Temper Magazine THE VANITY ISSUE ENG

NO.2 - 2018

Mirror, mirror, on the wall, Who is the fairest fashion vixen of them all?

THE VANITY ISSUE The New Made In China

TEMPER MAGAZINE™ THE NEW MADE IN CHINA Creator, Founder and Editor-in-Chief Elsbeth van Paridon Assistant Editor-in-Chief Jessica Laiter Writers Minyoung Lee, Sandy Chu, Jessica Laiter and Emily Espinall Translators Natalie Luo, Julie Zhou, Li Dan Photographers MOOI Studio Beijing (www.mooi-studio.com) Designers and Brands Raffles Design Institute Beijing (Student Designs), Atelier Rouge Pekin, Lazy Eazy, Shushu Tong Studio Graphic Design Krokant (Antwerp, BE) For editorial inquiries info@temper-magazine.com For advertising advertising@temper-magazine.com

TABLE OF CONTENTS ANDROCHINE AND THE LIMITLESSNESS OF AN ANDROGYNOUS GESTURE..................... P6 CHINA’S DRAG QUEENS. FASHION THAT IS NON-BINARY IDENTIFICATION.................P12 GENERATION SELFIE: THE NEW FACE OF CHINA...................................................................P20 LAZY EAZY: IS WOOF, WOOF CHIC WHAT’S NEXT FOR CHINA?......................................... P26 GIRL VANITY: SHUSHU TONG STUDIO..................................................................................... P32 EXCUSE EH... MOOI: BONFIRE OF THE BEIJING VANITIES................................................. P38

VANITY Rooster Girl Ego Alienation MOOI

FASHION

Designer Cranna: Androgyne Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

Designer Abel Cao: Bento Lover Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

ANDROCHINE AND THE LIMITLESSNESS OF AN ANDROGYNOUS GESTURE A look at China’s androgynous streetstyle throughout the centuries. Can any fashion trend actually be called a “trend”? Or are they sometimes simply actual “cultural staples”?

Thank you, Claude Cahun. The lines between the feminine and masculine wardrobes have been shifted throughout history. From West to East. The Oxford English Dictionary defines “androgyny” as “of indeterminate sex” or “partly male and partly female”. The lines between the feminine and masculine wardrobes have been shifted throughout history. From Plato in his Grecian togas (427-347 BC) to the Ming emperors’ yellow dragon robes (1368-1644), hasn’t androgyny always been on the racks?

One wonders and ponders… Can any fashion trend actually be called a “trend”?

Aren’t they sometimes simply cultural staples?

BLURRED LINES Many a collection in recent years has shown us a decisive blurring of what constitutes male and female dressing as oversized, double-breasted suits and pantsuits have often seemed to take centerfold. This is not the first time we’ve seen this emergence of female power-dressing though; just think of the 1980s broad-shouldered broads — shivers slide down my spine.

Yet back in those days, the underlying motive for this masculine approach in women’s wear collections was one of economic striving; the glass ceiling had to be smashed and sloped shoulders combined with oversize dark glasses were risky essentials in getting big business.

The 2010s collections bare a reshaping of the fashion world, characterized by interchanging collections and models. The likes of Andrej Peivic (sizzling up catwalks and confusing campaigns alike since

2010/2011 collections), Casey Legler and Taiwanese-born David Chiang flirt both with the camera and society’s fixed notions of how we should dress.

As Legler once voiced it in a 2013 The Guardian interview:

Fashion is now holding up its mirror to an obvious social reality: What you ‘should’ look like now means only what ‘suits you best’.

NOTHING IN FASHION IS SET IN STONE The Oxford English Dictionary defines “androgyny” as “of indeterminate sex” or “partly male and partly female,” a definition which seamlessly fits in with today’s trend watching. In the fabulously anthracite and minimalist caves of Greece where a toga-clad

Plato composed his “Androgyne,” (a term often explained as bisexuality, but which is in fact a reference to the “third gender classification” which existed among the ancient gods) there was male, there was female and then there was a mix ‘n match. No threepiece straightjacket muss, no layeredtrain dramatic fuss.

How then does China fit into this androgynous, gender-bending (according to Vogue columnist Sarah Mower all “yesteryear terms“, yet all suitable still) scenario? In terms of hairstyles, it would almost appear that Chinese men continue to outdo Ziggy Stardust with their elaborate weaves bouncing up and down the avenues.

