Temper Magazine The Sensational Issue ENG

JULY 2018

THE SENSATIONAL 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, Emily Espinall and Jenn Su Translators Dong Fang and Li Dan Photographers and Artists Ping Wang, Tom Selmon, Atelier Rouge Pékin, The Either, Xin Zhao of REBYXINZHAO, Graf&Wu, Tang Wei of CHRONIC, QIAODAN Yin Peng Sportswear, MeNow, FaceSlap Design and Shanghai Tattoo Public Relations and Marketing Social Cloud PR&Marketing Graphic Design Krokant Partners Ambra Schilliró, Jessica Laiter Special Shoutouts China Fashion Bloggers and LaWo App

TABLE OF CONTENTS CHINESE TATTOOS: A HISTORICAL BODY OF ARTWORK....................................................... P4 PLAIDS: A CHECKERED PAST, PRESENT AND FUTURE........................................................... P8 EXPLORING THE NOTES OF THE UNCONSCIOUS...................................................................P14 THE SENSE OF ESTRANGEMENT: LONELY EVEN IN THE LARGEST OF PLACES..............P18 THE EITHER: STRIKING A CHORD BETWEEN SOUND AND FASHION................................P21 PING WANG: QUIET VISUALS, CLEAR VISION AND FUTURE SIGHTS............................... P25

SENSATIONAL Touch Taste Smell Hearing Vision

FASHION.

Shanghai Tattoo Copyright @WanderLuxe

CHINESE TATTOOS: A HISTORICAL BODY OF ARTWORK Abhorred by some yet adored by others, a tattoo arguably finds itself among the most extreme expressions of the soul. From far flung First Nations cultures, sleek Swedish Malins and graphic Greek glyphs to crisp Zen circles, this style of art captures, preserves and even epitomizes both the spirit of a society and the temperament of one individual.

PIGMENTATION AND PROTECTION China in the 21st Century has one reigning Chairman when it comes to the art of body inking: Tattoo Man Liu Ming — as seen in the featured image.

That is now, so let’s turn back time a little and take a peek at the “then”…

In Ancient China, tattoo art was called 涅 (niè) which means “to dye black”. 刺青 (cìqīng), 文身 (wénshēn), 镂 身 (lòushēn), 扎青 (zhāqīng), 点青 (diǎnqīng) and 雕青 (diāoqīng) are just a smattering of auxiliaries referencing the art of inking found across different historical records.

The earliest records of Chinese tattoo art can be found in the “Book of Rites — Royal Regulations (礼记•王 制)”, a passage stating that the Yí ( 夷) people inhabiting the eastern parts of the nation and the Mán (蛮) people residing in China’s southern regions sport tattoos. A number of staple samplings include the native Wu people (吴人) who lived in the southern area of today’s Jiangsu Province and Guo Wei (郭威), temple name Taizu ( 太祖), a man known as the “Tattooed Emperor” in the Later Zhou during the period of Five Dynasties and Ten Kingdoms (907-960). Yue Fei (岳飛), a Han-Chinese military general during the Southern Song Dynasty (1127-

1279) bore a tattoo on his back which read “尽忠报国: Serve the country with the utmost loyalty.”

Pigmentation and protection — always, in all ways — walked hand in hand.

“Filial piety, in the eyes of Confucius, is the quintessential mark of a civilized society. It was precisely for this reason that the practice of body ‘inscripting’ transformed from a protective art style into a social or parental punishment”

STIGMA OR STYLE? All historical tales, tattooed emperors and generals cast aside, with the rise of Confucianism, a permanent body marking was no longer a thing to be proud of. China’s tattooed people were branded uncivilized and ungrateful. The Baiyue (百越) people were pushed into a corner of barbarian stigma, portrayed as living in primitive conditions and lacking basic technology by Chinese writers of the Han Dynasty (206 B.C.- 221 A.D.).

