近日，宅家成为生活的常态。与此同时，线下展览、演出也陷入停滞。为了给大众在特殊时期提供更多生活体验，2月29日晚8点半，快手将联合UCCA尤伦斯当代艺术中心(以下简称UCCA)举办一场特别的音乐演出——“园音”线上音乐会：良樂。

这场线上音乐会将从29日晚20:30持续到接近午夜。在这三个半小时中，日本著名作曲家坂本龙一、“两室一厅”庞宽、以及冯梦波、夏雨言、刘与操、黄锦、张梦、冯昊、郭雅志等9位风格迥异的音乐家，将在快手为大众奉上一场跨时空接力音乐会。

快手和UCCA将此次“园音”线上音乐活动的主题定为“良樂”，繁体字“藥”中可见，樂(乐)与藥(药)本同源，五音对五味，音乐与药物原本就有着天然的联系。这场以音乐为载体，以治愈为内核，意在为公众提供更好的情绪感受，更多的线上艺术体验。

九位分布在世界各地的音乐家，包括身处纽约的坂本龙一，在波士顿的刘与操和郭雅志、在北京的庞宽等，将跨越地域的限制，在快手以音乐接力的形式，展开音乐对话，为观众提供一场未知而开放的“云音乐”鉴赏体验。

在此特殊时期，日活跃用户已超过3亿的短视频平台快手，积极探索用直播、短视频等方式为公众带来不同的生活体验。

而受疫情影响，出于安全考虑，UCCA暂时闭馆，原展至2020年3月的艺术项目“园音”也因此暂停。快手携手UCCA，并达成一致，将原定的线下“园音”音乐会活动转到快手线上，以创新的形式呈现。

此次线上音乐会强调即兴演奏，部分音乐家会现场即兴表演，以前一位演奏音乐家的音乐为灵感，并对之前的音乐做出呼应，同时也对当时的表演环境做出即兴回应。

这是一次艺术项目和理念与移动互联网产品合作的艺术创新。不仅是主办方，快手也为此次时长为三个半小时的音乐会提供产品与技术支持。

特殊时期，隔离在家的人们无法像以前一样拥有线下音乐会的体验，而作为国民短视频平台，快手则通过直播观看大大丰富及扩展了公众对艺术与音乐的体验方式。

近期，快手利用产品优势，将众多艺术文化内容搬到线上，并强调音乐在社会中的无形力量，连续推出宝石老舅睡衣演唱会、摩登天空情人节等直播音乐活动，为观众提供了多元、丰富的内容选择。此外，快手此前第一时间捐出1亿现金给疫区，在直播间上线“武汉加油”定制公益礼物，用不同形式提振公众信心。

从钢琴到琵琶、从吉他到唢呐、从笙和埙到电子鼓、合成器，不同乐器的结合和接力，在2月29日晚8点半，UCCA快手帐号(快手ID：uccaofficial)里，一场别开生面的大师线上音乐会即将上演，定好闹钟别错过。

随着中国的消费升级不断深化演进，消费市场进入以新客群及高需求为核心出发点，同时90/95后成为母婴消费主力，这届家长有着更开阔的眼界，对于产品更有态度，渴望与世界时尚潮流同步，追求生活品质和高品质、高颜值产品。创立25年的YeeHoO英氏作为高端童装行业的标杆品牌，一直致力于为中国家庭献上品质与颜值双在线的产品。1月11日，中国婴童行业翘楚品牌YeeHoO英氏携手由陈冠希创立兼担任创意总监的童装品牌Violet Mignon在北京颐堤港INDIGO举行YeeHoO英氏×Violet Mignon联名企划产品发布盛典。发布会上，陈冠希作为特邀嘉宾惊喜亮相，母婴行业观察也受邀参加。现场以“孩子们梦境中会出现的花园场景”为主题，营造突破想象“次元壁”的奇趣空间，同时，不少父母让小孩身穿系列先行发布的款式穿梭会场，表达出对于本次联名企划的喜爱。