Fashion reflects social change, a

Atelier Rouge Pékin.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

modernizing maturity in terms of social notions which China is most certainly experiencing; the emergence of a middle moneyed class thanks to the nation’s economic growth surely plays a major part in this. Yet, while some may call the feminine pursuit in China’s menswear a new fusion dish, historical records prove it is in fact a staple food, having been evident from the halcyon days of the Tang Dynasty ( 唐朝, 618-907) to today’s tweeted pics from Tiananmen – or Xintiandi…

“Androchine” is the name of the game – copyright/ trademark on that.

NAILING IT China’s menswear took a particular turn to the more female side of things during the nation’s old Dynasty days: Long robes with butterfly sleeves and the headwear, all too often associated with femininity in modern-day terms.

Harboring no desire to travel that far back in time yet again, the example of the internationally hailed Jingju performer Mei Lanfang (梅兰芳, 1894-1961) makes for one preferred icon. Jingju (京剧), or Peking opera, basically celebrates the art of disguise.

What disguise?

Men disguising as women, for some roles, in the name of Grand Theatre.

They get it down to a tee; the makeup, the effeminate hand movements, all take years and years of training to master (remember Zhang Yimou’s “Raise The Red Lantern “?). Around the time of Mei’s death, the unisex uniforms of the Cultural Revolution were entering the photo shoot.

Whether you were male or female, gender no longer existed and this simple fact was also expressed in one’s daily dress. The cut of the typical Mao suit was straight up-and-down. No fuss, no muss.

DOMINATION Fast forward four decades and the average Chinese street view unfolding before the eyes has received a Midas touch in comparison with what went before -- and the change has been startlingly rapid. Though the women participate in the ambiguous gender game as well, aka the zhongxing style or cool tomboy look, the predominance of androgyny in men’s style provides a better, read “easier,” review.

Contemporary China specifically — and East Asia generally — bears mucho macho, but also mucho metro in its daily wardrobe.

Check out your average Chinese or Korean pop star sensation and witness hair that is more effeminately dyed, bleached or coiffed, with copious quantities of spray and gel to keep it all in place (be it up or down). They appear more “prim and pretty” (take K-Pop star Choi Si-won or MandoPop’s Wang Leehom and Jay Chou) than Viking-rugged. Yet both carry the same amount of male sex appeal with their fans.

Many seem to take this “feminine” comment as an insult, probably because it is often associated with “submissiveness” as opposed to male “domination”, but it in no way intends to affront like that.

Male appeal with a pretty face; the ambiguity of androgyny carries with it fascination and liberation. It has done so for centuries, it seems.

As far as the “submissive” aspect goes, the earlier-mentioned David Chiang and his contempo compadres remain one popular poster boy for the pretty-yet-masculine look. The entire industry simply cannot get enough of them as they possess that genderless look befitting the current tendencies.

It’s the dominating power that is Androchine.

by Elsbeth van Paridon

Designer Abel Cao: Bento Lover Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

Atelier Rouge PĂŠkin.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

CHINA’S DRAG QUEENS. FASHION THAT IS NON-BINARY IDENTIFICATION Homosexuality in China was decriminalised in 1997 and in 2001 removed from the government’s list of mental disorders. This means China’s drag scene has evolved relatively quickly. Though the drag scene is in its comparative infancy here -- and despite ongoing media and censorship issues -- this doesn’t seem to stop the rhetoric in China surrounding the rise of drag.

When we think of drag, we may not necessarily think of China. However, sexuality and gender fluidity are very much alive in China’s rapidly changing social landscape, as is the slowly-rising drag queen scene. Temper tasty Emily Aspinall explores the country’s evolving relationship with non-binary identification.

“Back in the East, it’s tricky to define when drag queen culture became prevalent, as the first recorded use of “drag” referred to actors dressed in women’s clothing is from 1870.”

THE EVOLUTION OF DRAG IN THE EAST Contemporary China is what we can describe as a rapidly developing country, but not just in an economic sense, a social one too, and over the past few decades an ardent desire for sex equality has developed. However, this hasn’t always been the case- it is important to remember the past. Let’s begin by taking the Peking opera as an example which, at the outset, was initially an exclusively male pursuit.

The Qianlong Emperor had banned all female performers in Beijing in 1772 but that didn’t stop men playing iconic female roles. In fact, these roles were held in the highest of esteem.

Back East, it’s tricky to define when drag queen culture became prevalent, as the first recorded use of “drag” referred to actors dressed in women’s clothing is from 1870. Chinese actor and cultural treasure Mei Lanfang is a good starting point. He was exclusively known for his female lead roles (dan) and particularly his “verdant-robed girls” (qingyi), young or middle-aged women of grace and refinement. Donning his intricately beautiful head ware and blushed painted pink cheeks, Mei’s iconic and flawless movement from handsome man to elegant women was a fascination of, not only the Chinese, but audiences around the world. Mei is like a century-old open expression of LGBT identity and drag style.

