women at charity
women at charity

Wendy Yu on her trip to Rwanda with Women For Women International charity

Fashion entrepreneur Wendy Yu is the founder and CEO of Yu Holdings, an international ambassador for the French Fédération de la Haute Couture et de la Mode, and a supporter of The Metropolitan Museum of Arts, BAFTA and numerous other charitable foundations. As part of our ongoing philanthropy series, LUX speaks to Yu about her long-standing commitment to the arts, female empowerment and children’s education

LUX: As well as supporting the Costume Institute at the Metropolitan Museum of Art, when did you first have the idea to set up a China program and why?
Wendy Yu: Having spent many years residing in London, travelling for business and working with international organisations, upon returning to Shanghai to live a few years ago, I felt an immediate sense of responsibility to my country in terms of helping to shape the creative and cultural space and provide a bridge between East and West.

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This is why conversations about China with The Met were initiated. Having been fortunate enough to spend some time with Andrew Bolton, I wanted to give the design community in China the opportunity to meet him and understand more about his work at The Costume Institute. The Met has such a big following in China, but mostly because of the Met Gala, and yet there is so much more to know and learn.

I invited Andrew to China in 2017, where he and Angelica Cheung co-hosted an event to meet emerging Chinese designers. I’m passionate about providing a platform for creative and cultural exchange.

woman wearing a ballgown

Wendy Yu at The Met Gala

LUX: Have you always been passionate about costume?
Wendy Yu: I’ve always been passionate about fashion as part of the wider creative industry. Fashion and costume are so intrinsically linked to a sense of identity, emotion, stories, a moment in time and culture. It’s also provides us with an opportunity to dream, and further nowadays, share our voice as our wardrobe is beginning to say something about our values.

LUX: Is there anyone the philanthropy world who particularly inspires you?
Wendy Yu: Amal Clooney, and Queen Rania.

LUX: What exactly does the Women For Women International charity do, and how do you ensure your support is optimal?
Wendy Yu: Supporting women is one of my priorities and I have loved to support Women For Women International as they are a wonderful charity dedicated to helping women, who are living in areas of conflict and are often marginalised. I travelled with Women For Women to Rwanda a few years ago to meet some of these women, and it was one of the most enlightening and heartfelt experiences of my life. It was incredible to see how these women had benefited from Women For Women’s training program, which provides them with the necessary skills to become financially independent and support their families.

woman sitting amongst children

Wendy with some of the women helped by the Women For Women International charity in Rwanda

LUX: Do you think that the role of private philanthropy is becoming more important, with increasing limitations on government funding?
Wendy Yu: Absolutely, particularly for the creative industry and especially at the moment, where much of government funding is having to be redirected due towards the pandemic. With philanthropy comes a true personal passion and commitment, often deriving from a special relationship that goes beyond financial support and can be truly game-changing for the people and organisations on the receiving end.

Read more: Why The Alpina Gstaad is top of our travel wish list

LUX: In terms of your support for the educational prospects of China’s children, is there anything that concerns you about the path ahead for Teach for China, and what made you decide to launch an art fund?
Wendy Yu: I believe in the importance of creativity in enhancing our lives and particularly that of children. Teach For China does an incredible job at providing education and facilities for children living in rural areas of China. What I felt I could bring to the table as one of their committee members was to provide the means for them to integrate art in their program, a subject that can often get sidelined when there is a lack of funding. Together we established an art fund, which would see the funding of art teachers and the necessary materials for schools in rural areas.

woman in classroom

Wendy working in one of Teach For China’s classrooms

LUX: Do you enjoy collaborating with Teach for China?
Wendy Yu: Very much so. Working with Teach For China has given me the opportunity to meet and spend time with the children who are benefiting from the art fund, as well as integrate their artwork in some of my own projects, including a clutch for a collaboration I did with Olympia Le-Tan where we used an artwork created by one of the students.

LUX: How will COVID-19 affect what do you do?
Wendy Yu: Covid hasn’t impacted my interests and what kind of initiatives I am directing my energy to; the causes I am committed to continue to be the arts, female empowerment and children’s education. That said not being able to travel means that at the moment any activity is by default mostly China centric.