YeeHoO×Violet Mignon联名企划产品发布 诠释爱与呵护的品牌真谛

作为未来5至10年母婴消费的中坚力量，新生代父母90/95后有着强烈的消费升级需求，这种升级需求体现在对产品的品质与颜值的要求越来越高。在不断升级的新生代父母诉求中，非常看重童装的潮流性与品质感。作为中国婴童行业的翘楚品牌YeeHoO英氏缘自一位妈妈呵护宝宝的初心，多年来基于对婴幼儿成长特点的深度通晓，推出秉承“纯、柔、净、美”产品哲学的高品质婴童衣物，让每一位父母都有机会拥抱初生的柔软。

YeeHoO英氏25年一直在坚持的两件事，一是深耕品质，积极开发优质原料与面料，将更卓越的品质体验献给中国父母；二是关于颜值，在2019年通过三个设计系列加强实现全新的审美突破。此次联名企划是品质与颜值的美妙结合，代表了未来婴童领域的进阶方向。

YeeHoO英氏还表示要将视野延伸至全世界，Mini-me风潮不仅冲击了成人对孩童的观感，也反过来渗透进成人时尚之中。为中国宝宝到中国家庭，提供呵护，此次联名系列献给中国家庭，展现中国品牌无穷的可能性与魅力。

同时在活动现场，Violet Mignon创始人兼创意总监陈冠希作为特邀嘉宾登场。Violet Mignon以紫罗兰为创意灵感，并在品牌Logo中注入鬼脸表情，亦代表着每一个古灵精怪的小baby。现场陈冠希先生也表示创立Violet Mignon的初衷是因为自己的女儿Alaia，希望将时尚的话语权交给孩子，和孩子一起成长，给小朋友打造舒适、有趣的单品。

陈冠希也表示自从成为父亲之后会主动帮女儿挑选衣服，但是成人和小孩子的衣服有很大不同，首先是在布料的选择上，因为体质的不同，十分注重产品材质。而YeeHoO英氏一直专注于高端高品质的产品，令他十分信赖；除品质之外，他还希望给孩子更加时尚、潮流的衣服，培养孩子的审美。而YeeHoO英氏非常契合现在父母潮流、年轻化的趋势，所以YeeHoO英氏在品质和颜值上都符合他做品牌的初衷。

Violet Mignon倾注了陈冠希的心血，传达了所有父母对子女永恒的感情与付出，也希望全世界的父母都能永远美丽幸福。除了向更广泛的群体传达潮流理念之外，更兼具爱与呵护。

陈冠希亮相活动现场

据悉，1月11日起，YeeHoO×Violet Mignon联名企划产品已登陆官方微信商城，YeeHoO英氏指定线下门店及天猫英氏官方旗舰店也将陆续上市，欢迎广大父母挑选购买，YeeHoO英氏以求第一时间将更优质的产品和服务带给消费者。

紧跟“Mini-me”潮流趋势 YeeHoO英氏引领中国家庭消费新风尚

随着母婴消费逐渐向品质化、高端化、细分化方向发展，驰骋高端婴童装行业25年的翘楚品牌YeeHoO英氏，品牌优势与行业积淀进一步凸显。同时，当下年轻家庭数量增多，父母不仅有广泛的信息获取渠道及与众不同的教育理念，也对生活品质及审美产生更高要求。

近年来，在童装领域掀起一股“Mini-me”的潮流趋势，年轻妈妈对潮流的追求正在延伸到孩子使用的产品上。并且在同等品质下，越是年轻的妈妈越愿意为好看的童装花钱，因为她们认为这不仅能够培养孩子的审美，也是妈妈品味的一部分，体现一定的社交价值。

而陈冠希近年与艺术、音乐和时尚界的顶尖人才合作，以街头文化为基础塑造精致美学，并在时尚人群中拥有深远的号召力；身为人父后则希望把时尚话语权交给孩子。Violet Mignon品牌创意灵感来源于紫罗兰，注入的鬼脸表情则代表了每一个古灵精怪的小baby。YeeHoO英氏×Violet Mignon联名产品通过一系列舒适、有趣的单品，以打破常规的方式把童心、色彩与思绪混搭，用属于孩子的态度将品质、颜值与话题性呈现于个性与新奇的新生代父母面前，在活泼的潮童视角中注入品质内涵，并不断传承与深化中国制造的影响力。