“VICE China recently highlighted the situation of drag queens in the East with their documentary about drag and gender diversity: ‘Young People: Making Your Own Empress’. One protagonist in the show is Frozen Lolita, a ‘futuristic androgyny’themed drag queen from Beijing.”

DRAG, A WESTERN ‘PHENOMENON’?

Venturing into the 21st century, drag queens are now a more visible part of art and culture. Particularly in the West, drag culture is bigger than it ever has been, with exposed platforms like reality TV providing us with series “RuPaul’s Drag Race”. Last year, the show had its most successful season, building incredible viewing figures and followings via social media.

Before this, drag was submerged in underground clubs and back-alley bars. It is these mainstream shows that remove the stigma around dragall around the world.

Drag queens have in the West over the years become household names, with Dame Edna Everage and Pepper LaBeija just two at the forefront of my mind. This got me thinking… What, then, is the Chinese equivalent to these famous drag queens? And does that even exist?

Well, only very recently, VICE China highlighted the situation of drag queens in the East with their documentary about drag and gender diversity. “Young People: Making Your Own Empress” discusses how Chinese young people will recognize “another me” when Western culture enters a repressed Chinese context.” One of the two protagonists in the show is Frozen Lolita, a “futuristic androgyny”-themed drag queen from Beijing.

The documentary shows that drag is way more than just glitz, glamour and two puffs of blusher. In fact, Frozen Lolita spends a meticulous amount of time planning and creating her makeup and costumes. Squeezing into

tight corsets, shaving and plucking to absolute perfection. Much time, thought and energy goes into making themselves look stage-ready. The documentary depicts how preparation doesn’t always come easy.

Who knows, it might not be long until “Frozen Lolita” is a household name across China — just as “RuPaul: has become a brand in herself across the U.S.

China’s Sina Weibo platform in April of 2018 announced that — for the next three months — it would be having a “clean up”, removing pictures “with pornographic implications, promoting bloody violence, or related to homosexuality”.

A CENSORED IDENTITY China’s ever changing social landscape, does produce some issues, though. China’s Sina Weibo platform in April 2018 stated that — for the next three months — it would be having a “clean up”, removing pictures “with pornographic implications, promoting bloody violence, or related to homosexuality”. In response, Weibo users posted photos with their partners and families, under the #iamgay. This backlash from the Chinese citizens is refreshing, a positive outcome (Weibo changed course) and a chance to eliminate discrimination. But, the ban still speaks of the pressure media companies face in China to produce content deemed ‘proper’ by the authorities.

Designer Sarah Ferragni: Stereoscopic Modeling Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

Yuriko: Androgyne Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

It is important to remember that in China, gender equality has come a long way. Confucianism, the ancient religion and philosophy of China, had a strong belief in maintaining men’s dominance over women; trans women were therefore viewed as shameful for expressing a lower status.

Homosexuality was decriminalised in 1997 and in 2001 removed from the government’s list of mental disorders. This means China’s drag scene has evolved relatively quickly.

However, the drag scene is in its comparative infancy here and despite the ongoing media and censorship issues, it doesn’t seem to stop the rhetoric in China surrounding the rise of drag. What’s more, technological advancements in China have also helped promote greater awareness about drag in youth culture- WeChat groups are rife, and we can see more and more trans-identifying characters in movies (which we can now access through western media, score!).

THE TIDAL WAVES OF TIME Temper spoke to our much beloved Timothy Parent from China Fashion

“The Shanghai drag scene is booming. More and more drag queens will emerge from behind the curtains, this is with the help of new venues, parties and designers all coming out to support drag.” Timothy Parent

Bloggers to get his opinion on the matters at hand. If he were to describe drag in Shanghai in one word, it would be “booming”. Parent, a judge on several a drag show jury in China said, “You used to be able to count the known drag queens on one hand and now there are dozens in Shanghai.”

According to him, in the past two years, we have seen an upsurge of new drag queens emerging onto the scene, as the interest in drag, competitions and parties grows. Optimistic, huh!

Looking towards the future, Parent predicts more and more drag queens will emerge from behind the curtains, this is with the help of new venues, parties and designers all coming out to support drag.

Androgynous style, or gender fluidity has always been markedly popular in China (somewhat unknowingly), with gender-fluid looks dating as far back as the Mao suit. With drag art, fashion, networks and nightclubs galore in Beijing and Shanghai, let’s hope to see this immersive scene extending outside of these big cities and around China. Who knows? We may see the glitz and glamour of drag hitting the streets and catwalks of China very soon.

