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Overview Art transcends borders, while the East retains its soul. Fresh from the closing of the 61st International Art Exhibition of La Biennale di Venezia, Chinese aesthetics once again captivated the global stage. As this artistic momentum traveled from Venice to Beijing and Hong Kong, a cultural dialogue unfolded through two extraordinary artistic mediums—natural malachite and Gambiered Canton Silk — quietly writing a new chapter in the evolving narrative of contemporary Chinese aesthetics. The Beginning: A Resonance of Eastern Aesthetics Across Two Cities 30 June was destined to be extraordinary. Separated by nearly 2,000 kilometres, the Kang Youwei Former Residence in Beijing and Sheung Wan in Hong Kong became connected by a shared vision under one name: NEW CHINESE-STYLE CULTURAL RECEPTION ROOM. In Beijing, natural malachite glowed beneath warm lighting, its layered patterns preserving the geological memory of mountains and rivers formed over millions of years. Framed by diamond-set golden peacock motifs and resting elegantly upon earthy brown stone, each masterpiece from Xingzhimei Art Jewellery embodied the highest level of craftsmanship in Oriental artistic jewellery. Meanwhile in Hong Kong, Gambiered Canton Silk was reimagined through contemporary tailoring. Traditional qipao structures intertwined with modern suit silhouettes, while museum-quality heritage couture met fine Italian wines. Art, fashion and wine came together beneath the glittering skyline of Victoria Harbour, composing a rich symphony of cultural expression. Beijing and Hong Kong were no longer merely two distant cities—they became twin stages for the contemporary expression of Eastern aesthetics. This marked the first-ever dual-city collaboration of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM. One celebrated the timeless beauty of natural malachite as the soul of Oriental haute couture jewellery. The other used Gambiered Canton Silk as a cultural medium, connecting contemporary fashion with artistic echoes from the collateral event (Mostra parallela) of the 61st International Art Exhibition of La Biennale di Venezia. Two cities. One shared Eastern spirit. Hong Kong Chapter: Gambiered Canton Silk Echoes the Spirit of Venice When the Breeze of Venice Reaches Hong Kong The 61st International Art Exhibition of La Biennale di Venezia is destined to become a landmark edition in the Biennale's history. For the first time in its 131-year history, the traditional Golden Lion Award was replaced by the Audience Lion, determined through public voting. It also marked the first edition curated by an African female Artistic Director under the theme "In Minor Keys." Meanwhile, the China Pavilion drew worldwide attention with its exhibition titled Dream Stream. As one of the key cultural expressions of this dual-city initiative, ISABELLE.C returned from Venice with artworks exhibited in the collateral event (Mostra parallela) of the 61st International Art Exhibition of La Biennale di Venezia, together with its original Gambiered Canton Silk couture collection inspired directly by these contemporary artworks. Presented in Hong Kong's Sheung Wan district, the collection transformed internationally exhibited artworks and museum-quality heritage garments into a living urban experience—extending their journey from the exhibition gallery into everyday cultural life. Featured Artworks In the First Light — Artist: Isabelle Chen In the Lone Starlight — Artist: Isaac Chen More than a slogan, ART IS FASHION represents an ongoing exploration into how Eastern fashion can enter the global discourse of contemporary art. Immersive Experience: A Story of Eastern Aesthetics Woven Through the Five Senses. Guests were invited into an immersive, multi-sensory experience where Eastern aesthetics unfolded through three interconnected cultural dimensions, all within a single space. Artist Sharing from the collateral event (Mostra parallela) of the 61st International Art Exhibition of La Biennale di Venezia. (Hong Kong Participating Artists) ·       1.1 Gain an up‑close insight into the artists’ creative journeys and their sources of inspiration. ·       1.2 Understand the contemporary expression of Eastern aesthetics within the context of contemporary art. Appreciation of Collectible Intangible Cultural Heritage One‑of‑a‑Kind Garments –Gambiered Canton Silk, Kesi, and Other Intangible Craft Techniques ·       2.1 Experience the beauty of the fusion between intangible heritage craftsmanship and modern design. ·       2.2 Feel the warmth of master artisans behind these collectible unique pieces. Savoring Italian Wines – A Journey through Wine Terroir ·       3.1 Guided by professional sommeliers to unlock the culture of Italian wines. ·       3.2 An immersive Eastern aesthetic journey that extends from art to the palate. Within the space of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM, art, fashion, fine wine, and intangible cultural heritage came together to create a multidimensional expression of contemporary Eastern aesthetics. Beijing Chapter: Malachite in Dialogue with Oriental Haute Couture Meanwhile, at the Kang Youwei Former Residence in Beijing, another chapter of the story unfolded. Once home to one of China's most influential reformist thinkers, this century-old courtyard has witnessed remarkable moments in history. Today, it serves as the Beijing venue of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM, where Xingzhimei Art Jewellery presented its Oriental Haute Couture jewellery collection through an exclusive private salon entitled "Oriental Haute Couture Dialogue: Jewellery & Couture in Symbiosis." Xingzhimei embodies the philosophy of "practising beauty through action and conveying culture through beauty." Dedicated to the creation of Oriental artistic jewellery, the brand centres its designs around natural malachite. Through original design and masterful goldsmithing, each creation transforms artistic expression