond architecture.


HON'NE | ART EDITORIAL

I PAINT FLOWERS SO THEY WILL NOT DIE INSPIRED BY FRIDA KAHLO Concept & art direction : Dani Chong Photography : Savia Chan Styling : Dani Chong Makeup : Yola Hung Hair : Winky Wong Model : Adam Accessories : ZO-EE Artwork : Lup Graphic design : Dani Chong



HON'NE | ART EDITORIAL



HON'NE INTERVIEW | RENATUS WU

Why do we still choose to print publications in this digital age?

Interview & text : Dani Chong English translation : Cliff Wu Photography : Savia Chan Video production : Nick Cheuk & Wai Lam Or Graphic design : Billy Cheung Special thanks to : Aco 藝鵠


為什麼 在這個電子世代 仍然選擇 印刷 刊 物 ? 書籍,長久以來人類用來將智慧和歷史記 載承傳的偉大發明,現正面對著被電子媒 介所取代的威脅。一年前,胡卓斌在一個關 於紙的合作案裡提了一個問題:「為什麼在 這個電子世代仍然選擇印刷刊物?」

Books - a tool we humans have long used to record and pass on our knowledge and history, but is facing a real threat from being replaced by digital mediums. While working on a project with Renatus a year ago, he asked me, "Why do we still choose to print publications in this digital age?"


HON'NE INTERVIEW | RENATUS WU

每一本書都有自己的個性, 不同的尺寸,紙質, 設計排版,印刷效果......

Each book has its own personality. Different dimensions, type of paper, design layout, printing effects...

我當時是這樣回答的:「每一本書都有自己的個性,不同 的尺寸,紙質,設計排版,印刷效果……印刷刊物的質感 與味道是一個發光的螢幕無法呈現出來的。」

2006年,胡卓斌獲頒香港設計師協會 (HKDA)年度設計 學生(Design Student of the Year),畢業後進入李永銓設 計公司(Tommy Li Design Workshop)工作三年,得到品牌 設計的知識與經驗。阿卓鍾情書刊,喜歡書籍設計,輾 轉到了三聯書店(Joint Publishing)任職書籍設計師,學習 如何將平面設計融入傳統出版業中,同時也明白到自己 無法在一個很傳統的體制下工作,有時設計師想外出做 資料搜集,需要一直重複向公司部門申請外出,這令他 感到很困擾。半年後,他離開三聯書店,開始計劃成立 自己的設計團隊—— Edited.

一年後,我們用網上雜誌的身份對這位做實體刊物的設 計師進行專訪,真是件幽默的事,感覺像 Neo 與 Agent Smith坐在咖啡店聊天。對於一年前的回答,我並沒有改 變想法,只是要從 Matrix移民去real world談何容易,並 不是吞顆藥丸插條喉聽個電話就能到達。

I told him at the time, "Each book has its own personality. Different dimensions, type of paper, design layout, printing effects... The feel and smell of printed material can not be replicated through a monitor." Fast forward to today, we are interviewing him as book designer for a column in an online magazine, touché. It's like Neo and Agent Smith having a chat in a coffee shop. I still stand by what I said last year. But moving from the Matrix to reality is easier said than done. It's not just swallowing a pill, plugging in a cable or picking up a phone.

Renatus was awarded Design Student of the Year in 2006 by the Hong Kong Design Association (HKDA). He worked for three years at Tommy Li's workshop after graduating, during which he picked up great experience and knowledge on branding. Renatus has a penchant for books and book design. He later became a book designer at Joint Publishing, and learn about how to incorporate design into the publishing industry. He also realised that working in a restrictive environment - having to go through painstaking lengths just for an approval for a research trip out of the office - was something that troubled him. After six months, he left Joint Publishing and started thinking about putting his own design team together - resulting in Edited.


EDITED

「香港是個很難開始一門生意的地方,除租金壓力外,還 有很多其他限制令大家卻步,人們總習慣順服於某種制 度——讀書考試上大學,升官發財找份好工/找個好老 公。這是典型香港價值,然而富有才華和創作力的人才 其實不少,不過他們努力的回報卻不甚合理,加諸社會 大眾的價值觀帶來的壓力,久而久之,很多人都放棄繼續 嘗試。我覺得一個人如果真的很有心去做一件事,那就 去做吧,這是你的人生,到最後是你自己決定能做甚麼, 並不是由外人判斷。」撇除回報高低的問題,阿卓認為只 談生存的話其實也沒有那麼困難。就現況來說,香港作 家、編輯甚至出版社本身都不易營生,更遑論書籍設計 師。Edited現時的營運模式,是用品牌設計的收入支持書 籍設計的夢想,要將這個模式實行下去,胡卓斌需要一人 分飾兩角:「一個好的書籍設計師,必須要懂得編輯,而 一個編輯其實也要懂得一點設計,這樣合作才能產生一 本好的書。」 帶著一份對「書」的堅持,他們總愛在設計品牌形象時, 配合它設計一些品牌刊物,這漸漸成為 Edited設計作品 的象徵。

"Hong Kong is a difficult place to start a business. Many aspects including the high cost of rent really makes you think twice about it," Says Renatus. "People are used to following established norms - getting good grades, going to university, finding a good job that pays good money, finding a good partner. This is so typical of Hong Kong. There are actually many here who have creative talent, but the down side is they won't get fairly rewarded for it. On top of that, you face real pressure from the mindset of the majority and what you end up with is many who quitting trying. I personally think you should just do it if you have the desire to do something. It's your life in the end. What you gain in return is not for someone else to judge." Aside from being fairly rewarded, he thinks surviving is actually not that difficult. Writers, editors, and even publishers in Hong Kong find it hard to make a living here let alone book designers. The revenue he makes through branding projects enable him to keep the dream of designing books alive. To carry on his philosophy, Renatus splits his time playing two roles, saying, "A graphic designer must know how to be an editor. Conversely, an editor must know how to design. A good book comes from a collaboration between the two." Edited's passion for books sees the production of a publication for their branding projects - thus becoming their trademark design.


HON'NE INTERVIEW | RENATUS WU

MOVIE MOVIE MAGAZINE

2012年夏天,百老匯電影中心突然出現一本名為MMM (Movie Movie Magazine)的免費電影雜誌,MMM創刊號無 論尺寸、設計和內容都令人印象深刻,不少人因此而認識 Edited這個設計團隊。這一期我們決定專訪胡卓斌,就是因 為這本免費電影雜誌很 bold。 「當時Movie Movie頻道剛開台,找我們談一個品牌形象的設計方案。在處理這個案子的過程中,我發現 Movie Movie 頻道的目標對象都是一群真心熱愛電影的人,本來開台時預定要印製數萬份宣傳廣告,而我卻認為這種做法對電影 愛好者的作用不大。百老匯電影中心主要的觀眾層都熱愛電影文化,而且是對電影有一定追求的影迷,Movie Movie 這個頻道本來就是為他們而存在的。適逢其會,在 Movie Movie開台的前幾年,電影雙周刊宣告結業,一眾影評人電 影人失去了一個發表文章討論電影的空間。於是我提議客戶,如果可以將宣傳廣告的資源用來為電影愛好者做一本雜 誌,也許我們能用這種比較深入的方式讓電影迷注意這個頻道,創造一個雙贏的局面,於是誕生了第一本MMM。」

In the summer of 2012, Broadway Cinematheque launched a free movie magazine in Hong Kong - MMM (Movie Movie Magazine). The dimensions, design and content of MMM's first issue became a signature piece of Edited, gaining it much exposure in the public domain. The boldness of MMM is exactly the reason we decided to interview Renatus in this issue. "When Broadway's Movie Movie channel was launched, they came to us to discuss and design a branding strategy. I learned that Movie Movie's target audience were a very niche group of film lovers," said Renatus. "The original launch plan involved the production of tens of thousand of promotional print ads, which I though wouldn't be very effective to film lovers. Broadway Cinematheque's main audience are not your typical movie goers but very dedicated film buffs. The Movie Movie channel was designed specifically with these people in mind. Coincidentally, City Entertainment Magazine (CEM) ceased publishing a few years prior to the launch of the Movie Movie channel, resulting in the loss of a discussion platform for film critics and others to share their passion. I suggested to Broadway that we could use the promotional resources instead to create a magazine for these people and also promote the launch in a much more intimate fashion killing two birds with one stone. Thus began the birth of MMM."