Firmly defined in and by the “Classic Book of Filial Piety (孝经),” one of the 13 must-read Confucian classics, the Confucian principles convey that one “must not defile the body since

it is given to us by our parents” (身 体发肤，受之父母，不敢毁伤) . Filial piety, in the eyes of Confucius, is the quintessential mark of a civilized society. It was precisely for this reason that the practice of body “inscripting” transformed from a protective art style into a social or parental punishment.

During the Song era (907-1279), criminals were marked with a tattoo to prevent them from committing another crime; slaves, too, were branded to showcase the stamp of ownership and keep them from running away. Here and there, female slaves were inked by the ladies of the manor to render them less attractive in the eyes of the men in the family.

Fast forward a couple of dynasties and Chinese tattoo art from the 18th Century onwards increasingly became

China’s Tattoo Man Copyright @Odd Stuff Magazine

associated with the wild and nonwholesome activities taking place in the underworld. Hong Kong’s secret society gang members in particular raised many an eyebrow as they, for example, needled either a dragon onto the left arm or a white tiger onto the right (左青龙，右白虎) to exemplify their respective triads. (One Oxford Dictionary quickie, “triad” is a translation of the Chinese term San Ho Hui, or “Triple Union Society”, referring to the union of Heaven, Earth, and Man. Now you know.)

With the advent of the People’s Republic of China in 1949, body art was condemned as immoral by the Communist Party of China. Half a century later, the art of tattooing, too, has received the New Made In China tag. From Mao jacket to Mao sleeve.

Paiwan Tattoos – Taiwan. Copyright @Humanity Photo Awards

Dai Tattoos - The Dai tribe lives along the Burmese border in China’s southern Yunnan Province.Copyrght @Humanity Photo Awards

ABOUT POLICE AND PARLORS

conducted by lifestyle site Haibao, one-third of respondents showcased tattoos, 16 percent of which even carrying more than one. Chinese celebrities Faye Wong (王菲) and Nicholas Tse (谢霆锋) share “lovers” markings and mere mortal inking sightings run rife on the streets of China’s major cities. Zhuo Danting, China’s “First Lady of Tattoos” who runs Shanghai Tattoo, confirms the growing trend as her parlor has witnessed a boost in Chinese clientele as well. Right along the Zhuo lines, some tattoo artists located in the big(ger) cities can nowadays earn up to $120 an hour. Not too shabby for what was once deemed sullied.

And from the Great Hall Of The People, we make our way into the tattoo parlor. The number of tattoo lovers in China is on the rise and thus is that of tattoo parlors. However, those who serve the public (sector) like soldiers and police officers must be left inkfree — truth be told, prejudice against tattooed candidates lingers on within China’s job market at large. When Beijing hosted the 2008 Olympics, people with visible tattoo markings were forbidden to be part of the city’s welcoming committees. In this light, we might want to circle back in time a bit and disclose to you the fate of General Yue Fei. This celebrated military strategist in the end was forced to resign from his position and to his dying day cared for his mother — who gave him the tattoo to begin with. Oh tempora, oh mores?

At the same time, the younger Chinese generations are fond of bearing English writings or modern art styled drawings on their body to express themselves as individual souls.

According to a survey on body art

The year 2002 saw the birth of the Chinese Artists Tattoo Association and numerous tattoo exhibitions and presentations have since sprouted across the Middle Kingdom. Despite previous Olympic triflings, the New Made In China label takes home the gold as even the mighty powerhouse that is Beijing currently hosts an annual tattoo convention. From emperors to generals and modernday pioneers: Chinese tattoos reign supreme.

By Minyoung Lee

PLAIDS: A CHECKERED PAST, PRESENT AND FUTURE The one thing all Temper authors have in common, is that we like to go tempestuously bold. Whether it’s oversized #Normal jewelry, shameless Shanghai street style or stripes all the way, in every way… We relish the spotlight, not the taillights.

Patterns at large are one particularly useful tool when you want to add some zest to an otherwise dreary day. Temper guest author and Blogger Extraordinaire Jenn Su of The JStyle. Either check in or check out!

With so many fashionable men and women roaming the streets of China, there is no need to flip through any fashion-mag checklist to find out what’s trending in Style World. So who and what is that “you” I mentioned in the title of this post?