YeeHoO英氏作为高品质国货的代表，拥有深厚的品牌文化底蕴，通过与陈冠希先生创立的品牌Violet Mignon的灵感嫁接得以触摸世界潮流风向标，入股“Mini-me”趋势，令广大喜爱YeeHoO英氏的消费者也融入其中，让新生代家庭得以与全球时尚同步。以打破常规的方式不断给予中国家庭惊喜，展现出中国品牌无穷的可能性与魅力，不断传承与深化中国制造的影响。

除此之外，YeeHoO英氏继续不断深耕品质，在原料选用上，遍寻世界，网罗优质好棉，如美国棉、新疆长绒棉、天然环保有机棉等，远赴南疆寻找好棉花，严把品质关；在面料工艺方面，推出多种功能性面料，如竹纤维、草珊瑚、牛奶丝等，将天然矿植物元素与优质纯棉结合，针对不同的节气特点以及宝宝成长过程中对衣物面料功能的不同需求，为父母带来更多的选择，为纯净的初生带来满分呵护。在YeeHoO英氏成立 25 周年之际，先后推出了三个特别系列，2019年6月，YeeHoO英氏推出简约、玩味、视觉系的设计PLUS系列；2019年7月，联合独立设计师管林，推出YeeHoO英氏 × Short Sentence 毕加索启发系列，首次将艺术融入婴童着装；此次YeeHoO英氏×Violet Mignon联名企划系列是第三个特别系列，推出了面向婴幼儿及儿童的连体衣、外服及配饰等全线产品，继续秉承YeeHoO英氏的高品质特点。

YeeHoO英氏设计PLUS系列

YeeHoO英氏×Short Sentence毕加索启发系列

在#你好毕加索#文化周

YeeHoO英氏作为深耕高端品质国货的代表品牌，为中国宝宝和中国家庭带来爱与呵护。现今，YeeHoO英氏将视野延伸至全世界，希望通过与陈冠希先生的合作，得以触摸世界潮流风向标；也希望将更具中国品质与潮流态度的产品带给全世界的孩子，给予初生的呵护。

One of Chinas best-know museums for contemporary art, the UCCA in Beijing (that just finished a record breaking Picasso show) has a new neighbour: high-end fashion brand Shanghai Tang.

The Chinese heritage label’s concept store has recently opened its doors in the newly renovated UCCA complex in Beijing`s 798 art district and it seems a perfect match as the brand has a long history with contemporary Chinese art under his belt. Why this? Thanks to its late founder Sir David Tang, an avid art collector, the brand rubbed shoulders with various leading Chinese artists in the past.

Looking behind the scene, the proximity of UCCA and Shanghai Tang does not come at a surprise: the entrepreneurial minds and owners behind both businesses are Derek Sulger and Jerry Mao, who together run Shanghai-based Lunar, which focuses on the transforming Chinese consumer through new lifestyle, new culture and new retail. Driving all of this is a strong belief that Chinese millennial and Gen Z consumers seeking out a unique personal identity that reflects this idea of New Chinese Culture, through very authentic and localized Chinese brands.

So it seems while over the past weeks global Fashion Weeks brands navigated between story lining heritage and attracting millennials, Chinese brands seems to follow a particular strategy. Derek Sulger said, that “there is a powerful transformation underway in Chinese consumer desires, where people are moving away from just buying what is needed, or international luxury “high cost commodities”, to buying what reflects their Chinese identity and individuality. We see this especially amongst Generation Z, who respond strongly to authentic offerings in that strongly reflect Chinese concepts.”

For Shanghai Tang, Chinese culture is the brand’s backbone and it looks back to various collaborations with Chinese artists, recently with renowned Chinese artist Xu Bing, whose internationally lauded works have exhibited at the likes of MoMA, the Metropolitan Museum of Art in New York, the British Museum in London and, of course, the UCCA in Beijing.

Xu Bing created an exclusive artwork for Shanghai Tang, portraying the brand vision “Shanghai Tang – Created by Chinese” in his now-legendary Square Word Calligraphy, a system for rendering English letters to resemble Chinese characters. Xu Bing invented this concept in 1994, the same year Shanghai Tang was born, making this cross-disciplinary project a serendipitous joint 25th Anniversary celebration.