COMMERCIALISM & CULTURE IN HONG KONG 香港的商業與文化

胡卓斌對於商業及文化兩者之間存在的矛盾有自己的見解,他並不認為商業與文化必然是壁壘分明:「觀照自己的 生涯,我一直在設計文化的消費商品——書籍,電影,唱片,這些都是帶有文化成分的商品,那為甚麼我們從事文化工 作就不能有商業上的成功?為甚麼成功的商業作品就不能包含文化在背後?」這就是 Edited背後的理念,給予文化一 個商業上的生存空間,也在商業化的世界裡加添文化底蘊。「我不是想將它們分裂成兩個極端,我是想取得一個平 衡,MMM是第一個讓我實踐這個想法的項目。我很慶幸客戶認同這個理念,願意投放資源做一本雜誌,他們只是一 個電視台頻道,並沒有甚麼資源辦雜誌,這是靠大家挨更抵夜才能共同完成的事,其實我個客才是最bold的。」

Renatus has his own interpretation about the paradox that exists between commercialism and culture, saying the issue is not that black and white, "Looking at myself, I've always been a designer of consumer products for the cultural industry - be it books, films, or records they all fall into this category. So why can't working in the cultural industry be commercially successful? Why can't successful commercial products have cultural elements?" This is the philosophy behind Edited. To give culture commercial viability while also adding cultural values to commercialism. "I don't want to be split into two extremes. I'd like to achieve a balance and MMM was the first opportunity allowing me to do just that. I'm grateful my client agrees and is willing to invest the resources on a magazine. The run a TV channel and can't offer too much resources on the magazine. It requires a lot late nights on both sides to make this happen, and I think my client is actually the one being bold here."


綜括來說,胡卓斌認為香港出版業正處於一個很艱難的時代,但很慶幸的是香港還是有不少有心人,雖說是不少,卻 又遠遠未夠多:「如果我們能像台灣一樣有那麼多有心有力的人才,整個出版業會快樂得多。時常有朋友跟我說,他 在書店看到某本書,設計很好看,一打開看就看到我的名字。關於這點,其實我的感覺反而是有點無奈,我其實更想 聽到朋友告訴我,他發現了一位新的設計師,雖然不認識是誰,他設計的書很棒。在任何行業裡面壟斷都是沒有意思 的,而且香港的出版業就只有這麼大,與其壟斷,倒不如想辦法集合大家的力量,把這個『餅』再擴大一點。」 談到市場需求與設計質素,阿卓形容這是一場永不完的戰爭,宏觀全世界情況都一樣,而香港是個極端資本主義的 社會,一個由既得利益階級操縱的城市,習慣性的重複令人失去判斷力。「保持自己已經是最大的戰鬥,別把市場價 值觀當成金科玉律,嘗試用另一種方式讓自己保持設計的能量與活力,對我來說這就是最大的對抗,這個對抗到底 會勝利還是失敗,我認為只要我還活著就有機會。我經常打趣說,做書的設計師理論上是沒辦法開公司的,但Edited 至今仍未倒閉,這就代表我們還未輸,這場仗我想我會繼續打下去,打到退休為止。」

In a nutshell, Renatus feels Hong Kong's publishing industry is going through some tough times, but is still thankful for the remaining few who are passionate about changing the industry's outlook, saying, "The industry would be so much healthier if only we had a larger pool of motivated talent as they do in Taiwan. I've had many friends who told me stories about seeing a well-designed book at a shop only to discover my name in the credits. I actually feel quite helpless when I'm told these stories. I'd rather someone tell me they discovered a great book designer who they have never heard of before. Monopolizing a market is pointless. Rather than monopolizing an already small local market, I'd rather get everyone on board and bake a bigger pie." On the subject of what the market demands versus what constitutes as quality design, Renatus sees this is a never-ending battle the world over. He points out that Hong Kong is driven by an extreme form of capitalism and is controlled by the tiny class of privileged and affluent. Life becomes repetitive and the vast majority have lost their sense of judgement. "Remaining true to yourself becomes your biggest struggle," he says. "Don't blindly follow what the market preaches. We must find ways to maintain a good standard of creative energy and sharpness. For me this the biggest fight I can offer. As long as I'm still alive, there's a chance regardless of winning or losing. I always jokingly say that book designers in theory should not be able to start their own business. But Edited is still running, and that shows we haven't lost yet. I'll fight this battle until the day I retire."


HON'NE INTERVIEW | RENATUS WU

PUBLISHING IN HONG KONG 香港的出版業

對於香港的出版業,阿卓形容自己現時站在一個很小眾的階梯,Edited也會幫三聯與商務這些較大型的出版社設計 書籍,但主要還是幫 Kubrick做出版設計。然而,每年可以做的書刊數量始終有限,設計師必需考慮生計,公司也需要 足夠收入才能營運下去。 「我看到的出版界問題是,大家仍然妄想自己可以用數十年前的方式繼續營運下去。曾經,香港出版業真的非常厲 害,一本刊物可以賣三十個不同語言版本,一本書養活整個集團。現在這個圈的問題是不太能接受新事物,其實它一 直承受外來的新衝擊,而且已經有點招架不住,很多外來的出版社進軍香港進行大量宣傳攻勢,香港出版在人們眼 中逐漸被邊緣化。我覺得其中的關鍵並不在於香港作家的作品好不好,而是在於出版社的使命為何,我們該如何編 輯銷售,這點現在是出了一些問題。大家還停留在一個傳統出版業的範疇,沒有再深入去思考香港的作品是甚麼,我 們該如何提供一個平台讓香港的作品能有所發揮。這也是我想在出版業出一份力的原因,我想將我的能力與願景投 放在這個行業裡,雖然到這一刻我們的想法尚未開花結果,但我們還在不斷努力做點事,嘗試與本地新晉作家合作, 一步一步為他們建立更大空間。」

In terms of Hong Kong's publishing industry, Renatus describes himself as occupying a very niche level within the market. Edited designs books for larger publishers in Hong Kong like Joint Publishing and The Commercial Press, but their main publishing client is the Kubrick Book Store. However, the number of publications he works on annually are still limited. To survive, the company still requires additional revenue. "Hong Kong's publishing industry is deluded in thinking they can survive on a decades-old business model in my eyes. It went through a really impressive period in the past where a publishing firm could sustain their entire business on one title through prints in thirty different languages. The problem now is they aren't willing to accept new ideas. They've always had to deal with external challenges and it seems they are not handling it well. People in Hong Kong see many foreign publishers targeting Hong Kong as a place to expand which further marginalizes local publishers. I think one of the key points to highlight here is not a shortage of quality titles by local writers, but rather what role a publisher plays. The problem lies in how they operate and market their products. We have stagnated as an industry, offering traditional publishing services without really taking into account where our strengths lie and providing a suitable platform for the local industry to thrive. This is one of the reasons why I want to be a part of it. I want to apply my abilities and vision. While I don't think the flowers have bloomed yet, we're working hard to build a bigger market by partnering with budding local writers."



