How do you part with the longest standing designer the world’s ever known? Karl Largerfeld was a fixture so endemic to the fashion process that to imagine a world without his ever-glazing eye is practically, unimaginable. Is there a gesture big enough for this swan song, or is grandiosity reductive? These must be the questions running through the very private corridors of the Chanel office since January when news of Lagerfeld’s health deteriorating spread and as Virginie Viard, Lagerfeld’s former Studio Director, awaited to ascend the throne.

If Chanel productions are anything to go by, the possibilities are endless. Between launching an almost life-sized rocket in the Grand Palais and converting it into a Chanel hypermarket in the past, there is precedent for turning the Fall/ Winter ’19 show into a Karl Lagerfeld post-humous spectacle. But Lagerfeld would have detested it one can imagine. A close collaborator of his, who worked on his many photo shoots, describes him as a very private person. “He’s a masterful compartmentalisor.” It explains his longevity in fashion, designing multiple collections a season across many brands including his namesake label. Public personas and private life are Church and State for him. And in death, Lagerfeld, the man, kept it small and intimate with a funeral service that almost escaped the news cycle. As for Lagerfeld the much-loved godfather of fashion, he parted with these poignant words, “the show must go on”, handwritten over his famous fashion sketches, this time of the Fall/ Winter collection.

The show at the Grand Palais ensued without pomp and circumstance. A snow-capped show set made for an aptly serene scene. It began with an audio excerpt of Lagerfeld reminiscing the early days prior to joining Chanel when contemporaries would dismiss the house saying, “Don’t take that, it’s hopeless. Don’t do it. It won’t work”. One wonders how many great men and women had been told that, only to go on to achieve greatness. Models walked down the Grand Palais with hearts heavy but their chins held high. Ringing arms with the other Chanel girls, Cara Delivingne, like a recently bereaved child prodded up her chest, appearing strong for her sisters. And in an instant, the show was over. Guests remained in their seats for a little while, with eyes gazing at the snow, pondering what’s next. The snow, so white it burned the eyes. Right then, Lagerfeld was meeting your gaze, bright yet fleeting. That’s what makes it so beautiful.


Words by Nabil Aliffi 


A practice that finds a version of itself across cultures, tea drinking has proved itself as an idiosyncrasy of our species. It inhabits the social tea parlour, the revered Japanese Chashitsu and beginning in the ’80s, the urban streets as bubble tea. We turn to Chinese tea tasting—brewed in a small teapot, poured over smaller cups, and best enjoyed in the smallest of groups. It asks for technical knowledge of the activity’s paraphernalia and tea leaves, and patience to savour the fine layers of flavour of and between pours. While seemingly complicated, the ritual is rather intuitive when you find yourself in the appropriate setting. Gastronomy aside, the intimacy of sharing cultivates an atmosphere for serendipitous exchanges—it is oftentimes the conversations had that highlight a good tea-tasting session. Pictured here in an act of refinement, the gate mini bag by Loewe and a pleated top from their Fall/ Winter 2018 Collection. 

Photography by Hosanna Swee    |    Words by Kerry Tang


In association with local design labels O+ and Beyond the Vines, we invited our readers to fête the publication’s 6th Anniversary edition at their latest outpost in Downtown Gallery.

Photography by Hong Wei Loong


When we expect purpose and newness from modern making, our conversation with this year’s Loewe Craft Prize, ceramicist Jennifer Lee, reminds us of the importance of pure, simple craft.  

Craft is not just retrospection, nor is it simply technique. It is a trajectory that acknowledges both heritage and evolution. When the Loewe Craft Prize was initiated in 2016, Jonathan Anderson’s aim was twofold: to celebrate Loewe’s roots as a craft collective, and to elucidate the ever-changing pursuit of craft alongside shifting creative landscapes and technologies. In its still-short run, the Craft Prize has fleshed out this role brilliantly, gathering international craftsmen whose work range from precise execution of traditional techniques to almost-madcap objects that push the process of making to its limit, and countless expressions in between.

Scottish ceramicist Jennifer Lee certainly leans towards, but is not confined by, the classical. The quiet, subtle form of her vessel, descriptively yet poetically titled Pale, Shadowed Speckled Traces, Fading Ellipse, Bronze Specks, Tilted Shelf (2017), holds timelessness and modernity within the same body. It certainly affected the Prize jury, which includes Anderson himself, curator Kim Hong Nam, designer Patricia Urquiola and essayist Deyan Sudjic, enough to solidify Lee’s position as 2018’s Craft Prize winner. 

We visit Lee at her home and studio in the south-eastern London district of Peckham. Afternoon sun falls on the projects, prototypes, materials and miscellaneous items that surround us within her workshop. Lee herself is sweet and soft, filled with animation when she leads us around to point out examples or show us objects she has collected. 