Xu Bing’s Square Word Calligraphy invites the audience to break down cultural barriers and decipher a new form of communication. The ingenious and artistic system organises the letters of each word into structures that resemble Chinese characters. A consequence on his project is that non-Chinese speakers can understand how each character is similarly composed.

Wondering whether there is a different trend as for rather following international names in the art world vs celebrating “Chineseness“ among the Chinese art world, Jerry Mao noted “Chinese contemporary art is becoming hugely influential throughout society, and was now exciting and relevant enough to attract mass-market attention alongside renowned international contemporary artists”. Mao further noted that this was evident in having Picasso exhibition at the UCCA in Beijing, while at the same time the UCCA was running a retrospective of the evolution of 1990s China through video art and photography, marrying the best of new Chinese art with the most important retrospective of Picasso in Modern Chinese history. “ Shanghai Tang working with Xu Bing and UCCA is so exciting as bringing together Chinese art and Chinese fashion for a new identity of “China Now”.

So while it seems rather unlikely to expect popular collaboration choices such as Daniel Arsham (the artist made his China debut in Shanghai earlier this year) collaborating with Shanghai Tang, we remain excited to further observe the role Chinese art will play in the art, fashion and brand context. Certainly, the role of cultural experiences and storytelling as mentioned above, plays a crucial role in this cross-industry environment – not only for China.

By Jane Perlez, The New York Times

BEIJING — The fashion peacocks are parading in Beijing this summer. A young woman with a short crop of neon green hair. Another with scarlet bangs. Others in pointy-toed shoes and perfect makeup. A young man in a pale blue silk shirt, matching bermudas and beige boots.

They are all part of the crowd lining up to see the hot art show of the season — works by the young Picasso at the UCCA Center for Contemporary Art, a prestigious gallery in the 798 art quarter.

Beijing brags about its humming art scene. Galleries thrive. The art schools possess a certain frisson. Art is widely taught in elementary schools.

But shrouding all this creative fervor is the meddling hand of the government. Censorship is rife in literature, and film. Although few art shows have been closed in the last few years, exhibitions are self-censored, and many artists choose to work abroad to escape the official tastemakers.

For the under-35-year-olds flocking to the Picasso show, some of them artists themselves, the young Spaniard’s wild imagination during the first three decades of his career touched a nerve. They were captivated by Picasso’s drive to experiment before he was even 30. The painter and sculptor didn’t just change the art world; he helped change how a new century saw itself.

But the implicit theme of the show was: Would genius like Picasso’s thrive within the confinements of contemporary China?

The answer isn’t an easy yes or no. Some Chinese artists compete favorably on the world’s freewheeling art stage, which prizes the outré, and the central government welcomes the global recognition its art stars bring. But the authorities can interfere as arbitrary censors at any time, and any work denigrating the party or state, or even hinting at separatism, is strictly forbidden.

For the artists and other creative types visiting the show, Picasso’s works seemed to hint at what’s possible for artists when completely unfettered.

Yan Lei, a sculptor from Beijing, was halfway through the show when he peered into a plexiglass case with one of the artist’s trailblazing works, “Violin.” The blue, brown and white mélange of metal sheets and iron wires was created in 1915, when World War I was raging, and Picasso was 34, about the same age as Mr. Yan.

He was blown away by the originality from so long ago.

“We are doing this today, and think it is very modern,” said Mr. Yan, who keeps a studio on the outskirts of the city. “He was doing this 100 years ago.”

Boliang Shen, a 34-year-old content director of a podcast, was riveted by a sculpture of Fernande Olivier, Picasso’s early girlfriend. In some places, the rough-hewed wood looked as though it had been hacked with a penknife.

“You can feel Picasso,” Mr. Shen said as he circled the work. “He’s looking for himself, his own voice.”

Picasso has long been accepted in China. His onetime membership in the Communist Party helped. When the Communists grasped victory in 1949, an image of a dove by Picasso hung as a symbol of peace at an international conference in Beijing alongside portraits of Stalin and Mao.

He was blacklisted during the Cultural Revolution, like almost all other artists dismissed as a not-to-be-tolerated bourgeois influence. But in the early 1980s, a small show of 30 works marked his comeback, attracting an eager audience hungry for European art after China’s decades in the wilderness.

His celebrity, as important a driver in shaping taste in China as in the West, adds extra allure, as does the astronomical value of his art. The 103 paintings, sculptures and drawings in the show are worth close to $1 billion.