HON'NE INTERVIEW | RENATUS WU

兩年前胡卓斌成立了出版社 Mosses,到過東京藝術書節(Tokyo Art Book Fair)參展,跟世界各地的出版人做了不少交 流,得到很多樂趣。最初只是好玩的心態,後來漸漸收到很多創作人,甚至是世界知名的藝術家邀請 Mosses替他們 出書,阿卓開始覺得自己對這些創作人有種責任,必須配合他們的身份,不能太小規模經營,應該再努力點把出版 的部分做得更好,更加成型。在這過程中,他發現沒有門市的出版之路是很嚴峻的,一旦失去了宣傳平台,就沒有途 徑去讓人認識新作家,也引發他想要辦一家書店的奇想。 「這個想法當然因為資金問題而很難實現,但當一群有心人聚集在一起,或許就能做到一件看似很遙遠的事。」 這家獨立書店書店叫 BOOK B,將於七月正式營業,寄居在一家位於深水埗的青年旅舍 Wantonmeen的地鋪位置。 BOOK B將與不同的單位合作,包括 Lab by Dimension+ 的負責人 Keith Lam,還有另一位年輕炒豆師 Gary開的咖啡 店 Urban Coffee Roaster,書店與咖啡店向來都是絕配。「我希望 BOOK B能成功在這個城市生存下去,同時製造一 個平台給我們認識的新作家,一個良好的空間環境才能發酵出更多新的創作,我們沒有想過要稱霸出版界,也不 敢說要打倒甚麼霸權,只是希望在一個很平靜的出版界裡製 造出漣 漪,創造出新衝擊,令香港有更多人想投身出 版業/書刊設計。」

Launching in July 2015, the independent ground-floor book shop, BOOK B, will open at Wantonmeen in Sham Shui Po. BOOK B will collaborate with a range of different businesses, including Keith Lam from Lab by Dimension+, and a perfect match in Gary - a young business owner who runs Urban Coffee Roaster. "I hope BOOK B can survive in a city like Hong Kong," says Renatus. I hope to create a platform that is conducive to creative thinking for these upcoming writers. While I'm not looking to conquer the publishing world or even topple the established, I hope to create a ripple through the slumbering publishing industry and create a positive impact so more people in Hong Kong would want to be a part of publishing and book design.


HON'NE | MUSIC EDITORIAL

THE IMAGERY OF SOUND

INSPIRED BY JING WONG’S EP HOW TO DISAPPEAR Concept & art direction : Jing Wong & Savia Chan Photography : Savia Chan Styling : Jing Wong Model : Jing Wong Artwork : Savia Chan & Dani Chong Graphic design : Dani Chong



HON'NE | MUSIC EDITORIAL

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HON'NE | MUSIC EDITORIAL



HON'NE | MUSIC EDITORIAL



HON'NE INTERVIEW | JING WONG

THE THREE LIFE-CHANGING MINUTES

Interview & text : Dani Chong English translation : Cliff Wu Photography : Savia Chan Video production : Nick Cheuk & Wai Lam Or Graphic design : Dani Chong & Billy Cheung Special thanks to : Aco 藝鵠


黃靖,一個當初帶著吉他走到明哥(黃 耀明)面前, 用三分鐘時間現場演奏了一首歌,加入了人山人海的 大男孩。 這個故事告訴我們,短短三分鐘,可以成就一個人的 夢想。 然而這三分鐘背後,需要多長時間的堅持? 在那改變人生的三分鐘之前,全職音樂人對黃靖來 說是個夢。他喜歡唱歌,喜歡現場表演,也會參加比 賽,有段時間被工作壓得 喘不 過 氣,星 期一至六上 班,只有星期日的時間是屬於自己的。每到禮拜日, 他就會很快樂,抱著吉他站在街頭,不用上廁所也不 用吃飯,一個人站在街頭唱六小時。這是黃靖對音樂 的初衷— —純粹享受音樂。

Jing Wong became a part of People Mountain People Sea (PMPS) as a result of three life-changing minutes, that was the time he used along with his guitar to play a song to Anthony Wong Yiu Ming. The moral of the story? Three minutes is all the time needed for dreams to come through. But behind the moment of glory, how much persistence does it take? Becoming a full-time musician was merely a dream for Jing before his three minutes. He likes singing and live shows. He's joined competitions before, but there was a time when work took its toll. Working six days a week meant each Sunday was the only free time he had to himself. Every Sunday, he was overjoyed to be able to take time out to busk up to six hours on end on his own. No breaks for meals or even to relieve himself - that was the degree of pure passion Jing had for music in the beginning.


HON'NE INTERVIEW | JING WONG


THE STORYTELLER 學生時代的黃靖有個花名叫「能量獸」,從小個性就很戲 劇化,也很好動。有一次學校老師向黃媽媽投訴黃靖太 好動,媽媽就幫老師想了個辦法,提議班上有需要派簿, 花體力的工作,就交給黃靖去做。這讓大條道理可以在課 室跑來跑去的黃靖很快樂。除了精力旺盛,老師們還要 面對他另一個問題— —喜歡唱歌。「好像從小學開始, 我就已經很喜歡唱歌,到了中學我喜歡上歌劇,經常上課 唱歌,甚至考試唱歌。我不喜歡數學,更討厭數學考試, 每次考試我總會坐在那裡喃喃自語低聲唱歌。有一次我 的老師終於受不了,他說既然我那麼喜歡唱,就出去走廊 大聲唱,我心理暗爽,站出去走廊大聲唱,唱到每個課室 的老師都把頭伸出來看是誰在唱歌。」

「在遇見明哥前,我已經寫了不少歌,技術上也已經準備 好,等待著一個機會。人山人海是一個擁有完全創作自 由度的空間,我的第一張唱片是全英文現場錄音的,如 果在一般唱片公司這根本不可能發生。得到明哥這位伯 樂的賞識,令我開始認真去思考,是否有機會將音樂由 興趣變成我的正職。」

"I'd already written a lot of material before I met Anthony. I was ready technically as well and was waiting for my chance. PMPS gives me complete creative freedom where I was able to record my entire debut album live in English. That would never happen at the majority of record labels out there. I started thinking about becoming a professional musician when Anthony told me he liked my music. "

Jing was dubbed the "energizer bunny" at school. He was hyper and has always had quite a dramatic personality. His mum received a complaint from Jing's school once for being too hyper, so she suggested his teachers to assign him on strenuous tasks like handing out books to other students. While Jing was really pleased about being able to run around in class with his teachers' blessing, they also had another problem to deal with - his singing. "I've loved singing for as long as I can remember. I fell in love with musicals in high school. I'd sing in class and even during exams. I hated maths and maths exams even more. I used to hum my way through exams and I remember once my teacher really snapped. He asked me to leave the classroom and sing my heart out in the hallway outside the classroom. I was actually overjoyed inside when I did it and all the teachers in other classrooms couldn't resist a peek to find out who this person was.


HON'NE INTERVIEW | JING WONG


因為考試唱歌,黃靖加入了學校的合唱團,那是他印象中第一次正式接觸音樂,他的第一 件樂器是自己的聲音。 「後來我在英國讀了兩個學位,舞台設計與舞台導演,對我來說舞台是其中一個說故事的 媒介,所以我覺得我是讀了怎麼說故事。後來回到香港,姐姐找我加入Daydream Nation, 她說自己一個人做時裝很辛苦,我就答應了。在做時裝那段時間,其實我也當自己在劇場, 工作時間我用時裝說故事,私人時間我就用音樂說故事。一邊做音樂,一邊做時裝,這樣 能兩邊都有喘息的空間,也可以吸收不一樣的養份。」

Jing landed himself in the school choir as a result of that and learned about music for the first time. That was also the discovery of his first instrument, his voice. "I got two degrees in theatre design and theatre directing during my time in the UK. I think the theatre is one of the best mediums to tell a story, so in a way I feel I actually learned how to tell stories. My sister asked me to join her at Daydream Nation when I returned to Hong Kong. I told her yes when she said it was really taxing on her to run a fashion business alone. I pretended I was working at a theatre during my time there, telling stories through fashion at work, and music during my spare time. That way I get to rest and recharge in my both sides of my world."