The answer to that question is “plaid”; one stylish phenomenon that you cannot not see when out and about on your daily dashings. Though we admittedly tend to rake up the myriad of patterns under the generalized “plaid” denominator, fashion exhibits a plethora of patterns to pick and choose from… Each and every one of them representing or delivering an entirely different feel.

NOW, LET’S GO THROUGH THAT CHECKLIST! GINGHAM

TARTAN

Before anything else, when you see this pattern, images of “A Sunday Afternoon on the Island of La Grande Jatte”, or just a simple table cloth, spring to mind. But bear with us!

Gingham has become much more of a style player than a mere table decoration! The pattern has become a big thing with fashion lovers walking the streets of China’s first- and second-tier cities. What’s more, when this medium-weight balanced plainwoven fabric first made its way into Europe several hundred years ago, it wasn’t plaid; in fact, it was one big stripy fash fest. As time went by, the print in the 18thCentury evolved into plaids. Because Gingham was a woven one, it was often used as test fabric for fashion designers to physically sculpt their creative notions. Moving on to the 1960s, then, Gingham became a legit trendsetter among the Mod scene. The trend only continued to grow throughout the era, especially after French bombshell icon Brigette Bardot was spotted wearing a Gingham-marked dress at her wedding.

So before one snickers at those who wear Gingham… Baby, think twice! It’s history in motion.

Tartan, aka the most familiar one of them all. The tartan plaid originates from Scotland and throughout signified the wearer’s aristocratic or royal lineage. The clans each bore their own checkered pattern to set themselves apart from one another – style statements avant la lettre. Tartan was also used to differentiate between the various stars and stripes among soldiers. Nevertheless, and perhaps befittingly so, Tartan in the 1980s became a hallmark of the era’s street punk vibes. Either way, when you aim for that “God Save The Queen” look, both in the royal and punk sense, “Tartan” is your clan.

WINDOWPANE Windowpane. The Windowpane check is a very modern one and, in going by the letter, the look resembles that of … well, a real-life countryside windowpane. This particular type of plaid is very simple, usually made up of two colors and crossing lines.

Windowpane plaid best expresses the style of the modern woman: Urban and elegant.

HOUNDSTOOTH I think lightbulbs are beaming all around with this one! What’s in a name, one might ask. The print does in fact have something to do with its K9-sounding name as it was allegedly inspired by the uneven shape of a hound dog’s teeth. Nevertheless, the patterns in reality consists of broken checks or abstract four-pointed shapes. Houndstooth often comes in black and white, but every now and then appears in different colors and shades as well. This plaid finds its roots in 19th Century Scotland where it was originally worn as an outer garment of woven wool cloth by shepherds. Thank you, WikiFashion.

Houndstooth firmly planted its footprint into the fashion field after Christian Dior himself used the print to decorate a pair of shoes back in 1959. Houndstooth exudes a sense of elegance and is often used on coats and their outerwear family members.

TATTERSALL

GLEN PLAID

Tattersall often makes its noticeable appearance on men’s shirts.

Resembling its windowpane brother, the tattersall’s check is one of slightly more complicated descent, usually formed by lines of two colors creating smaller plaids than they do on its windowpane sibling. This kind of pattern gives off that old-school gentleman feel, sending a formal yet simultaneously casual message. Yes, it’s highly contradictory, but that is what fashion is all about, after all!

Things never make sense; nor should they. Anyway, if you want to opt for that cheeky tomboy style, Tattersall is your man!

Glen plaid is formed by different sizes of checks and is usually based on muted colors such as grey, white and black — with a bit of red woven in. This plaid was born in the 19th Century, supported by the penchant for plaid hailing from Britain’s upper class. The earliest iconic figure to bring Glen to the top of the fashion charts, was the Duke of Windsor (we’re talking 1930s here). This particular Duke of Windsor (aka Edward VIII aka husband to style maven Wallis Simpson) had a unique taste of style and was particularly into plaids. Subsequently, under his demonstrations, people became drawn to the print which eventually would go down in history as the “Prince of Wales check”. Until this very day, the Glen plaid continues to take a royal stance and is often seen on suits. Oh ye timeless elegance of days long gone…

Return to us, we beg of one!