The sky is the limit for drag in China, and we wouldn’t expect any less of this ever-changing country.

By Emily Aspinall

Designer Cui Tuo : Powerful and Sexy Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

Designer Yang Lu: The Man In A Case Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

GENERATION SELFIE: THE NEW FACE OF CHINA Selfies… a form of self-expression, a harmless fad or the ultimate form of vanity?

It was the word of the year according to Oxford Dictionary 2013 and selfies are the ultimate symbol of the digital society in which us ‘millennials’ inhabit. But, selfies have been taken to a whole new level in China (no I’m not referring to Chinese tourists), thanks to the face altering apps, growing ever more popular in the Middle Kingdom.

“Selfie: a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and shared via social media.”

THE FACE OF CHINA The face of China is changing, thanks to the help of face-altering apps which enlarge eyes, reduce face size and smooth skin. More than half of the selfies uploaded on Chinese social media are believed to have been edited using apps made by just one company: Meitu. This app which translates as “beautiful picture” has been around for less than a decade and right here in 2018 it has over 545 million monthly active users. The look achieved through Meitu’s apps can even boast its own name: wang hong lian, translating as “internet-celebrity face.” And some Chinese citizens have even gone as far as to undergo plastic surgery to achieve the look they’ve created through Meitu’s apps.

Hanze Chen, vice president of marketing at Meitu once said, “The younger generation believes that ‘if I haven’t shown the best of myself, I’m not social enough’”. This perfectly sums up the importance and pressure

on young Chinese people to have an active online presence. These apps also have their ‘stars’ like HoneyCC, one of the biggest names on the videosharing platform. She once posted a five-minute video of herself dancing in a pair of skinny jeans; she sold just short of 30,000 pairs. The power of the internet, eh. indicating disdain for any scent that is overpowering, cultural quirks offer a fascinating peek at the underlying conceptual differences of the country’s national identity that could and should be further explored to facilitate greater understanding of China and even ourselves, albeit deeply personal.

BEAUTY IDEALS IN THE EAST The idea of pale skin and big eyes has become a beauty ideal in the East, prompted by these ever popular facechanging apps.

Not only has Meitu benefited economically from these standards, so has the cosmetic industry. Varieties of products are on sale to help people to whiten skin and make eyes look bigger (apparently). Contact lenses are all the range amongst the Chinese citizens, with some even on the market that imitate the eyes of various animals or anime characters.

Designer Abel Cao: Bento Lover Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

These eye- changing cosmetic contacts were first manufactured and marketed in South Korea in 2004, and have since grown in popularity around the world. But the prime market for them is still East Asia, where relatively larger eyes are more of a dynamic sign of beauty than in the West.

In one recent campaign, cosmetics brand Max Factor China encouraged users to take selfies showing how they pair eye make-up with anti-pollution facemasks. The model above flaunts perfectly rounded large eyes, long lashes, an unsubtle use of photo shop some might say. The advert is reminiscent of the selfies took using Meitu and apps alike. So, we must ask, is this campaign a social commentary on China’s state of affairs or a practical make-up question? I’ll let you decide.

“In China, the use of apps such as Meitu might be down to the huge population, getting ‘seen’ on social media could be a challenge in itself- escaping anonymity amongst the megacities.”

THE ULTIMATE VANITY ISSUE? In the West, we’re most likely to witness selfies galore on mobile app Instagram, where people are free to filter, crop and tweak pictures to perfection. And it’s becoming ever more important to make those photos perfect, as a recent study found in turn for the likes we receive; we get a hit of dopamine. The unpredictability of the amount of likes we’ll receive makes

the process so addictive. Perhaps us millennials are not inherently vain, but society has made us this way…

FUTURISTIC SELFIES China is ahead of the game (again), as it implements futuristic selfie technology in everyday life with face recognition, enabling people to purchase items through taking a selfie. The pioneering software means that stores can now run completely staff free and stay open 24 hours a day, with transactions taking only 0.3 seconds to be processed. So, get those selfie pouts ready and expect no queues in China, people.

What’s more, all this selfie demand has led to the opening of ‘selfie rooms’ in Chinese cities, a room with professional lighting, props and accessories. The exact number of selfie studios in China is unknown, but a quick search on Dianping, shows a hefty eight in Shenyang and plenty in Beijing and Shanghai, respectively. Clearly, selfie takers aren’t satisfied with a mere peace sign and smart phone. The game has officially changed.