HON'NE INTERVIEW | JING WONG

“ YOU NEVER KNOW WHERE IT WILL TAKE YOU.”

兩年前黃靖離開Daydream Nation,把時間留給享受創作,探索音樂,研究樂器,感受生活。 「有人會覺得我繞了很遠的路,有人會認為我浪費時間。我會說,沒有那些經歷,就沒有今天如此立體的我。身處時裝 業,我對品牌與視覺設計有一定的認知,這並不是太多音樂人或劇場人所擅長的,某程度來說是一種優勢。」

Jing left Daydream Nation two years ago to spend more time to explore music and instruments, and living a creative life. "Some people might say I wasted my time by taking the long way round. But I wouldn't be who I am now if I didn't have those experiences. My understanding of branding and visual design comes from working in fashion industry. Not many musicians or theatre people would necessarily have that advantage," said Jing.


DOES HONG KONG HAVE A MUSIC INDUSTRY? 到底香港有沒有樂壇?

「有,當然有。香港有個樂壇,也有個娛樂圈。有些主流音樂創作人做的音樂與自己關注的事有關,例如我很尊敬的明 哥,他的音樂關於社會,關於人,我會界定他們為音樂人;娛樂圈裡的娛樂家本身是一件與公司簽訂合約的商品,很多 時候都身不由己,不能發表對社會政治之類的意見,也不能發表任何影響公司立場/影響銷售的言論。」 最大的分別,在於娛樂家不能擁有自己的意見,音樂人無需理會別人的眼光。 「香港的地下音樂圈正在慢慢成長,這個圈這幾年很精彩,我覺得現在是香港樂壇最蓬勃的時候。我們有國際級的音 樂節Clockenflap, 也有像觸執毛,雞蛋蒸肉餅這些講求音樂性與技術,喜歡音樂而不是喜歡娛樂圈的樂隊出現。樂觀去 想香港樂壇還是有希望的,雖然心裡知道並不容易,大家未必能靠音樂維生,很多音樂人還是要靠教吉他或打工的收 入生活。人長大了,少了小時候那種天真,很多事情必須學會用現實的角度看待,也經歷過生老病死,我都把這些情緒 放在我的音樂裡,反映在6月份會推出的新EP ——How to disappear.」 當音樂成為商品被市場操控著,我們更清楚一個音樂人的靈魂是無法用金錢衡量的。在訪問的尾聲,黃靖在咖啡店留 下了他的《Shipwreck》現場版,旁邊喝著下午茶的太太一邊聽一邊會心微笑,這短短幾分鐘,無價。

"Yes, of course. Hong Kong has a music industry, and it also has an entertainment industry. There are some mainstream music producers who write about things they are interested in. Anthony for example, who I really respect, his music talks about society and people. I would categorize them as musicians. People in the entertainment industry become commercial products when they sign for their companies. They are bound most of the time from expressing their views on politics and such. They can't be seen saying things that might hurt the company or damage sales." The biggest difference is that entertainers cannot have their own opinions. Musicians don't need to bother about what other people think of them. "Hong Kong's underground music scene is slowly growing. I think it's a great time for the industry in the last few years. The most vibrant its been. We have world class music festivals like Clockenflap, We also have bands like Chochukmo and JDJYB who are technically and musically sound. They're not interested in joining the entertainment industry. If I am being optimistic, I would say there is still hope for Hong Kong's music industry. Although deep down I know it's very difficult, Many of us might not be able to survive as a musician. A lot of musicians have to take day jobs or teach guitar lessons. Losing our naivety as we get older, looking at things more realistically, life and death, these are emotions I put into my music. I have reflected these difficulties in my EP that will be released in June called - How to disappear." We can better understand a musician's soul is not quantifiable by money when music becomes a product controlled by the market. At the end of our interview, Jing performed an acoustic version of his song Shipwreck leaving our lady neighbour with a glowing smile in her heart as she enjoyed her afternoon tea at the next table. These few short minutes were simply - priceless.


I HAD A SHIPWRECK IN MY HEAD I WAS DROWNING HON'NE INTERVIEW | JING WONG SHIPWRECK


ON MY BED

THE CEILING'S CRUMBLING OVER ME, CAN YOU POUR ME A CUP OF TEA? AND THEN THE WALLS START CLOSING IN, I WANT TO GET OUT OF MY SKIN. AND THEN THE LIGHTS START FADING OUT. IT FEELS LIKE THE WORLD HAS TURNED THE MUSIC LOUD. WE ALWAYS IMAGINE OURSELVES AS THE SKY, BUT LOOK AT THE TEARS IN HER EYES. THE TEARDROPS OF BLUE IS AN OCEAN OF YOU, REFLECTIONS OF OUR RENDEZVOUS. THE SIRENS ARE SINGING A SONG OF REGRET, THE BEST TIMES THAT WE'VE NEVER HAD. I FEEL LIKE THE OCEAN SO DEEP IN DEPRESSION THE SIRENS ARE DRAGGING ME DOWN. I HAD A SHIPWRECK IN MY HEAD. I WAS DROWNING ON MY BED. AND THEN THIS MAN HE CAME TO ME, I WAVED AND HOPED HE WILL SET ME FREE. BUT NO INSTEAD HE TRIED TO HOLD ME DOWN. AREN'T YOU TRYING TO SAVE ME? OR DO YOU WANT ME DROWNED? AND WHEN I LOOKED IT WAS LIKE A DREAM, THIS MAN WAS ME WHEN I WAS 17. WE ALWAYS IMAGINE OURSELVES AS THE SKY, BUT LOOK AT THE TEARS IN HER EYES. THE TEARDROPS OF BLUE IS AN OCEAN OF YOU, REFLECTIONS OF OUR RENDEZVOUS. THE SIRENS ARE SINGING A SONG OF REGRET, THE BEST TIMES THAT WE'VE NEVER HAD. I FEEL LIKE THE OCEAN SO DEEP IN DEPRESSION THE SIRENS ARE DRAGGING ME DOWN.


HON'NE INTERVIEW | JING WONG

HOW T DISAPP


TO PEAR

IF YOU LET ME, I'D VANISH COMPLETELY

I'D LIKE TO JOIN YOU ON THE STARS IN THE GALAXY THERE ARE THINGS IN MY MEMORY BROKEN NOTES IN A MELODY I'D RATHER LET YOU SET ME FREE

IN THIS STAR-CROSSED SYMPHONY

IF YOU LET ME, I'D VANISH COMPLETELY

I WANT TO BE FREE, FREE FROM MY FALLACIES THERE ARE THINGS IN MY MEMORY BROKEN NOTES IN A MELODY IT'S HARD TO KEEP MY SANITY WHEN I LIVE WITH AGONY

IF YOU LET ME, I'D VANISH COMPLETELY

I USED TO BELIEVE TIME HEALS US FROM MISERY BUT EVERYTHING COMES BACK TO ME HAPPINESS IS A PARODY IF YOU ARE LOOKING FOR A FANTASY LIFE'S AN EMPTY RHAPSODY OH... IF I COULD DISAPPEAR WITH YOU OH... ON A MYSTERY RENDEZVOUS OH... THE ONLY TRUTH - THE WORLD IS CRUEL HOW DO I GET THROUGH TO DISAPPEAR WITH YOU?