“One particular Duke of Windsor (aka Edward VIII aka husband to style maven Wallis Simpson) could boast a unique taste of style and was particularly into plaid. Glen plaid, mind you.”

GINGHAM

TARTAN

Gingham style

Highland vibing with tartan treats

WINDOWPANE

HOUNDSTOOTH

Outside looking in.

Houndstooth — what’s in a name.

TATTERSALL

GLEN PLAID

Tatler does tatter

Glen Plaid prints in the 1930s received the royal seal of approval.

Feeling a little dizzy and numb after taking in all this new information, are ya? There truly are many different kinds of plaid patterns floating around the textile scene– and then those plaids you assumed to be one and the same upon first gaze turn out to be cousins of different last names. We know, we know… It’s a “WHAT DA?!” fashion universe out there!

Take your time to digest these freshly printed updates and, in the meantime, take a look at some inspirational street snaps of how China’s fashionistas are putting their plaids to play!

When all is said and done… Whether it’s menswear or womenswear, if you don’t want to be left so far behind that you can’t even see the fading taillights of fashion anymore… Go get yourself “plaided”. Check!

by The JStyle’s Jenn Su

REBYXINZHAO “Untitled” Collection

EXPLORING THE NOTES OF THE UNCONSCIOUS A fan of the sensational, Temper Magazine turns to Shanghainese designer Xin Zhao of independent accessories brand REBYXINZHAO to escort us on a walk down one highly scented memory lane.

When it comes to the narrative of fashion or for that matter creative work, in our digitally led world the experience relies heavily, dare I say a little bit too much, on the sense of sight. It has been sensorially done to death. But what about scent? Time to get scensational.

For fashion the next consideration is often touch, the tactile interaction found in clothing — from the thrill of silk to the divinely cosy feel of cashmere — can help make or break an individual’s ‘qizhi’, the je ne sais quoi element of presence that serves as a key element of China’s beauty ideals. Yet the question beckons… What about scent?

While creators intuitively rely on their deep connection with themselves to sniff out their creative direction so to speak, olfactory abilities are too often left untouched and unexplored.

From the sweet autumnal fragrance of osmanthus to the seasonal memory of the powdery scent of Six Gods toilet water meets mosquito repellent, China is rife with smells that can both delight and shock in the humid raw heat of its many mega cities.

Could these shared smells be integrated in to the country’s creative scene to add another layer of depth for fashion or art? After all a whiff of this or a note of that can beautifully transport us to a nearly forgotten melody from the past.

TEMPER: WHAT ARE SOME SCENTS OR SMELLS YOU ASSOCIATE WITH SHANGHAI? Xin Zhao: I think this would be the scent of narcissi. Maybe because I’ve started to smell them again recently as they only blossom during Chinese New Year. You won’t see or smell them during any other time of year.

You will see how one very skilled florist can carefully and nicely carve out the bulb of a narcissus and let it grow like multiple cloves of garlic. It allows for the bulb come out with more flowers or even feature a rather artistic shape.

I feel like Shanghai is a pot of carefully carved out narcissi, so to speak. As elegant and delicate as it looks; yet also very strong and fearless because it grows during wintertime. At the height of its “fame”, it will burst into a passionate flower giving off a significant scent.

TEMPER: ARE ANY SMELLS NOSTALGIC FOR THE CITY? Xin Zhao: When I was a kid, our family lived in an old lane house with no piped gas. My grandma (and all my neighbors) would get up early everyday and light the coal stove

to boil water for the whole family to use. That was the only way to save up gas from the tank for the cooking of that evening’s dinner. The smell of coal smoke in the morning is my most deeply rooted childhood memory. It holds within a high level of nostalgia.