into a wearable work of art. Natural malachite, with its distinctive layered patterns, carries geological memories formed over millions of years. No two stones are ever alike. Rather than concealing the stone's natural texture, Xingzhimei's designers celebrate it. Diamond-set golden peacock motifs elegantly frame each piece, allowing the gemstone itself to take centre stage while craftsmanship serves to enhance its inherent beauty. This philosophy—honouring the natural beauty of materials through refined craftsmanship—represents one of the most understated yet powerful expressions of Eastern aesthetics. This gathering was more than an appreciation of fine jewellery; it became a thoughtful dialogue on how Chinese aesthetics can be seamlessly integrated into contemporary life. Here, the vision of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM found its most tangible expression. Rather than presenting traditional craftsmanship as static museum exhibits, it brings cultural heritage into everyday living, making Eastern aesthetics both approachable and deeply relevant to modern audiences.   Trend Insight: New Chinese Aesthetics 3.0 and the Evolution of Cultural Consumption New Chinese Aesthetics 3.0: From Decorative Symbols to Living Spirit If your understanding of the New Chinese aesthetic is still limited to frog buttons and dragon-and-phoenix motifs, it may be time to rethink what it truly represents. In June this year, during China International Fashion Week, an industry roundtable coined a key term: New Chinese Aesthetics 3.0. If Version 1.0 focused on the imitation of traditional visual symbols, and Version 2.0 explored the initial fusion of heritage and modernity, then Version 3.0 seeks something far more profound: To transform the intangible spirit of Eastern aesthetics into an authentic lifestyle that resonates with contemporary living. What does this mean? It means that the New Chinese aesthetic is no longer confined to the runway or reserved for special occasions. Instead, it becomes something that can be worn, adorned, displayed, and naturally woven into everyday life. The malachite creations by Xingzhimei Art Jewellery perfectly embody this new philosophy. Rather than replicating traditional jewellery forms, the brand speaks through the language of natural materials and the grammar of contemporary artistic design, telling an Eastern story that belongs unmistakably to the present day.   The Mission of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM This is precisely the mission that the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM is committed to fulfilling. Positioned as a bridge between Chinese aesthetics and contemporary living, and a catalyst that transforms cultural heritage into commercial and social value, it is built upon authoritative standards, brought to life through immersive aesthetic experiences, and empowered by a fully integrated cultural ecosystem. Its vision is to guide traditional culture from being admired, to being embraced through consumption, and ultimately, to becoming an integral part of everyday life.    The Era of a RMB 3 Trillion China-Chic Market: Cultural Confidence Is the Ultimate Luxury The numbers speak for themselves. According to iiMedia Research, China's China-Chic market is projected to exceed RMB 3 trillion by 2028. By 2025, the market had already surpassed RMB 2.5 trillion, making it one of the fastest-growing sectors in China's consumer economy. Yet more significant than the market size itself is the fundamental transformation in consumer behaviour. Today's younger generation is no longer satisfied with superficial expressions of cultural identity, such as simply wearing garments printed with Chinese characters. Instead, they are willing to invest in a New Chinese shirt crafted from Gambiered Canton Silk or pause to appreciate a piece of artistic jewellery created from natural malachite. Because, to them, these are not merely products—they embody an aesthetic spirit and a way of life they genuinely identify with. This evolution—from functional consumption to cultural identity-driven consumption—is the true driving force behind the rise of the China-Chic movement. From the malachite jewellery salon in Beijing to the Gambiered Canton Silk art gathering in Hong Kong, every edition of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM offers a compelling snapshot of this broader cultural transformation. According to People's Daily Overseas Edition, the concept of New Chinese Aesthetics has long evolved beyond consumer products to become a lifestyle embraced both within China and internationally. From the widespread popularity of traditional garments such as the Horse-Face Skirt, to the global success of modern Chinese tea brands like Heytea and CHAGEE, and the growing demand for cultural heritage tourism, the New Chinese movement is reshaping the way people experience and appreciate Chinese aesthetics in everyday life.   Conclusion New Chinese Aesthetics Is a Renaissance, Not a Revival of the Past In Closing From Beijing to Hong Kong — 2,000 kilometres. From Venice to Hong Kong — 9,000 kilometres. From the Kang Youwei Former Residence to an art space in Sheung Wan—a cultural resonance that transcends both geography and time. Xingzhimei uses stone as its medium and art as its language, carrying forward the spirit of Eastern aesthetics through every creation. New Chinese Aesthetics is not about nostalgia—it is about renaissance. It does not ask modern people to return to the past. Instead, it allows traditional culture to live vibrantly in the present, expressed through contemporary forms. It lives within the layered patterns of natural malachite. It lives within the understated elegance of Gambiered Canton Silk, and it lives in the everyday lives of all those who choose to pause, appreciate, and embrace the enduring beauty of Eastern aesthetics. Although the event has come to a close, the journey of the NEW CHINESE-STYLE CULTURAL RECEPTION ROOM has only just begun.