The first item of discussion was, naturally, the winning vessel itself. Beyond the elegance of its form, Pale, Shadowed Speckled Traces, Fading Ellipse, Bronze Specks, Tilted Shelf (2017) is an exploration in material. Part of the clay that forms the vessel was coloured with oxide pigments by Lee herself, decades prior. These pigments create the titular specked traces and fading ellipse, a series of galactic bands that express the passage of time. Lee gestures under her studio table to point out an ample collection of similar clay, dating back to the early ‘90s. 

The reason for Lee’s use of this material expression traces back to her early days as a ceramicist. A college student in Edinburgh, she learnt the conventional techniques of ceramics and subsequently discovered a disinterest in decoration. “It was pretty alien to me,” Lee recalls, “to want to make things and add an extra surface.” Shying away from superfluous ornamentation, she experimented with leaving her work unglazed and unfired. Through this, Lee observed the temporal effects of oxidisation on the clay. While this was an accidental discovery, one that led to the signature use of pigmentation so elegantly expressed in her Prize Craft entry, Lee is now deliberately stockpiling the material, aging them for use years in the future.

Lee remarks that each step involving the clay, from the initial pigmenting, to storing and firing, can radically alter the colour. The variance in light highlights differing tonalities within the oxidised pigment and changes our perception of the resultant piece. “The colour palette has developed because of the nature of the oxides,” Lee points out, “and because of the fact that I’m using the Earth and its minerals. So, it’s because of availability but also, those colours are ones that, to me, feel right. I am pretty fanatical about my process and would start by looking at my notes and testers.” The oxides further allow Lee to change material texture itself through surface embellishment. Having experimented with various ways of staining, Lee still feels drawn to this elemental, ancient technique of pigmentation. To her, this rich, dimensional colour, inseparable from form, is an instinctual method of decorating. “When I’m thinking about form,” she says, “the colour is automatically in my head within, it is part of it.” 

The titles of Lee’s works are catalogues of their characteristics. After a pot comes into being, she analyses the completed piece, plucking out visual descriptors. Going off names alone, you can easily create multiple taxonomies of Lee’s pots, by colour, material or particular features. Paleness, shadowed speckled traces, fading ellipses, bronze specks and tilted shelves becomes separate aspects, part of a vocabulary that draws multiple narratives of technique, geometry and geological expressions throughout Lee’s corpus of work. “I often think of how objects play off each other,” she remarks, “and where you put each vessel in relation to the other. I get inspired when someone looks at my work and see things, spaces and relations in between that I may not have seen.” Standing with Lee amidst these vignettes of her pottery in progress, we are reminded of mountains and deserts, where time carves away the earth. Places Lee has visited and collected souvenirs of. Traces of rock and clay, that she raises and reforms into these beautiful objects.

We often expect designers and makers, especially those associated with the glamour of an award like the Craft Prize, to talk about their work in terms of an artistic statement against socio-cultural constructs. But at no point in our conversation did Lee refer to her practice as new or transformative. Instead, we gather that her passion for ceramics is focused on the exploration and refinement of ceramic-making itself. But through the very act of making, Lee infuses poetry and new perspectives into a well-storied art form. And as Jonathan Anderson himself highlights, craft in its purest definition is always relevant. It builds the foundation for innovation. It expands the possibilities of creativity. It leads the way for a richer, more considered understanding of what it means to make.  

Text by Qian Rou Tan



Modern technology, with its glossy, minimal screens and sleek lines, is beautiful in its own right, but many are still drawn to more traditional design languages, derived from the evolution of craftsmanship and the physicality of components. This dichotomy is most keenly felt in the watch industry, where analogue watches are prized for their artistry and precision, while smart watches are increasingly popularised for their functionality and convenience.

With a Scandinavian heritage informing its clean, streamlined aesthetics, SKAGEN’s watches choose to forgo unnecessary ornamentation in favour of articulating functionality elegantly. This is the spirit which drove them to seek a balance between analogue form and digital function, eventually conceiving their hybrid smartwatch.

Smart functions such as phone notifications, activity and sleep tracking, camera and music control are concealed under the skin of an analogue, battery-operated watch. SKAGEN eschews the two biggest features of modern tech—digital screens and charging capabilities—and allow wearers to discretely filter their phone notifications. Through a thoughtful process of curation, the result is a smartwatch which primarily serves as a timepiece, allowing us to be at some distance from our phones and the constant pressure of being connected, without sacrificing style or craftsmanship.

Skagen hybrid smartwatches are available at Zalora, TANGS Tang Plaza, TANGS VivoCity and Takashimaya.