TEMPER: WHAT ARE YOUR FAVORITE SMELLS HERE? WHAT KIND OF MOOD DO THEY BRING TO YOU AND HOW HAS THIS RELATED TO YOU WORK OR CREATIVE ETHOS? Xin Zhao: I love the smell of turpentine. The characteristic piney licorice aroma always brings me back to the memories of my art school days, doing oil painting. It makes me realize how much I love art and to create with no purpose, but with joy. This is also a very precious feeling that I carry with me these days as I develop and explore new design concepts.

Offering an alternative narrative to think through scent is as much about memory as is an indicator of identity.

And while each individual’s olfactory references may differ, what has always fascinated me is the culture’s universal sensitivity to smell.

Notably the judgmental exclamation “hao xiang!” meaning “so fragrant!” 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.

REBYXINZHAO “Knot Sure” Collection

by Sandy Chu

Image featuring Neil “Frozen Lolita” Lee, by British photographer Tom Selmon

THE SENSE OF ESTRANGEMENT: LONELY EVEN IN THE LARGEST OF PLACES Gender fluidity, sexuality, and fashion….in China…. more specifically the post-80s and (even more so) post-90s generations play a major role in the sense of estrangement we gather many Chinese youth currently bear. Finding one’s identity in a new world and expressing how to feel about it, while also channeling and bringing it to full fruition -- both in terms of inner personality and outer fashion and art -- make for the challenge of a lifetime. How does this search for a new identity manifest itself in fashion, photography and other art forms? For Temper’s Sensational Issue, the main event is our senses. So, welcome to what I call, the Sense of Estrangement.

Imagine the stage is yours for the taking. The spotlight? On you.

Change? Inevitable. Identity?

Questionable.

What is it like to have all eyes focused in on your most vulnerable stage of life? This is a question I ask myself on the daily, during my perusals of Chinese-focused media, that hone in on the emerging generation and their talented futures. The YP ( young professionals) of China are, at the moment, one of the world’s biggest and most targeted demographics, and are idolized by international brands, companies, and media across the globe. Every other article that I read, despite my niche amorous relationship with Chinese fashion and beauty, is regarding emerging Chinese designers, artists, architects, musicians and photographers. Every image after the next is a colorful, dramatic and glossy display of the top emerging Chinese aficionados we must all take note of. Now. Through the lens of music, fashion, art, photography and gender -- really any creative and malleable space you can imagine -- changes are happening and these vessels are helping to express the growth, evolution and feelings of estrangement in Chinese YP.

Define estrangement? The feeling that they do not belong or are alone.

“China’s restrictions on free speech and public expression has erected steadfast obstacles for the creative industry and individuals attempting to break free, to give China a new name. The YP are in search of a voice, seeking an opportunity where they can identify with both their Chinese and international identities and, most importantly, with their self-identities.”

As a community in the early stages of a new millennium, we are obsessed with the freedom of expression, the use of technology, entrepreneurs, fluidity in discourse and identity, creativity, and innovation. With the timing of China’s emergence as a powerful force in business, trade, and culture, the world has made China a part of its mission statement for many years to come.

Fortunately and unfortunately, the rising generation, who is so diligently attempting and succeeding, slowly but surely, at consuming the market with their new found artistic contributions, may find insurmountable success; but they may also bear a heavy burden from the globe’s watchful eye, and find delayed success due to untouchable expectations and unfair criticisms.

Daring to be crude, take a minute to imagine how it felt to go through puberty. It’s not a moment you exactly wished to share with your friends and classmates, parents and teachers. It’s something you hoped would happen but would fly under the radar until fully “blossomed,” for lack of a better word. Chinese youth is essentially experiencing a metaphorical puberty, but instead of evolving privately, they are soaked beneath the hot breath of spotlight, with every moment of achievement and loss dually noted. They are truly the guinea pig creatives, the first line of offense for China against the world team. They are first to show the country from an alternative angle, and to change people’s perceptions on what it means to be “Made In.” So whilst taking chances, learning about themselves as individuals, and figuring out life for possibly the very first time in their lives, they are simultaneously being evaluated.

Up until a few years ago, China was a closed country. International travel?

Limited. Foreign education? Restricted.