“People are coming in part because he is very famous and very expensive,” said Philip Tinari, the director of the UCCA gallery.

Another big question raised by the show is whether China will learn about projecting soft power from one of the globe’s best at this, France. The Musée National Picasso-Paris lent the 103 works for the exhibition.

When President Xi Jinping of China met the French president, Emmanuel Macron, in the spring, both men publicly blessed the show. But a last-minute glitch having to do with China’s strict customs policies almost scuttled the opening.

“The sticking point wasn’t censorship,” Mr. Tinari said. “It was that the works are so valuable.”

As the deadline for the opening loomed in early June, Chinese customs insisted on a $225 million deposit — 25 percent of the value of the works — as a kind of sales tax, treating the art as if it was to be sold. That amount was to be paid by the gallery before the pieces arrived.

But the art was not for sale. So the French foreign minister, Jean-Yves Le Drian, who happened to be in Beijing at the end of April for a gathering of world leaders to discuss China’s global infrastructure program, asked his Chinese counterpart, Wang Yi, to persuade customs to forgo the deposit. And it did.

By June 10, the works had arrived on nine different planes from Europe, and were then installed in the vast industrial space of the UCCA gallery.

Primary school students come in groups with their art teachers, all part of an exercise of what is referred to in China as improving the “good taste” of young children.

One father had picked up his daughter from a tough math exam, and brought her immediately to the show to join her classmates so she could “relax and learn” at the same time.

David Zhang, 42, an art instructor, assembled his group of restless 9-year-olds before the star piece of the show, a melancholy 1901 “Self-portrait” painted in somber shades of blue, the face a ghostly faint gray. It was painted after the death of a friend.

Mr. Zhang, also an artist, looked the part in a crisp round-collared white shirt, rimless glasses, short cropped hair and an old-fashioned tan leather camera bag slung over his shoulder.

“Just feel it, stand in front of it — this is the original painting,” he said.

Some paid attention, others wriggled. “The color of the skin is not true human skin color,” he said. “How would you call it?”

“They get really excited seeing the real paintings,” Mr. Zhang said, as he pushed through the crowds.

The curators chose a 1906 self-portrait in pale pink-and-white tones with big black eyes as the leitmotif of the exhibition. The painting bears an eerie resemblance to characters in Japan’s animated movies and graphic novels known as manga, one of the most celebrated foreign art forms in China.

The pastel image appears on the show’s catalog cover, advertising posters outside the gallery and shopping bags in the store.

It was a good marketing choice, said Wang Xingwei, a well-known Beijing painter, who has exhibited at the Guggenheim Museum in New York, and dropped by the show one evening to check out the response.

Like manga, the self-portrait was “cute,” Mr. Wang said, offering a novel interpretation of the young Picasso. “Cute is a popular, important word in China now.”

The portrait was not the most complicated work in the show, he said, but it fit with the moment and appealed to the crowd, which jostled to get a better view.

Less than a month into its run, a Pablo Picasso exhibition in China is already drawing massive crowds.

“Picasso – Birth of a Genius,” a blockbuster show on view at the UCCA Contemporary Art Center in Beijing, has reportedly already broken at least one record. According to the museum hosting the exhibition, as of July 1, 134,000 people have seen the show, which runs through September 1. That means that, on average, about 8,930 people have attended the exhibition each day since it opened on June 15.

“We’ve already had more than one record-breaking day since the show opened on June 15th, with 12,268 people visiting UCCA, on Sunday, June 23—this almost doubled the previous record, set a week earlier,” a UCCA spokesperson told ARTnews. “We have been managing the flow of guests through the exhibition to ensure the best visitor experience possible, and are confident that this record will be broken again during the show’s three-month run.”

The UCCA’s Picasso show features 103 works from the Musée National Picasso-Paris and surveys the first three decades of the artist’s career. It is believed to be the largest Picasso exhibition ever held in mainland China, and press materials frame it as a sign of a strengthening relationship between the country and France, whose president, Emmanuel Macron, said in a statement, “We have decided that 2021 will be the year of cultural tourism between our two countries, and, I must say, all these initiatives, conceived in recent months and carried out together, are not a coincidence.”