People are taking selfies all over the world, with smartphones and selfie sticks slowly taking over. But it seems the world’s centre of selfie culture is firmly lodged in China. In this country, the use of apps like Meitu might be down to the huge population, getting ‘seen’ on social media could be a challenge in itself- escaping anonymity amongst the megacities. I’m all for self-expression, but let’s hope it doesn’t create a generation of people with unrealistic expectations. In a fast moving, ever-changing country like China, this could just be a trend.

Who knows what’s next?

By Emily Aspinall

Atelier Rouge PĂŠkin.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

The Lazy Eazy Collections: Doggy Style.

Images courtesy of Lazy Eazy

LAZY EAZY: IS WOOF, WOOF CHIC WHAT’S NEXT FOR CHINA? What happens when new affluence in China has modern lifestyles looking quite like the second coming of Paris Hilton, circa the early 2000s with her RIP, pet companion, a Teacup Chihuahua, named Tinkerbell?

If there is a dog heaven, she may well be looking down from her high perch in the sky smiling down at what is unfolding across China’s tier 1 and 2 cities. Here, rising discretionary incomes, a desire for companionship and a love for frivolity is helping fuel a lifestyle trend of well-dressed canine kids.

“Lazy Eazy decided to offer pets a unique fashion and lifestyle that was not only meant for the pets owners’ preferences, but also to provide these dogs with a luxurious life.”

DOGGY HEAVEN How fun! For what is vanity, but a preoccupation with one’s appearances? A non-necessity that is absolutely necessary. The very stuff fashion was made on. Frivolity in the face of life’s many unpleasant realities?

With an eye on China’s pet fashion apparel we spoke to Co-Founder and Chief Designer Liu Xinzhou of a doggy fashion start-up, Lazy Eazy to chat about how this Shanghai doggy clothing brand came to be.

TEMPER: COULD YOU TELL US A BIT ABOUT HOW LAZY EAZY WAS FORMED? Liu: Lazy Eazy was created in 2017 after we, the founders, received our

degree overseas and returned to Shanghai.

After returning we started to notice a countless number of new services and product launches showing up in China as the pet market rapidly began to take off.

We decided to offer pets a unique fashion and lifestyle that was not only meant for the pets owners’ preferences, but also to provide these dogs with a luxurious life. They are becoming such an important part of more and more Chinese families’ lives and families.

Since we have knowledge of both the international and domestic pet markets, we founded Lazy Eazy to leverage of both to create a high standard of quality and styling.

Our brand is also keen on make pets an important family member for owners. We really want to provide them with a unique lifestyle brand that combines not only fashion, fit, comfort and functionality, but also communicates elements such as the love and care that went into designs.

TEMPER: WHAT IS THE DESIGN ETHOS AND CONCEPT FOR THE BRAND?

For our Chinese New Year and summer collection we created a special edition of four pieces.

Liu: Lifestyle and functional elements mixed with technology.

TEMPER: YOU’VE RUN A FEW DOGGY LIFESTYLE EVENTS, COULD YOU TELL US ABOUT ONE OF THOSE?

“Corgis are a trending breed in Shanghai. There are big WeChat Corgi owner-groups, which can generally have around a thousand people. These pet owners really like to participate in social activities and are a tight knit community.”

Liu: Our first offline event was held at the Shanghai Bund. 100 people attended along with about 40 dogs.

Through this offline flash event, we were able to create more opportunities for dogs to come out for social contact and play, this also helped to expand the dog owner’s circle of friends.

Pet Photography: Say Cheese!

IT’S A DOG EAT DOG WORLD TEMPER: WHERE DO YOU FIND INSPIRATION FOR THE BRAND’S DESIGNS? Liu: We do research the same way we would do it for a womenswear brands.

Our inspiration is found from art exhibitions and fashion publications, but the difference is we add functional elements into the design to solve problems for dogs. For example, we have a summer collection which features a fabric that helps them cool down.

TEMPER: HOW OFTEN DO YOU DROP COLLECTIONS? HOW MANY PIECES ARE IN EACH? Liu: We are making a seasonless collection which produces new designs every two months. Since this year began we dropped three collections between January and June.

Temper: What are the most popular dog breeds in Shanghai? What would you say this about the city’s culture?

How does this differ to Beijing, Shenzhen and Guangzhou?

Liu: The three most popular breeds in China right now are the French Bulldog, Corgi and Shiba Inu. Influenced by the love of Japanese culture, there are a lot of Shiba Inu owners in Shanghai. This dog breed is known for its’ charming smile and is a popular internet meme.