Only in the 1980’s did these things start to become more easily accessible and tolerated. Today, it seems crazy to think that the Asian community was, up until recently, very sparse in Europe and the United States. So with new privilege comes new responsibility… and a learning curve. Rome wasn’t built in a day right? (ok super cheesy, but you know what I mean!). Who gets it right on the first try anyway?

“This dynamic shift in desired interaction, inspiration, thirst for travel and knowledge, envy for selfexpression, and definition of self, is currently a fluid state, because these things have yet to be fine-tuned.

The YP community of China is still maturing, figuring it out, learning about who they are, and how they fit in and shine on the world stage.

Shine bright like a Diamond.”

One of the best and more “grass root” ways of executing such is the culture of street wear. Many street wear brands have emerged from within China. There are still many misconceptions about the Chinese street wear culture. Take a look at GRAF&WU. GRAF stands for Generation Represent Artistic Fashion. This reflects the brands ethos aspiring for a generation of people to use fashion as an artistic medium.

Interestingly enough, fashion has become an integral part of personal expression in China, because the current obstacles with freedom of expression have pushed people to discover new ways of communicating responses to social issues. “Speaking through illustrations,” as the designer of GRAF&WU puts it, “is a much more integrative and effective way to communicate her opinions and feelings than through a media outlet or publication.” She streams her inspiration from the lyrics rap music and cultural influences, whether they be from the 80’s or current events.

Street wear is always the best way to see true culture, and how it manifests at the very grass root levels.

Image by British photographer Tom Selmon

Twenty-something Temper tantrums. Image by British photographer for Temper Magazine

Image featuring Neil “Frozen Lolita” Lee, by British photographer Tom Selmon

Twenty-something Temper tantrums. Image by British photographer Tom Selmon for Temper Magazine

Twenty-something Temper tantrums. Image by British photographer Tom Selmon for Temper Magazine

Now living in an environment that allows defining oneself as one or the either or both, the question of sexual and gender orientation comes to mind as the YP continue to integrate and assimilate into Western society. This sort of identification or reassignment is prohibited in most parts of China and therefore is all a part of finding and establishing oneself in a new community; even a new body and state of mind.

The Sense of Estrangement is a lonely one at that. It’s swimming against the current. It’s pushing a conversation that erodes stereotypes. It’s defining oneself in a place where definitions are blurry. It’s a sense of solitude that will only shatter when the other elements of sense shatter its very foundation.

by Jessica Laiter

The Either

THE EITHER: STRIKING A CHORD BETWEEN SOUND AND FASHION As human beings, we are vessels motivated by the senses. We are driven by our visceral reaction, aka the visuals, smells, touch, sounds and tastes of life. Their powers are undefeatable.

The marriage between sound and fashion is a relationship of complexity, yet undeniable compatibility. We hear sounds, but we feel and see fashion. Yet somehow, they are intertwined. From the sounds of actual fabric moving, to the music backdrop of a fashion show, to the wardrobe of a band, both fashion and music inspire, create ambiance, set the mood and reflect the feel.

Fashion and music are obviously staples of every culture, in one way or another. In China, however, their growth implies more than cultural existence; it explores cultural development, personal growth, and expression of the mind.

One new Chinese indie rock band in particular called THE EITHER. All classically trained musicians in their own right, the band is composed of ruan player Zong Li, pipa expert Shen Jiaju and (the Benjamin of them all) Wang Yang aka erhu master extraordinaire. This New Yor-based group springs to mind in an attempt to understand the marriage between fashion and music. Nothing is simply black and white, so let’s dive into the depths of THE EITHER. And see what’s there.

TEMPER: DISH SOME DEETS ABOUT YOUR INTEREST IN INDIE ELECTRIC ROCK!

rock represents “power-freedom”. This is the sort of art The Either is seeking out.

Shen: From the constitution and content of music, we want to break the grounds and limits. Electro is just one subgenre in a sea of musical composition, but we want to break through the borders of its traditional aesthetic.