HON'NE BUY IT | MONO EYEWEAR



HON'NE BUY IT | MONO EYEWEAR



HON'NE BUY IT | MONO EYEWEAR



HON'NE BUY IT | MONO EYEWEAR



HON'NE BUY IT | MONO EYEWEAR



HON'NE BUY IT | ANICORN SERIES 000



HON'NE BUY IT | ANICORN SERIES 000



HON'NE BUY IT | ANICORN SERIES 000



HON'NE BUY IT | ANICORN SERIES 000



HON'NE BUY IT | ANICORN SERIES 000



HON'NE BUY IT | ANICORN SERIES 000



HON'NE MOVIE | THE 4TH WALL



HON'NE MOVIE | THE 4TH WALL



HON'NE MOVIE | THE 4TH WALL



HON'NE MOVIE | THE 4TH WALL



HON'NE MOVIE | THE 4TH WALL



HON'NE MOVIE | UMBRELLA MAXIM

C

O

U

R

A

I N C I N E M A’S P E R S I S T E N T P Text : SummerRain English translation : Jessie Ng Graphic design : Emily Lau


勇氣 驅不散 電影夢

G

E

PUR S U I T S


HON'NE MOVIE | UMBRELLA MAXIM

要為自己相信的事情堅持,需要勇氣,有 時最怕用錯力,令事情不進反退。雨傘運 動,大家元氣大傷,當中有得著的有多少 人?最怕當時死衝留在街上的人,在完結 後就像發了一場夢便完結,這些就是用錯 力,再如何 be bold也沒有用。能夠相信 這不是一場表態的運動而已,而是一個改 革,革命需時但不能輕言放棄,我們會一 直衝,只是不會再喊階段性勝利,留啖氣 暖肚唱少幾首歌,做一些能夠讓政府真正 汗顏的事,別怪那些在街上鳩嗚趕走自由 行的人。真的因為他們,讓我們最近在街 上有些好日子過。當然亦不能怪罪雨傘運 動影響香港經濟,因為那是習總打貪得來 的後果。

THE ATTORNEY


It takes courage to persist in what we believe in.

We will stand up and take actions, but we may

As righteous as that always sounds, persevering

not be as easily satisfied with what some would

in wrong ways could keep us even further from

call “success by phase,” and we do not find it

our goals. The Umbrella Movement has

necessary to sing more songs. We aim to do

exhausted many of us. How many among us

something that would really change the

have really learned something in it? The worst

government’s policies. Do not blame the people

scenario would be for those who once

who participated in “gou wu” (a “shopping”

courageously occupied the streets day and night

movement) because they made a real

to find it nothing more than a nightlong dream at

contribution in reducing the flock of Mainland

the end. That is perseverance in the wrong way,

tourists, returning us the very limited and rare

and it makes no difference no matter how “bold”

space to enjoy the streets. Certainly, we should

one can be. We ought to believe that the

not blame the Umbrella Movement for affecting

Umbrella Movement was not just a movement for

Hong Kong’s economy either, because the

people’s expressions, but a true revolution that

effects results from Xi Jinping's crack down on

takes time. We must be patient as we persevere.

corruption in mainland China.


HON'NE MOVIE | UMBRELLA MAXIM

DESERT DANCER

SILENCED


電影路上,近年愈來愈多操控人民反抗極

In the world of cinema, there have been an

權情緒的電影,看得出其用意,依然希望

increasing number of films encouraging people to

能夠有更多相關電影可以激發人民情緒、

rebel against totalitarianism. It is not hard to see

喚醒更多沉睡的小寶寶。《逆權大狀》、

why, and I still hope there would be more to come

《逆權師奶》其實都是同一種感覺,為真

in order to stimulate people’s emotions and awake

理而奮戰,無論要花多少時間,也是值得

those who still live in ignorance. THE ATTORNEY

的。《無聲吶喊》故事中的聾啞小童,他

and CART carry a similar message: fighting for

們全都受非人道對待、性侵,卻因為校長

Truth is worthwhile no matter how long it is going

有錢能夠收買整條村,於是連他們的父母

to take. As for SILENCED, the deaf and muted

也不哼聲,如果當時不是有一個外來教師

children are all maltreated and sexually abused,

能夠堅持正義,衝出來要求打那場官司,

but since the principal is rich enough to bribe the

事件怎會令更多人關注到?最終事件輯印

whole village, even the parents will not give a

成書,再拍成電影,令整個社會引來超大

word. If it were not for a teacher arriving from the

迴響,首爾的傳媒都爭相報導,最終案件

outside world insisting to bring the case to court,

重審,令罪有應得的人得到應有的懲罰,

how would the broader society know about the

那都是由一兩個人當初的堅持而成的。相

hidden situation? The story came from a real

信當日那位老師希望能為小孩伸張正義之

incident, which was written into a novel and was

時,必定受過很多冷嘲熱諷,叫他死條心

eventually adopted by the film. Once the film

吧,鬥不過那些人的了。如果不是因為夠

ignited reactions all over society, the press in

瘋狂夠義無反顧夠堅定,又怎能堅持到最

Seoul began digging the details. The case finally

後令事件受到全城甚至全球關注?

got a retrial, and those in crime got their punishment. It all began from the persistence of one or two. I bet the teacher who hoped to bring justice to the children received much discouragement from the start, getting countless advice such as there is no way to beat the powerful. If it were not for his zealous perseverance for justice, how could the case possibly get attention across the whole society and even the world?


HON'NE MOVIE | UMBRELLA MAXIM

12 YEARS A SLAVE

心雨 SummerRain 從事電影工作未夠十年,最愛光影虛幻 世界。有一點熱血,還剩下一點青春。 She is approaching her first decade in the film industry; loves dwelling in the cinematic world; she has a bit of passion, and still a bit of youth.


近年這些電影不斷在增加,各地也嘗試將 政府及極權的不是拍成電影,依朗有《舞 自由》、《的士笑看人生》,美國亦有為 黑人被警員無故槍殺的《公義終站》,還 有《馬汀路德金:夢想之路》、《被奪走 的 12年》等等,反正電影除了娛樂之外, 亦能幻化成傳達訊息的最佳渠道,希望憑 藉電影這種溝通,讓更多人留意到公義的 重 要 性 。 我 們 就 是 要 義 無 反 顧 的 喚 醒人 民,令群眾知道團結就是最大的力量,再 大的強權也能鬥得過。 Let’s fight!

More and more films of this kind can be found in recent years. People around the world are trying to make films touching on the unjust deeds of their governments and the hierarchy. In Iran, there were DESERT DANCER and TAXI. In the United States, there was FRUITVALE STATION portraying the case of Oscar Grant - a Black man’s innocent death by the police’s gunshots; there were also SELMA, 12 YEARS A SLAVE and so on. Films are indeed not just for entertainment. They can become the best medium to spread messages and raise the audience’s awareness of the importance of justice. We are dedicated to persevere for justice, to awake people and make them understand that in unity people attain the greatest strength, and it is possible for them to fight against those standing in power. Let’s fight!