Corgis are also very trendy for Shanghai. There are big WeChat Corgi owner-groups, which can generally have around a thousand people. These pet owners really like to participate in social activities and are a tight knit community. Its short legs and chubby bum, which is especially cute when running has helped popularize the breed.

By Sandy Chu

French Bulldogs are really popular in Beijing and Shanghai, everyone likes their silly cuteness. While they aren’t as big in Guangzhou, in Chengdu and Chongqing there are a lot of people who like them.

And that’s a body-armor wrap. On a final note, though… In terms of doggy pet ownership trends we should know about, it seems

The Lazy Eazy Collections: Doggy Style.

Images courtesy of Lazy Eazy

pet photography is currently very trendy, also there are more and more restaurants are becoming dog friendly due to the change in modern lifestyles. Vanity does not discriminate. We are all Fashion’s creatures.

www.lazyeazyofficial.com, IG: @lazyeazy

The Lazy Eazy Collections: Doggy Style.

Images courtesy of Lazy Eazy

Shushu/Tong Studio. Girl Vanity vs. Girl Power.

Images courtesy of Shushu/Tong Studio

GIRL VANITY: SHUSHU/TONG STUDIO There’s nothing new about Chinese Fashion Design success stories in Europe.

Liushu Lei and Yutong Jiang, the two LCF (London College of Fashion) graduates who together make up for the creative brain behind the ShuShu/Tong label, are part of this eye-catching and fast-growing phenomenon. The designer duo features collections brimming with Girl Power, Girl Motivation and… Girl Vanity.

“Corsets as a wardrobe piece often recall the doom and gloom struggles of Victorian women and in such fashion these undergarments are often assumed to be non- or anti-feminist. However… What if their wearer defines her own standards of femininity, dresses up and boldly marching down the streets – does the corset not become a piece de résistance, so to speak?”

A BEACON OF LIGHT Shang-hai. The Upper Side of the Sea, a city currently basking in the warmth exuded by the gaze of the global fashion world – as well as the icy cold of its accompanying scrutiny. Once referred to as the “Paris of the East”, Shanghai has long been a bastion of that unique East-meets-West culture called Haipai (海派), which sometimes simply translates as “Shanghai Style.”

Once upon a time, the Beijing art scene referred to all cities outside of Beijing as “Haipai”, however, nowadays, the term has become synonymous with the open and generous culture of Shanghai, the product of multicultural influences throughout history. Whereas Beijing has always kept “intact” its traditional character, Shanghai opted to embrace all the various elements

of the world’s different cultures, in particular that of the West. Speaking of rebellious résistance, then, the Gǎi Liáng Qí Páo (改良旗袍) -- literally meaning “the Ocean which absorbs the flows of hundreds of rivers” -- was once the shortened and more fitted wardrobe epitome of style in true Haipai fashion.

The city is now dispatching the fashion names it has raised from infant to teenager to the rest of the world.

Feiyue sneakers went global, Angel Chen and Ximon Lee made it onto Forbes’ “30 Under 30” list, Masha Ma and Uma Wang successfully stepped onto catwalks across the European continent. And so the list sways on. At this very moment, across the streets of Shanghai, Chinese Millennials are boldly stomping through the French Concession and Xintiandi areas showing off the latest in China Fashion.

Confident, bold, crazy and eccentric.

Not yet defined, but daring to evolve.

It’s the new Haipai. It’s Eclectic.

“You are voraciously audacious and unabashedly clad in feminine details. You play around with vivid colors and monochrome looks, floral prints and gingham, ruffles and bowknots. You don’t identify yourself through a certain volume or silhouette. You are a Shushu/Tong girl.”

THAT SHUSHU SHANGHAI GIRL You have a passion for fashion. You are a fine feline who loves dressing up and down in denim. You love a dress deliciously decorated with thirty ribbons and unbalanced pleats. You wear an oversized puff blouse and a coat with metal tongs.

You are voraciously audacious and unabashedly clad in feminine details.

You play around with vivid colors and monochrome looks, floral prints and gingham, ruffles and bowknots. You don’t identify yourself through a certain volume or silhouette. You are a Shushu/Tong girl.

Shushu/Tong Studio is a three-yearold Shanghainese womenswear brand

Shushu/Tong Studio. Girl Vanity vs. Girl Power.

Images courtesy of Shushu/Tong Studio

the identity of which ranges from a girl…To a girl. Girls, girls, girls, so to speak. Founders Liushu Lei and Yutong Jiang met when in high school in China’s picturesquely southern city of Chengdu, continued their further studies in Shanghai and London together and in 2015 conceived their own brand in Shanghai. Much like the ancient Chinese legend of guqin string-plucking virtuoso Yu Boya (俞伯 牙) and woodcutter Zhong Ziqi (钟子 期), one folklore set in China’s Hubei Province during the Warring States Period (475-221 B.C.) exemplifying the Chinese ideal of lifelong friendship, the two alumni agree on most things fashion aesthetic.