TEMPER: HOW DID YOU COME UP WITH THE NAME “THE EITHER”? HOW DO YOU FEEL ABOUT THE RISE OF THE MUSIC INDUSTRY IN CHINA – ANY CENSORSHIP ISSUES?

Wang: Chinese musicians have been employing traditional electronic instruments for many years at this point, but haven’t really managed to establish any kind of break through.

The three of us wanted a challenge.

Zongli: Indie represents “freedom”, electronic represents “innovation” and

Wang: We spent one entire day just trying to come up with a name. At the very beginning, we threw around a number of ‘em, but they had no real meaning -- in either Chinese or English. Even though few are performers of Chinese traditional national instruments, we do not play music which bears traditional meaning.

Nevertheless, this is a very black and/

or white concept. Therefore, in the end, we decided to name our band “THE EITHER”.

Zongli: I feel that music originating from China has not yet found a unique character of its own. Chinese officials have in the past railed against rock music, but that’s really a thing of some 20 or 30 years ago.

TEMPER: DO YOU THINK THAT FASHION AND MUSIC ARE CLOSELY RELATED? Zongli: Yes, I feel that music and fashion can influence one another and become the “attitude” acting as the beat to a person’s life. You can let others know “what type of person you are.”

I really like rock and roll, especially heavy metal and that explains my penchant for wearing black ha. I also like old school hip hop culture, so I frequently wear a hoodie and an oversized T-shirt. I can often wear these two very different styles of clothing.

TEMPER: HOW DO YOU FEEL ABOUT THE EMERGENCE OF MUSIC AND FASHION IN CHINA AND ITS INFLUENCE ON THE WORLD? Shen: We try to provide our fans with a good sense of fashion, which is in se why we have continued to do fashion collaborations. Throughout the process, both the designers and we continue to develop and tear down traditional notions of conformity.

Zongli: Yes. I personally have collaborated with many young designers, such as Vivienne Hu,

Gemma Hoi, Eva Xu, Han Wen and Rong Xiao. They’re all just starting out, but are filled with vitality and imagination.

I think that Chinese music and fashion bring a cool and young factor to the world.

TEMPER: DO YOU FEEL THAT PEOPLE IN CHINA ARE OK WITH BRANCHING OUT IN MUSIC AS WELL, AND TRYING NEW THINGS? Zongli: Perhaps people aged 50+ are still more conservative, but most of those under 50 are willing to try something new.

TEMPER: DO YOU FEEL THAT MUSIC IS HELPING TO OPEN THE WORLD TO CHINA AS A CREATIVE SOCIETY? Zongli: I think music is an art that showcases exceptional balance. It expresses both very superficial levels as well as deep trains of thought.

It has the power to not just forge a bridge between East and West, but build a bridge between other countries.

Shen: From music’s constitution and content viewpoints, we aim to tear down the walls of its traditional “one genre only” aesthetic. This is why we want to use music to embody globalism.

TEMPER: HOW ARE WE AFFECTED BY THE SOUNDS THAT WE HEAR? WHAT WOULD FASHION BE WITHOUT SOUND? Zongli: Take those old silent movies that were merely accompanied by music played live in the theaters, as well as those movies that only

have talking in them and feature not one musical note. Both are movies, but how are you supposed to judge them? They all have different qualities, characteristics and aesthetic directions. My point is that fashion too can fall into this “movie” range.

I really like Japanese composer Sakamoto Ryuichi, who in 2002 produced a song entitled “Music for Yohji Yamamoto Collection 1995: BRIDGE”. This was obviously a song composed for Yamamoto himself. I was still quite young when I first heard this composition and didn’t have the first clue as to who Yamamoto actually was. Despite never even having seen his designs, through Sakamoto’s music, I could visualize Yamamoto’s fashion aesthetic. It is tranquil, deep and seductive; bringing about a feel of painful beauty with the listener. In sum, fashion can be very complicated, yet also very simple. Voice or no voice, image or no image.