HON'NE DESIGN | EDITED

設計師總覺得自己被誤解:電視 機內的設計師,總在下午 6 點前就到酒吧開始 Happy Hour ; 個客認為將一張側面照片改成正面照片,只消輕輕按一個快捷 ; 設計師只要有夢想,飯都可以唔使食;所謂設計系學生,就是一群讀書唔成只識 畫畫的學生;所謂設計師,就是一班不看字的大師。 很無稽,對 ?但老實說,空穴來風 未必無因。自我接觸設計 件事以來,其 中最令我摸不著頭腦的,莫過於看到不少設計師總愛說:「我係唔睇字 。」以 我的觀察,他們 對不是胸無點墨,但一定是惜墨如金:因為我是做圖像的人, 所以關於字的事情就不要告訴我了。 事實上,設計師們總期望得到別人的理解,卻很少願意親自告訴別人。人們的價 值觀不是一天建成的,我們也無法一朝一夕改變他人的想法,想解開世人對於設 計師的誤會,除了堅持去講之外,大概也就別無他法。設計界需要更多聲音,我 們努力完成手頭上的工作固然重要,但我們也應該花一點時間,將想法寫下來告 訴他人,我們的真實想法為何,我們工作的意義究竟是甚麼。 數年前,香港一位著名作家在報紙上寫了一 文章,說現在的書籍設計師只顧個 人美學,將字體縮小到難以辨認的地步,認為設計師都是小說作家的大敵云云。 那時我在《明報》不定期寫一些關於書籍設計的文章,當時的編輯跟我說了 件 事,還著我以設計師的立場,寫一 文章回應。當時的我也沒想太多,就寫了一 名為《書籍字體縮小的迷信》的短文,短文刊出不過數天,我已收到許多人給我 留言,當中有支持有反對,有無理謾罵也有一針見血的獨到見解。而當中最深刻 的,是有幾位作家告訴我,他們未必全然認同我的觀點,但很高興看到有書籍設 計師願意站出來回應,令他們知道更多實際情況,以後也會跟設計師好好溝通。 上述不過是冰山一角,設計師的工作還有相當多被社會大 誤解的地方,如果我 們不說出來,世人永遠不能理解真實。或許你會說,總有甚麼人會寫吧,為什麼 是我 ?所以我說,做個會寫字的設計師,很 BOLD 吧?

Text : Renatus Wu English translation : J Graphic design : Billy Cheung

A DESIGNGER WHO WRITE

胡卓斌


I believe most of the designer felt the same as I do. We have been misunderstood completely. Happy hour drink in a bar and easy clients? Things that happen in TV but never ever in real life. Designers seem like a group of dreamer and those design students are a group of those who can draw merely. As Georg Wilhelm Friedrich Hegel advocated ‘What is rational is actual; and what is actual is rational’, anything sounds ridiculous may not be groundless. Since working as a designer, I have met a lot of peers whom emphasize themselves as a visual designer. ‘I don’t care much about the text.’ they claimed. They are more than knowledgeable to read. Based on my observation, they found design as a visual thing, text and contents as the adjunct. Designers always expect others to understand, however only seldom of them have the willingness to really talk about it to the general public. We are not able to change people’s thoughts or their values in a day for sure, but persisting to explain as much as we can is probably the only way we can do. While we are working hard in design, we all have the compulsion to write down about our thoughts and the meaning behind our job. Few years ago, a celebrated Hong Kong author wrote a paragraph about the invisible tension between book designer and novel author. She deemed that book designers keep decreasing the size of the text based on their own aesthetic and turning the novel into an illegible situation. After hearing it from the editor in Mingpao, where I wrote paragraph about book design for them sometime, I decided to write a short paragraph to respond. After the paragraph has published, I received a lot of different feedbacks. What I remember most of those feedbacks were from some authors whom do not have the same valuation as I do but they are happy to read someone who are bold enough to stand up for his profession. It helps them to understand and communicate with designer in the future. It is certainly just the tip of the iceberg. There are still many misunderstandings about designer by the society. But if no one ever writes about it, no one will ever even know about it and I am that designer who writes.

做個會寫字的設計師, 很BOLD吧?

RENATUS WU


HON'NE MUSIC | LET'S CALL THE WHOLE THING OFF

Text : Cliff Wu Chinese translation : Dani Chong Graphic design :Â Billy Cheung Photo : hiatuskaiyote.tumblr.com


Tawk Tomahawk What it is about them that makes it stick? One might ask. While I don't think it's so much as about them trying to make a statement, their style certainly gets you in the groove. I don't claim to have listened to all of their tracks since their debut album Tawk Tomahawk released in 2011, but that R&B Grammy nomination one year later (which one shouldn't read too much into) seems a bit odd just because Q-Tip made an appearance. Make no mistake though, they definitely deserve their recognition as the Melbourne-based Indi outfit took the music world by storm. Starting off as a bunch of musicians operating out of a rented house in 2011, they released their debut album six months later on Bandcamp. But this band is so much more encompassing as proven with their follow-up album Choose Your Weapon this year.

也許有人會問,到底他們的張力在哪裡?他們的音樂風 格令我著迷,而我個人並不認為他們標奇立異。必須聲 明,從他們 2011年發表的首張專輯 Tawk Tomahaw k至 今,我並沒有聽過他們全部的歌,不過一年後他們被提 名格林美音樂大獎 R&B類別(雖然這並不重要)是一件 奇怪的事,那似乎是因為Q-Tip的關係。 別誤會,這群來自墨爾本的獨立音樂創作人,第一炮已經 打入全球市場,他們絕對值得樂迷重視。這群音樂人在 2 011 年 合 夥 租了一 間 房 子 做 音 樂,半 年 後 他 們 在 Bandcamp發表了首張專輯,這份震撼延續到第二張大 碟Choose Your Weapon並加倍爆發。


HON'NE MUSIC | LET'S CALL THE WHOLE THING OFF

Choose Your Weapon Choose Your Weapon spans a wide spetrum of delirious melodies. As their bassist Paul Bender puts it, “huge, massive, complex puzzle.” And that is exactly what it is. The Melbourne neo-soul outfit definitely has what I think is bold in terms of their musical style. Not to mention at the very core of this quartet sits the frenzied guitar-strumming bombshell in the form of Nai Palm. And if her guitar and vocals haven't reached you yet, your first glance of her will no doubt give you a hint of that. Choose Your Weapon混合了許多瘋狂的旋律,我同意樂隊低音吉他手 Paul Bender的形容:「一幅龐大,浩瀚,複雜 的拼圖。」這隊來自墨爾本的 neo-soul組合,音樂性絕對 bold。加上這四人樂隊的核心 ——爆發力猶如原子彈的狂野 吉他手 Nai Palm,就算你沒有聽過她彈吉他,也沒有聽過她唱歌,只要看她一眼,就自然明白為什麼他們會出現在 這個專欄。


By Fire So that brings me to – By Fire. While there was some struggle when I was asked to choose a track for the Be Bold issue, once By Fire came to mind, anything else that was considered got knocked out of the list. The melodies on this track come from outspace. The beats hit you from so many angles, and all that is mixed in with Nai Palm's piercing delivery. If your head is not bobbing like a pigeon gone mad, or you still haven't turned it up and done at least one crazy shake by the end of the tune, I'd think a check-up should be followed shortly. Because it's that in-your-face. 這期的主題是 Be Bold,我曾經掙扎過到底要選哪一首歌,當 By Fire一出現在我腦海裡,從此揮之不去。那來自外太空 的旋律,多角度的節奏,加上Nai Palm具穿透力的演繹,如果你沒有像瘋鴿子般點頭,沒有在中途調高音量,也沒有在 尾段跟著旋律擺動過,我覺得你需要接受治療。因為By Fire是那麼的不容忽視。

LINKS www.hiatuskaiyote.com www.soundcloud.com/hiatus-kaiyote www.facebook.com/hiatuskaiyote

CLIFF WU 吳文康 Music Lover. Human dog-sniffer. Worshipper of the airy fairy. 樂迷。聞狗的人。煙霧追隨者。


HON'NE MUSIC | HOW TO DISAPPEAR

HOW TO DISAPPEAR Text : Jing Wong Chinese translation : Savia Chan Photography : Savia Chan Graphic design : Wingyee To, Dani Chong, Billy Cheung



