Soft Sector coaster

WE'RE SUPPORTING

Marci Washington’s gothic paintings have an Edward Gorey-esque romanticism about them, her vampiric figures suggesting dark and mystical narratives. Read more

WE'RE TRAVELLING TO

Yes it may be cliched to acknowledge it, but having lived for some time now down the barrel of the loaded gun that is New York, it really is difficult to be cynical — as the folk laureate Rufus Wainwright is — about this city. Read more

WE'RE WEARING

When I first stumbled upon local label, MUSE by Good Mixer, in Bangkok, I knew I’d found something special. In an industry plagued by copycat designers struggling to find their own identity, you’ve got to admire the ones who have carved an original signature style. By taking unlikely inspiration from American football and mixing it with Eastern influences, the latest collection by designer Chaichon Savantrat plays masculine sportswear against exotic evening wear. Teaming structured shoulder silhouettes with free flowing fabrics, Savantrat uses a palette of black, white and red to showcase intricate embroidery. And with pieces for both men and women, he’s got both teams covered. Read more

WE'RE THINKING

Employing a whole gamut of textures and mediums, London-based illustrator Gwen Lee creates perfectly spontaneous black and white drawings that really hit the spot.

WE'RE READING

Michael Wolf, a German born American photographer, has lived in Hong Kong since 1995. His work explores the ways city-dwellers in China and Hong Kong shape their surroundings in an ‘organic metropolis’. His series — Architecture of Density — has some breathtaking images of Hong Kong’s apartment buildings.

The Australian film collective behind the sci-fi spoof, The Time That Time Forgot, perfectly capture the look and feel of awkward, low-budget rip-offs from the ’70s — the psychedelic lighting, bad dubbing, and amazing hair. One almost wishes Italian Spiderman was for real. [more about Italian Spiderman]

WE'RE LISTENING TO

No wave is alive and well, if Brooklyn duo Talk Normal are any indication. Drummer Andrya Ambro keeps things cohesive with surprisingly precise percussion, occasionally banging on such things as an electric guitar and an old iron pipe rigged with contact mics, while guitarist Sarah Register coaxes some unnerving and discordant noises from her axe and array of pedals. The two take turns shouting abstract and absurdist lyrics with voices like hi-tech valkyries from a futurist nightmare.