“When a beautiful soul harmonizes with a beautiful form, and the two

are cast in one mold, that will be the fairest of sights to him who has the eye to contemplate the vision,” to quote some ancient Western wisdom.

“The Studio originally started out as a business idea for their school’s funding program. The two Chinese Generation Z went forth and jam-packed their first collection with clothes they designed for the bold and feminine girls out there.”

FROM THE RIGOROUS TO THE EXAGGERATED Lei and Jiang spun their Shushu thread from the notions of “girlhood” and “womanhood”. The Studio originally started out as a business idea for their school’s (London College Of Fashion) funding program. The two Chinese Generation Z or post-90s (90后) went ahead and jam-packed their first collection with clothes they designed for the bold and feminine girls out there. The dynamic duo aimed to capture the imagery of youth and fun without sacrificing a sense of femininity. Lane Crawford literally bought into the idea. As did Dover Street Market, Opening Ceremony and 10 Corso Como.

For their rigorous technical detailing and exaggerated design outlines, “Tongtong” Jiang and “Shushu” Lei took a leaf out of the Gareth Pugh sketchbook, swirled and twirled this in some heartfelt Simone Rocha team spirit and polished it all off with that typical East London grunge gusto.

The post-90 pair zealously uncovers its muses from the hidden depths

of pop culture: One erotic film (“Les Fruits de la Passion”) here, an 80s movie (“Heathers”) there, some J-pop star sparks (i.e. Kyary Pamyu Pamyu’s style) on the side and a zest of indie film (“Mi Vida Loca”) thrown right down the middle. It’s all about gingham, a feast featuring millions of folds and a rush of ruffles. Shushu/ Tong may incessantly experiment with new colors and materials, but the brand will always cut the cloth for them genuinely witty misses.

The Shushu/Tong girl reveals the spirit and soul of Shanghai, the picture perfect piquancy of Chengdu and that edged-out London lacing. It comes as no surprise that the brand was nominated for the International Woolmark prize 2017/18 season. In the end, it’s not about vanity, but all about fashion’s fantastical itinerary.

Haipai is the root and the definition of Shanghainese culture. An increasing number of “Haiguis,” a term for those Chinese who return to the Mainland after having studied abroad -- like Shushu and Tongtong, are settling into the rousing residencies of the Oriental Pearl as they continue developing the new modern Haipai style. The city is the epicenter of 21st Century China Fashion. Shanghai Fashion Week, for example, has now become a massive meeting point inviting global fashion powers to come hither and mix/ mingle. The post-90 Shanghainese, on their casual end, are not afraid to absorb some fresh style stimulus to fully showcase their individuality.

The guts to revolutionize and diversisize are, after all, the essential assets of Haipai. High. Five.

www.shushutongstudio.com, IG: @ shushu__tong

By Minyoung Lee

Shushu/Tong Studio. Girl Vanity vs. Girl Power.

Images courtesy of Shushu/Tong Studio

Designer Sarah Ferragni: Stereoscopic Modeling Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

EXCUSE EH... MOOI: BONFIRE OF THE BEIJING VANITIES The vainest question of them all really begs to define the difference between artistic freedom -- how artists see their work and react to different situations -- vs artistic vanity – i.e. how the ego presents oneself through the artwork. For “The Vanity Issue”, Temper Magazine collaborated with Beijing-based photographer Irina Kovalchuk and her snap-happy peers at MOOI (Dutch for “beautiful”; how befitting) Studio. In a “Bonfire Of The Beijing Vanities”-themed shoot, student designers from Raffles Design Institute Beijing and MOOI photographers had an extreme amount of freedom and creativity, with vanity taking a bit of a back seat.

As a complexity that human beings deal with, Vanity (yes, that’s right, capital “V”) helps people to find their way out of the bog of repetitive profiles and bios.

PUSHING FOR THAT PERFECT POSE There it is common practice at MOOI Studio to, in the words of Kovalchuk, “emphasize those slight extra details and in the process pushing people to stop and think about what they see, both within and around themselves”.

In a bid to reflect androgyny, vanity, and self-love, the city of Beijing struck the perfect pose.

As a complexity that human beings deal with, Vanity (yes, that’s right, capital “V”) helps people to find their way out of the bog of repetitive profiles and bios. Just like people, whose behaviors reflect their given circumstance, cities too are subject to the vanity, to the adaptations required of them. Nevertheless, one must wonder… Is it a vicious cycle of trying to be different, all the while actually becoming more of the same?