HON'NE MUSIC | HOW TO DISAPPEAR



HON'NE MUSIC | HOW TO DISAPPEAR



HON'NE MUSIC | HOW TO DISAPPEAR



HON'NE MUSIC | HOW TO DISAPPEAR



HON'NE MUSIC | HOW TO DISAPPEAR

BLACK MONDAY GOD PAINTS THE WORLD BLACK EVERY MONDAY SOMETHING'S BOUND TO GO WRONG SO WHEN A BODY FLIES OUT THE WINDOW PLEASE TRUST ME, IT'S WHERE THEY BELONG THE SKY IS RAINING AEROPLANES THE HOMEMADE PROPHETS CLAIM THEIR FAME BUT LET ME REASSURE YOU THIS IS JUST AN ORDINARY DAY

WE CALL IT - BLACK MONDAY WE CALL IT - BLACK MONDAY WE CALL IT - BLACK MONDAY WE CALL IT - BLACK MONDAY AND THE BIG SHOTS IN THEIR ARMOURED SUITS GO MARCHING WHILST THE LOSER KINGS GET THROWN INTO THE BULL RING AND THOSE OFFICE BOYS, THOSE SENIORS' TOYS START FALLING FALLING IN LOVE WITH WHAT THEY STARTED OFF REALLY HATING AND THE WINNERS IN THIS WORLD JUST KEEPS ON WINNING AND THE LOSERS DON'T KNOW NOTHING BETTER THAN LOSING AND WHEN THE DREAMERS TELL YOU TO KEEP ON DREAMING IT IS THE BEST INTENTIONED CRIME THEY KEEP ON COMMITING

WE CALL IT - BLACK MONDAY.


BLACK MONDAY is a song about the society nowadays, with distorted values and the lack of justice, and a general sense of slowly getting used to insanity as the norm. And in times like these, you would like to hold on to something, someone of whom you look up to or trust. In my case, this person is my late father who passed away 14 years ago. I always wonder what he'll say about me about my music about the society we are living in now?

BLACK MONDAY是一首就現今這個充斥着扭曲的價值觀和不公的社會而創作的歌曲,關於大眾對一些逐 漸瘋狂的事情感到習以為常。

在這樣的時候,你會想要抓緊某些事物,又或是某個你尊敬和信賴的人。對我來說,這人是我已過世了

14年的父親。我常常在想,他會如何評價我、我的音樂、還有今天我們所身處的社會? 'IF I WERE A MAGICIAN' I ALWAYS THOUGHT I WAS DREAMING SINCE WHEN HAVE I STOPPED BELIEVING THAT ONCE UPON A TIME, ALL THE GOOD TIMES AND PETTY CRIMES WERE REASONS I WAS LIVING BUT SOMETHINGS ALWAYS MISSING THE WHITE ROOM WHERE WE WERE LIVING WHITE THOUGHTS WE'VE FORGOT WERE CRIMES WE WROTE TO RHYME AND IF I WERE A MAGICIAN I'D CAST A SPELL TO STOP THE MEMORY FROM FADING... FADING AWAY WITHOUT YOU AND EVERYONE THERE'LL BE NO MAGIC MY WORLD HAS BECOME UNCANNILY UNDONE SO LET IT STAY TILL THE END OF DAYS...

And I will always think of my dad everytime I feel insecure or proud, because I believe that somehow his spirit is beside me to guide me. And in that way he never left me. He never disappeared despite him not having a Facebook account. What he left behind is not so much fame, but people he moved and inspired. I recently saw Paul McCartney Live in Tokyo, and he sang a Beatles song to end his concert, and that I believe sums up what is in my head right now: AND IN THE END, THE LOVE YOU TAKE IS EQUAL TO THE LOVE YOU’VE MADE.’ 這些年來,每當感到不安或驕傲時,我總會想起父親,因為我深信他的精神一直陪伴和引導著我,猶如 他不曾離開過一樣。除了他沒有自己的 Facebook帳號外,他其實沒有真正消失過,他留下的並非什麼名 譽,而是一群被他觸動過和受他 發的人。 我最近在東京看了Paul McCartney的演唱會,他在演唱會完結前唱了一首Beatles的歌曲作結尾,那首歌恰 好概括了我當下的所思所想: 「最終,我們付出多少愛便會得到多少愛。」


HON'NE MUSIC | HOW TO DISAPPEAR

JING WONG


LINKS


HON'NE ART | LUP

PAIN / HUG / DEAR KURT LUP 粒

粒,一個畫畫的人。

I am lup, I just draw. Luphehe.tumblr.com

Graphic design : Billy Cheung



HON'NE ART | LUP



HON'NE ART | WONGSZECHIT

AMATEUR WONG SZE CHIT

黃思哲

我以為自己希望成為一個好人。

I thought I wanted to become a good man. www.wongszechit.com

Graphic design : Billy Cheung



HON'NE ART | WONGSZECHIT



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE LIFESTYLE | COWRICE



HON'NE PHOTO | STUDIOWILL

FREEDOM

自由 Photography : Joe Kwan Graphic Design : Billy Cheung


JOE KWAN 關祖堯 1986 年出生,於香港成長,2008年以最佳成積取得澳大利亞皇家墨爾本理工大學 (RMIT) 傳訊設計學士學位。其後成立Studiowill 設計工作室,主力從事平面視覺形象, 亦涵蓋品牌,包裝,攝影,書籍等。作品多次入選本地及國際設計獎項。

A multidisciplinary designer finished his art study in the UK and obtained the bachelor degree of communication design with distinction in RMIT, Australia. In 2008, he initiated Studiowill as one of the most energetic design practice in Hong Kong.

www.anicorn-watches.com




HON'NE PHOTO | QUISTOGRAPHY

MOUNTAIN CHILL Photography : Quist Tsang

Make Up, Hair & Styling : Kiseki Makeup Model : Crystal Pa

Graphic Design : Billy Cheung


QUIST TSANG Fine Artist . Photographer 藝術家. 攝影師

www.quistography.com




HON'NE PHOTO | BLACK & WHITE STORIES

PERSISTENCE “BE BOLD ENOUGH TO PERSIST.” Photography : Michelle Chan Graphic Design : Billy Cheung


MICHELLE CHAN 陳韻芝 一位黑白攝影師/Memes & Friends的治療師。喜歡旅遊,音樂和愛發夢。擅長捕捉人物 在當下環境最自然的一刻,用黑白照片呈現。作品曾於不同媒體發表及展覽:Grantham Hospital, Image-playground, Landmark Central, Localiiz & PhotoVogue等。

A black & white photographer as well as memestherapist at Memes & Friends. Loves travel, music and daydreaming. Specialised in capturing authentic and intuitive moments of people in their surroundings, especially in black and white. Photography work has been featured and exhibited in various places including Grantham Hospital, Image-playground, Landmark Central, Localiiz and PhotoVogue etc. www.littledotrice.com




HON'NE PHOTO | COMPOSETHESTORY

RECOVERY “COMPOSE THE STORY, TELL THE STORY.” Photography : Vincent Chan Graphic Design : Billy Cheung


VINCENT CHAN 陳德誠 Composethestory 創辦人,自然及人像攝影師,熱愛攀山與探索。 A founder of Composethestory, a nature and portrait photographer. Loves hiking and exploring.

www.facebook.com/composethestory




HON'NE | MAOOU & WROOF

MAOOU & WROOF

Text : Dani Chong Photography : Savia Chan & Rex Loong Graphic design :Â Dani Chong & Billy Cheung


THE DIARY EXCHANGE BETWEEN CAJ THE CAT & BOYBOY THE DOG


HON'NE | MAOOU & WROOF


HEY BOYBOY,

The humans are so busy… 他們人類好忙喔...


HON'NE | MAOOU & WROOF


WROOF,

I need more love! 歐...嗚,我好缺乏愛!