TEMPER: HOW DO PEOPLE FEEL ABOUT THE “SENSATIONAL” CHANGES TAKING PLACE IN CHINA? Zongli: I feel like there are a lot of people who at the same time are both excited and hesitant. I don’t know if you like sports, but let’s say an ordinary player suddenly shows much improvement, boasting a talent like none other in his field, how are most people going to react? There will be both those who choose to follow and those who choose to criticize. China is still a newbie in the global arena, but features a number of areas that can unveil a nice surprise in the blink of an eye. Speaking on the sensationally whole…

People are watching. People are following.

by Jessica Laiter

Ping Wang: “The Nostalgia Og The Infinite”

PING WANG: QUIET VISUALS, CLEAR VISION AND FUTURE SIGHTS Beijing-born visual artist and fashion photographer Ping Wang (1989) nowadays finds himself based in New York. Graduated from the School of Visual Arts with a Master’s Degree in Digital Photography, Ping specializes in combining fashion and fine art with unique aesthetics. His love for surreal and metaphysical art has inspired him to undertake a number of outside-the-box art projects hackling or tackling (Chinese) convention and tradition.

When we look at those Chinese artists born in the 1950s, 60s and the 70s, we see a generation that has experienced more social change and revolution than those artistes who saw the light in the 1980s and 90s. The former carry deep within an inclination towards the crafting of artworks more related to political issues, given that is what they have lived through and by; their art can be considered an expression of the mind.

The latter genre of new and innovative virtuosos was born during times of relative peace, embracing increasing levels of freedom and enjoying an exceedingly higher quality of life; their creations are more personal, an expression of the soul.

This generation feels a far stronger urge to express its innermost sentiment and seeks out an everlarger space to do so. They’re fulfilling childhood dreams. Ping, too, denotes the desire to express purely himself, his work revealing a deep-rooted inspiration of a nostalgia for childhood and a confusion about the current state of society.

From Charlie Parker’s “Now’s The Time” to “Charlie Chaplin: Modern Times”, the arts have throughout time presented themselves as a platform for social indictment. Consequently, the question beckons… What are the ethics involved when creating? Ping puts in his two cents: “As far as I’m concerned, politics and ethics are neither the purpose nor the end of art creation, but keeping them in your heart makes your art carry depth. My fine art work project Luò Hóng (2015) is a project reflecting my

own opinions on the obsession with female chastity and female virginity in traditional Eastern culture. This notion still has a relatively big impact on Chinese society in the 2010s, especially on those who were born before 1985. It is by no means my intention to turn this phenomenon into a form of activism, but I simply wanted to express my thoughts on it.

These cultural effects are so deeply imbedded in my mind and soul that sometimes, I don’t need to tell the story in a loud manner; these cultural elements and the impact they have had on me will naturally and almost “secretively” seep through.

On the other hand, in terms of fashion photography, I like to put the focus on models from different ethnic backgrounds; I like to do whatever I can to give models of color more chances of being exposed to the flashbulb, if you will!”

And thus, we turn to Wang for that final sensational trinity: Vision, Visuals and Sight.

Wang on ‘Vision’: “I like everything that makes me feel ‘quiet and melancholic’. It’s a rather hard feeling to describe and the inspiration can vary from a beam of light to an empty space. On set, I will first and foremost focus on the light. Light is a crucial factor in creating an atmosphere and can directly determine the vibe that the set represents. I like to capture a casual type of beauty, as if I, as the photographer, am a transparent outsider – if you will.”

Wang on ‘Visuals’: “By not constantly looking for yourself, you will in the end discover and uncover your own aesthetic, philosophical outlook and world views. The most important thing is to relate to oneself and one’s own impressions. Creating a world is far more important than just getting a good shot.”

Wang on ‘Future Sights’: “My new work, entitled ‘Mad World, Crazy World’, is being created over the course of the year, culminating in a surrealist visual art project. It’s mainly about understanding your own feelings and reflections set in the imaginary world, with inspiration hailing from Freud’s ‘Interpretation of Dreams’ as well as Nietzsche’s dream analyses, among others.”

Ping Wang: “The Nostalgia Og The Infinite”

by Elsbeth van Paridon

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.

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The New Made In China