From 1–9 June 2026, In the First Light and In the Lone Starlight—the original artworks that inspired the ISABELLE.C Xiangyun Silk Printed Collection—were invited to participate in the 61st Venice Biennale Parallel Exhibition (Mostra Parallela). The exhibition concluded successfully at Palazzo Pisani Revedin in Venice, Italy. Through their cross-disciplinary artistic language, the two works explored the limitless possibilities of contemporary creativity while demonstrating ISABELLE.C’s ongoing engagement with the international art world and the growing global recognition of its artistic vision. The exhibition was jointly curated by Samuel Baghdassarian and Philip Gold, curator of Asian Goldwind Art. Hong Kong young artists Isaac Chen and Isabelle Chen were specially invited to participate, creating a distinctive intergenerational dialogue through art. As one of the world's oldest and most influential international art events, the Venice Biennale gathers pioneering artistic ideas and creative practices from diverse cultural backgrounds. On this global stage, original Chinese artistic expression continues to engage confidently and openly in international cultural dialogue, showcasing the vitality of contemporary creativity rooted in Chinese culture. The Director of Palazzo Pisani Revedin (fourth from left), curator Philip Gold (far right), ISABELLE.C Founder Xiong Jiawen (third from left), and distinguished guests gathered for a commemorative photograph during the opening ceremony. Openning Ceremony   ART IS FASHION From Canvas to the World Stage Left: In the First Light — By Isabelle ChenRight: In the Lone Starlight — By Isaac Chen The two featured artworks employ abstract geometric composition as their primary visual language. Through the interplay of colour blocks, lines, and negative space, they create a rhythmic visual order rich in movement and spatial depth. A dialogue unfolds among layered shades of blue, gold, orange, and violet, reflecting the Eastern aesthetic principles of balance, emptiness, and the flow of energy while embracing contemporary explorations of structure, order, and emotional expression. These artworks also serve as the creative foundation for the ISABELLE.C Xiangyun Silk Printed Collection. Their colours, textures, and compositional elements have been translated into textile design, transforming visual art into a wearable artistic language. Balancing rational structure with emotional resonance, the works contemplate time, memory, and the energy of life, creating a meaningful bridge between local cultural experience and the broader global art discourse. Notably, both artworks and the Xiangyun Silk creations derived from them have recently been selected for permanent presentation at the Guoyun New Chinese Cultural Reception Hall in Beijing, a national-level platform dedicated to contemporary Chinese cultural exchange. Their inclusion further promotes the contemporary interpretation and international dissemination of Xiangyun Silk, one of China's most treasured intangible cultural heritage textiles. With the core image of “dawn breaking through darkness ”, it responds to the emotional appeal of the “In Minor Keys” theme . The work uses soft and warm tones, without intense color contrasts or complex compositions. It focuses on capturing the quiet moment when the first ray of dawn penetrates the darkness, depicting the gentle gradient of light and the delicate changes of the morning. It abandons deliberate artistic exaggeration and restores the pure texture of the morning light, just like the gentle melody of a minor key. It conveys a sense of warmth and hope amid darkness, reflecting her sincere perception of “light and warmth” and perfectly echoing the Biennale's focus on "subtle, intimate and real emotional expression". Taking "a single star shining in the night" as the core image, it continues the connotation of the "In Minor Keys" theme of "introversion and calmness", forming a "day and night echo" with "In the First Light” by Isabelle Chen. The work adopts low-saturation soft tones, depicting the quiet scene of a single star hanging high in the dark night, without redundant elements. It focuses on the subtle emotional fluctuations in the quiet night, interpreting the "loneliness and warmth" in Isaac’s perspective. It not only conveys the peace and tranquility of the night, but also implies the power of "even a single star can emit light" , which is in line with the Biennale's requirement of "focusing on inner feelings and abandoning grand narratives". ISABELLE.C Founder Xiong Jiawen showcases Xiangyun Silk printed creations inspired by original artworks by emerging Hong Kong artists. For ISABELLE.C, art has never been confined to a single medium; it is the core language that runs throughout the brand’s creative philosophy. Guided by its signature concept, “ART IS FASHION,” the brand continually explores the boundaries between art, fashion, craftsmanship, and contemporary lifestyle. Drawing inspiration from the artworks exhibited at the Venice Biennale, ISABELLE.C has developed a couture Xiangyun Silk collection that transforms artistic expression into wearable form, extending the life of the artwork beyond the gallery space. To commemorate the exhibition, the brand also created a limited-edition Venice Biennale postcard collection infused with distinctive Eastern aesthetics, which quickly became a favourite collectible among visitors.