HON'NE | MAOOU & WROOF


MAOOU,

We should go to bed 我們還是去睡吧


HON'NE | MAOOU & WROOF


WROOOOF... 歐......嗚



DONWLOAD DONWLOAD THETHE FREE FREE APPAPP AND AND BE BE PART PART OF OF THETHE PHOTOGRAPHY PHOTOGRAPHY REVOLUTION REVOLUTION

IMAGE IMAGE BY @NAMARI BY @NAMARI


HON'NE

EyeEm | LIVING BOLD

吃飯,睡覺,工作,以上情節無限重複

生活不應這樣


藉由這次與EyeEm的合作, 我們能從極限運動到時尚建築甚至生活點滴, 看到各地的EyeEm用家如何利用攝影角度觀察世界, 用照片分享”Living Bold”之道。

Eat, sleep, work, repeat. No one wants to live like that! Life should be seized, grabbed and lived ferociously and to the fullest. That’s why we’ve teamed up with EyeEm, to explore how photography can capture people living bold! Whether it was extreme sports, wild fashion or unusual architecture, this photo mission was all about living life ferociously!

www.eyeem.com


Graphic design :Â Billy Cheung


BILLY CHEUNG High moral standards; Imaginative and creative senses; Interdisciplinary approach; Philosophy and practical propositions, Creates Life -Makes it Bold. 創造生活,創造Bold。

CHAN MAN SING Bold is powerful. 彰顯有力,擲地有聲。

C.HONG Bold is to say “I’m bold.”

CLIFF WU Never grow old. 別長大。

COWRICE

EDMOND WONG

Genuinely follow your heart and live every moment to its fullest, courageously go after what you want and be happy.

Challenge the status quo. Be odd. Swim against the tide and don't follow conventions. Bold is a word that I always remind myself during creative processes. I try to aviod fine tuning established templates in my creations. If you want to be bold, the first principle is to find the root problem. You can't blindly follow the established norms.

真誠地跟從內心去過每一刻的生活,勇敢地把快樂 呈現出來。

DANI CHONG Why not?

為甚麼不可以?

嘗試挑戰現況,去做一些大家都認為不正常, 不跟常規離經叛道的事。Bold是一個我在創作 經常提醒自己的字,我不希望自己的創作只是 將原有的東西稍作改動,如果要Be Bold,第 一項原則是要尋求最根本的問題,不能被既定 俗成的規矩蒙蔽自己。


HON'NE | BOLD STATEMENTS

EMILY LAU

MICHELLE CHAN

Bold is about being honest with yourself and follow your heart, do what you think is right. Don't hesitate, don't be afraid to be different and don't cater to the world by honing your edges and corners. Be bold是坦白面對和跟隨自己的感覺,做自己覺得

Be Bold = Be the person you want to be that is screaming inside you - regardless of what other people think. If you want to be crazy, then go wild; if you want to ssdrink til you drop, then go drink until you really drop; if you want to slap your friend's face coz you think she is wrong, then be honest. Be as bold as who you are, because that's who you are. BOLD對我來說的意思就是做最真實的自己,

對的事。不猶豫不決,不怕與衆不同,不為了迎合 世俗磨平菱角。

JING WONG Bold is not about being fearless. Bold is about having fear yet being brave enough to face it, to conquer it. To conquer yourself, to conquer your own fear.

做那個內心正在叫喊的那個自己。如果你想發 瘋,就發瘋吧;如果你想喝到不醒人事,那就 去喝個夠吧;如果你想誠實地告訴你朋友 錯 了,那就說真說話吧。做那個BOLD的你,因 為那個正正就是你。

NICK CHEUK

所謂的勇敢並非對任何事都無所畏懼 而是勇於面對並克服心中的恐懼 征服自己,征服恐懼

沒有規限,不經修飾,打破規則。

JOE KWAN

QUIST TSANG

Humility, as tender as cotton.

BOLD = THICK = HEAVY = STRONG = IMPACT BOLD = 粗曠 = 份量 = 堅壯 = 震撼

海納百川,像棉花般溫柔。

Be free, be raw, be ruleless.

LUP

RENATUS WU

Bold is about having courage and follow your own beliefs.

Everyone encounters challenges and obstacles in their life. At time like these, you must face your own fear and conquer it in order to become courageous. This is what being bold means.

夾雜勇氣和相信自己的信念。

每個人都會經歷恐懼,只有直面和克服自己的 恐懼,才能成就勇敢。這就是Bold。


SAVIA CHAN

WONG SZE CHIT

Bold is about stepping out of your comfort zone, to create something new and not being afraid to fail.

As far as I know, there's a certain type of people who are especially difficult. They are the ones always asking, "Why does it have to be this way? Why can't it be like that?" You can never find a compromise with them. They are as stubborn as an ox and leave a bloody trail everywhere they go.

勇敢地踏出自己固有的生活模式,勇於創新並且 不會因為害怕失敗而卻步。

SUMMER RAIN Stay true to yourself and have the courage to pursue your dream.

忠於自己,勇於追夢。

VINCENT CHAN Sometimes, you've gotta overcome the obstacles and gone over the hurdles alone. As long as there's willingness, anything is possible no matter what challenges you're facing.

They can be battered and bruised but you still can't get rid of them. Pay them no attention, and they will still put on a brave face and tell you, "Blood's been shed now, but it kinda feels good. I can feel myself - I feel alive." That covered in blood beat-up look decorated with sparkling eyes will cause you to shamefully look away. Ah, wait, most wouldn't actually care. But they understand. Therefore, I'm sure about the following: 1) These people a psychopaths. 2) We need more them.

有些關口是要靠自己闖過去, 任何一件難事,只要 心甘情願,總是能夠變得簡單。

WINGYEE TO Highlight something . Explore something. Modify something.

突出。探索。修飾。

ZOE SIU Being bold is being outside of your own comfort zone. Doing something new for the first time. Personally speaking, I think quitting a secure job without any savings to establish your own label is madness in the eyes of many from previous generations. Bold是跳出自己的安全區域 (comfort zone),做一

些你從未做過的事。在我身上就是突然辭去穩定工 作,在沒有任何積蓄下,毅然選擇創立自己的品 牌,對很多長輩來說是一件瘋狂的事。

就我所知,有一種人特別麻煩,總是在問「為甚麼非要這樣不可, 為甚麼不能像那樣」。總是無法妥協,要跟世界硬 硬,把自己弄 得頭破血流。這種人非常難纏,明明已經被撞成一個可怕的血人, 而那個不容置否的世界仍舊不為所動,還硬是要說「要流的血都 流出來了,身體變得輕盈自如,比起任何時候都更像是屬於我自 己的」。眼中閃耀著的興奮之光被滿臉血河襯托得讓人無法直視, 甚至令人感到羞愧。 噢,不,大部份人都不會在乎。他自己明明白白這一點。所以我 才那樣確定 : 一 . 這種人是變態的。 二 . 我們需要更多這種人。



HON'NE | BEHIND THE SCENES

BEHIND THE SCENES


HON'NE | BEHIND THE SCENES



HON'NE | BEHIND THE SCENES



HON'NE | BEHIND THE SCENES



HON'NE | BEHIND THE SCENES




HON'NE EXHIBITION | BE BOLD

BE BOLD EXHIBITION 3 JUNE - 3 JULY 2015 HON’NE MAGAZINE 聯同數位本地藝術家、 設計師與攝影師, 共同展示出以BE BOLD 為主題的展覽。

Text : Dani Chong & Savia Chan Photo : Billy Cheung, Zoe Siu, Rex Loong & Savia Chan Graphic design : Billy Cheung & Dani Chong


OPENING PARTY We held the opening cocktail party on 2 June 2015 and a heartfelt thanks to everyone that came out to the event! 我們於6月2號夜晚舉行了開幕派對, 衷心感謝各位於繁忙時間抽空來臨!


ZO-EE ACCESSORIES SELECT SHOP 2/F, Hong Kong Arts Centre 2 Harbour Road, Wanchai, Hong Kong

香港灣仔港灣道二號二樓