Read more: Montegrappa’s CEO Giuseppe Aquila on personalised luxury

We have just launched the Yu Prize, which is an annual award and incubator program to support promising emerging fashion designers from China. The CFDA, the BFC, Camera Moda and FHCM are so good at championing creativity and providing a support system for their rising stars; this is something that is lacking in China and yet we have a burgeoning fashion community of very talented designers. I’m excited and want to nurture this generation of designers, who compared with their predecessors, have mostly studied abroad (CSM, LCF, Parsons) and so are more globally minded. They marry this with a sense of pride of their cultural roots, and from this a new wave of creativity and confidence is born, which serves to reposition “Made in China”. Huishan Zhang, Guo Pei and Caroline Hu craft many, if not all, of their demi-couture pieces locally in China to an international standard.

fashion event

Wendy Yu (middle) with Anna Wintour and Andrew Bolton

LUX: Do you often get to personally experience the difference you have made to a foundation or group?
Wendy Yu: My philanthropy has always stemmed from a personal relationship and a special connection that I have felt with a cause and therefore my involvement tends to be hands-on. It’s incredibly grounding and rewarding to be close to the people whose lives and/or careers are being transformed. Equally working with organisations that are specialised, and have the power and platform to make a difference is very inspiring. In today’s world and coming from a position of privilege, I believe in the importance of doing good as part of a wider definition of success.

LUX: Any other advice for our readers who might be considering going into the sector?
Wendy Yu: Follow your passion. Have in mind a wider sense of impact that you would like to make to a particular sector or area of interest, and then cultivate specific objectives and tangible projects that can be brought to fruition. Work closely with professional organisations that align with your vision and from whom you can learn more and gain access, however don’t be afraid also to champion people on a more personal level.

Find out more about Wendy Yu’s work: wendy-yu.com

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Reading time: 6 min
Portraits hanging on red painted wall of a gallery
Portraits hanging on red painted wall of a gallery

Exhibition view, Tim Walker: Wonderful People, Michael Hoppen Gallery (London, 2019–2020). Photo and © Michael Hoppen Gallery, London

Tim Walker’s photographs are usually found on the glossy covers and pages of high-end fashion magazines, but his work holds a different power in a gallery setting as this latest exhibition at Michael Hoppen Gallery shows. The exhibition, entitled Wonderful People, focuses on the British photographer’s portraits of celebrities, and runs alongside the V&A‘s current retrospective show.

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The display includes over sixty portraits, spanning his entire career, and featuring the likes of Margaret Atwood, Adwoa Aboah, Tilda Swinton (Walker’s long-term muse), Helena Bonham Carter, Claire Foy and Emma Watson. As with all of his works, these individuals are cast into surreal dreamscapes, often set against otherworldly backdrops, wearing striking costumes or holding unusual props.

Writer Margaret Atwood in oversized coat

Margaret Atwood, Tim Walker for The Sunday Times (London, 2019). © Tim Walker Studio, Courtesy Michael Hoppen Gallery

Actress Tilda Swinton in large collar

Tilda Swinton in exaggerated collar, Tim Walker (Reykjavik, Iceland 2011). Fashion: Giorgio Armani. © Tim Walker Studio, Courtesy Michael Hoppen Gallery

For Walker, photography is less about capturing what can already be seen, and more about enlivening the imagination. Whilst most of the faces are instantly recognisable, they appear strange, and somehow distant through Walker’s lens. The work, of course, is fantastical, deliberately playful, and yet, something more sinister seems to be lurking beneath.

Read more: Champagne Bollinger celebrates 40-year James Bond partnership

Standing in front of prize-winning writer Margaret Atwood poised as a witch-like figure holding a long feather quill, one can’t help but wonder whether we’re being asked to contemplate the bizarre realm of celebrity alongside the beauty of the image, to wonder at the power of our imagination whilst recognising the myths it creates.

Surreal photograph of man jumping into a picture frame with woman inside

Jordan Robson & Emma Watson, Tim Walker (London, 2016). Fashion: Maison Francesco Scognamlgllo © Tim Walker Studio, Courtesy Michael Hoppen Gallery

Tim Walker: Wonderful People runs until 25 January 2025 at Michael Hoppen Gallery, London.

 

 

 

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Orchestra in performance
Female opera singer mid performance in a blue Arabian style dress

Opera singer Anna Netrebko portraying Adriana Lecouvreur, wearing a costume encrusted with Swarovski crystals. © Swarovski/Thomas Steinlechner

LUX Editor-in-Chief Darius Sanai attends the premiere night of Adriana Lecouvreur sponsored by Swarovski at the Salzburg Festival

Darius Sanai with Nadja Swarovski

LUX had a wonderful time at the weekend at the Salzburg Festival’s premiere of the choral opera Adriana Lecouvreur, featuring the astonishing Anna Netrebko, probably the greatest singer in the world, in the title role. Netrebko’s voice was a performance in itself at the Grosses Festspielhaus in Salzburg, powerful, emotive, an orchestra without an orchestra.