Beijing’s hutong transformation has provided fuel for many artists, who use it to conduct a conversation. Their images here share a provocative story about the transformation of the city, where vanity drives the destruction of history and the construction of selfish love.

HU NEEDS SELFISH LOVE The MOOI X Raffles X Temper photoshoot took to the center stage within the walls of the city’s hutongs, the traditional place for multi-family residence in Beijing China, to show, “flaunt” even, the contrast between modern Chinese designers and a historic city. As this issue goes to print, the hutongs are literally turning to rubble, disintegrating in front of our eyes, only to be replaced by tall mirrored skyscrapers and shopping districts. This sort of transformation has provided fuel for many artists, such as MOOI Studio, who use it to conduct a conversation. Their images here share a provocative story about the transformation of the city, where vanity drives the destruction of history and the construction of selfish love.

The collection of photographs displays men in womenswear and women in menswear, contributing to the conversation of inter’sex’tion and gender roles, photographed in a city where the lines are blurred as well.

At the risk of the original shoot philosophy “dressing men as women and women as men” taking on a comedic tone when put on film, another idea unfolded; one of aliens, alienation and the likes.

Designer Cui Tuo : Powerful and Sexy Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

IS THAT A UFO OR A SHOOTING STAR? At the risk of the original shoot philosophy “dressing men as women and women as men” taking on a comedic tone when put on film, another idea unfolded: One of aliens, alienation and the likes. Confronting the unsure sexuality of actual aliens, and the idea of being alienated in a society that is rapidly changing its construct and personality, can contribute to a form of alienation for its people. As Kovalchuk puts it:

“In China and Asia at large, we see that people are increasingly focused on their own pictures and how they present themselves. People are losing their true selves. They just want a cool picture.”

People have constructed vanity as a shield from that alienation, as well as a way to define oneself, to stay afloat, whether for good or for bad. But in that process, as remarked by MOOI Studio, “It’s all about how you look. It’s not so much about the meaning and what’s actually happening on the inside. We all look the same; we all want our pictures to be perfect. In Europe, people want to be perfect but unique. In China, they want the overall story of prettiness, but don’t focus on what they can do to be unique.” Kovalchuk sums up.

Is to be vain to be self-confident? Is it to respect oneself ? Is it a way to stand out in the crowd? In the world of “self-portraits” where instant gratification, i.e. the IG preach of the day, defines self-love and admiration..

Is this gratification not confused with selfish love and selfish admiration? In a world where Meitu/Douyin-addiction is rapidly becoming the norm, one might wonder… If the city of Beijing were to have its own Meitu account, what exactly would that look like?

Questions for reflection galore.

Team Beautiful Baes X Temper Magazine!

Across the board, having a little bit of vanity is a positive thing, but when it webs out of control, watch out. The eye of Hurricane Vanity is not the one you want to be caught in.

MOOI Studio: www.mooi-studio.com/mooi IG: @mooi_beijing Raffles Design Institute Beijing: www.studyatraffles.com/beijing IG: @rafflesacademybeijing

Designer Yang Lu: The Man In A Case Collection.

Photography by Irina Kovalchuk of Beijing MOOI Studio for Temper Magazine

By Jessica Laiter

From Beijing to Shanghai and every corner of the Mainland, China’s fashion scene is a phenomenon that deserves to be explored by the global design and fashion world. In order to capture a real sense of this colorful and inspiring new landscape, Temper Magazine looks into the art of clothing in contemporary China.

We collect the latest in menswear design, women’s clothing, designer newbies, established names, changes in the street scenery and budding photographers.

Explore 21st Century China through a fashion focused lens and enjoy the ongoing change and innovation within the everyday whirlwind that is China Fashion Design.

Copyright@Temper Magazine, 2018. All rights reserved

Vain like a peacocky rooster we may very well be, yet a temperamental Thank You is very much in order.

Hiking across the hutongs surrounding Zhongnanhai, photographer Irina Kovalchuk and her MOOI Studio partner Alejandro managed to capture and edgify arresting imagery of the finest creations Raffles Beijing Design Institute’s students have to offer. Needless to say, Temper also owes stylist Alla Batyuk and models Michael Filipau and Jacqueline a Beijing Absinth Dream or two at the very least for their wicked posestrikes and vesture-vibes. As we take a final humble bow, we thank Thee all!

info@temper-magazine.com

@tempermagazine

www.temper-magazine.com

The New Made In China