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Our editor-in-chief Darius Sanai enjoyed some engaging chats over Louis Roederer champagne afterwards with Nadja Swarovski, who sponsored the show, and various members of the Swarovski family and their friends.

Swarovski also provided the crystals for the costumes worn by the leading roles – and Netrebko in a stunning green gown adorned with crystals that seemed to radiate beams of light, in the first act, was particularly memorable.

Utterly fabulous, and Netrebko’s was a performance for the ages.

Find out more: salzburgerfestspiele.at and swarovski.com

Inside a costume making workshop

The costumes in making (here and below). Image by Thomas Steinlechner

Artistic sketch of costume dress

Opera singer in an orange dress in performance

Anna Netrebko in performance. © Swarovski/Thomas Steinlechner

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Hazel Townsend
Unique design title model of the month
british model and clown hazel townsend

British model and clown in training, Hazel Townsend. Image by Felicity Ingram

Sydney Lima

LUX contributing editor and Storm model, Sydney Lima continues her online exclusive series, interviewing her peers about modelling life and business.

THIS MONTH: Four years into a career as a successful British model Hazel Townsend, a regular face on the pages of Vogue and Elle, discovered a new passion: clowns. The 23 year-old Storm model began raising money using a crowd funder page to pay for a year of clown school at the prestigious École Philippe Gaulier, where the likes of Sacha Baron Cohen and Helena Bonham Carter studied. During London Fashion Week, Townsend took donations to wear humorous costumes to her castings, which she documented on Instagram. This year she began her training.

Sydney Lima: When did you first get scouted?
Hazel Townsend: This is a little hazy in my memory now. I was 18 but I think I was 19 before I actively started pursuing it.

SL: What are you favourite things about working in fashion?
HT: No matter how uninterested in fashion I have pretended to be, you end up soaking up knowledge and forming your own opinions on things, getting an eye, appreciating aesthetics. I have a whole new reason for applying this since playing with theatre. Oh and the people. You meet some of the best people.

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SL: Has there been a favourite shoot to date?
HT: That’s almost too difficult to answer. Are we talking about the process? The result? Or the prestige? My favourite shoots are where I get given the opportunity to play. I did a shoot with Anya Holdstock a while back where I got to romp around the new forest where I grew up. So that was pretty special.

Hazel townsend model

Image by Nicola Collins

SL: What inspired you to go to clown school?
HT: I just slowly got absorbed into the cult. There were a couple of shows that made me piss myself laughing and I had no idea why. So I made the decision to seek out that pleasure and that beauty.

SL: Have you always been interested in theatre?
HT: No not at all! I always thought I was going to be Indiana Jones. Going out with a puppeteer sort of opened up that world for me. I had a lot of fun being a quiet observer but soon I couldn’t contain the impulse to get up and make things.

Sydney Lima: Do you see modelling as an extension of your creativity or something that exists separately?
Hazel Townsend: It has definitely been where I have learned the most about the creative process. Every shoot now feels like a small opportunity to perform now.

SL: What are your plans for the rest of the year?
HT: I am going back to school for the main clown module and then I am planning to plan some plans to unleash what I learn on the world.

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william kentridge exhibition
William Kentridge south african artist

William Kentridge, “The Refusal of Time”

William Kentridge exhibition

William Kentridge, “The Nose”

Travelling from the Whitechapel Gallery in London to Museum der Moderne , Salzburg, “Thick Time” by William Kentridge is an intriguing and comprehensive exhibition investigating the South African artist’s multimedia dialogues with themes such as colonialism, racial capitalism and revolution. Sketchy, charcoal animations, video installations and drawings fill both of the museum’s spaces in a giddy insight into Kentridge’s complex and macabre aesthetic.

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Yet it’s the theatrical elements that are perhaps the most captivating and revealing. As an actor, producer, set and costume designer, Kentridge’s visual art is heavily influenced by performance and narrative; the exhibition’s opening was timed to coincide with the premiere of Kentridge’s production of “Wozzeck” at the Salzburg Festival and tracks the artist’s theatrical career from the late 1970s to present through a display of posters, designs, models and costumes. Kentridge is a maker of worlds. His work across all mediums is textured, dark and completely consuming.

william kentridge south african artist

William Kentridge, “Second-hand Reading”

Millie Walton

“Thick Time: Installations and Stagings” runs until 5th November 2017 at Museum der Moderne, Salzburg

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