Within the first 15 days of its run, the Picasso exhibition brought in about a third of the visitors to the UCCA’s most popular exhibition of 2018, its Xu Bing retrospective, which was seen by 365,506 people over the course of three months, according to an attendance survey by the Art Newspaper. The Xu show was reportedly among the top 50 most well-attended shows worldwide last year.

© 2019 ARTNEWS MEDIA, LLC. ALL RIGHTS RESERVED. ARTNEWS^® IS REGISTERED IN THE U.S. PATENT AND TRADEMARK OFFICE.

“The Endless Voyage of The Grand Nomad”, the third annual private party hosted by Princess Alia Al-Senussi and Dino Sadhwani during Art Basel Hong Kong was held on Thursday, 28th March 2019 at The Mills honoring both LACMA (Los Angeles County Museum of Art) and UCCA (UCCA Center for Contemporary Art). The night featured a who’s who of HK society plus luminaries from the art world. The theme this year of Exploration and Discovery is inspired by early maritime exploration during the Age of Discovery. It is the bridging of the East and the West through a confluence of cultures that allowed explorers to emerge from their voyages with powerful insights and influence towards the beginning of globalization — it is this spirit and inspiration that hosts envisioned to capture in this celebration of cultures and art.

As the culmination of Art Basel week and Art Month in Hong Kong — this event is brought together by two visionary leaders, Michael Govan of LACMA based in Los Angeles and Philip Tinari of UCCA based in Beijing. Both institutions are aspiring to make significant impact through visual arts in the U.S. and China and are committed to showcasing this harmony of cultures and celebrating arts in its many forms through this event.

Partnered with MGM Resorts Art & Culture, curated by Jason Swamy, founder of agency “Do What You Love”, produced by COI Communications, and consulted by Dejha Ti x Ania Catherine, guests were escorted from Mandarin Oriental, Hong Kong, to the venue with BMW’s private escort fleet. As guests arrived at the venue, there was an immersive theatre experience with enigmatic actors who played the eclectic crew members on board a vessel that has travelled through centuries across different lands together with its mysterious captain. Hosted at The Mills, a landmark revitalization project of formerly defunct cotton-spinning mills by Nan Fung Group, the space was completely transformed, allowing explorers to navigate the wonderful curiosities gathered along the way in this traveler’s den full of treasures. Guests were invited to the ‘Bizarre Bazaar’ which featured unique delicacies from around the world in a Moroccan themed marketplace area.

There were many surprises throughout the night as servers in costume were spotted roaming around in traditional Chinese outfits, inviting guests to try the local delicacies out of baskets they carried on a wooden stick across their backs, there was a secret Rum Bar where only those who were lucky witnessed a dance battle between a tap dancer and a flamenco dance on top of the bar platforms.

Spectacular performances from Vava — the hip-hop artist rose to fame through reality show “The Rap of China”, Antibalas — afrobeat band from Brooklyn, Benji B — Dj who reinvented music of runway in the Louis Vuittonfashion show, and BPM performers – acrobatic dance pushing physical limits, were lined up to draw cheers from adventurers during the party.

There were too many highlights to count as the crowd was enthralled by performance after performance from acts from East to West as well as dance sequences from Local talent. It lived up to the hype from last year and will certainly be remembered and a firm fixture as a must go to event in the calendar.

Teams from different industries and disciplines have gathered to create an event that celebrates and showcases the achievement of collaboration among people passionate about arts & culture. Taking place in a heritage venue in Hong Kong – the event is the representation of this powerful connection among people the celebration of art, performance, gastronomy, music and entertainment.

Some notable guests from the art world include: Alyiya Modi, Aaron Cezar, Abdullah Al Turki, Ann Philbin, Ayn Grinstein, Bo Young Song, Catalina Swiburn, Derek Sulger, Eugenio Re Rebaudengo, Jack Wadsworth, Katie de Tilly, Katie Kennedy, Marc Spiegler, Rui Huang, Selma Feriani, Stephen Little, and Suzy Wadsworth, just to name a few.

Some notable guests from the fashion and entertainment world include:Amanda Strang, Eugenie Niarchos, Fiona Xie, JW, and Wesley Wong.

Some of the local prominent guests include: Alan Lo, Alison Chan, Amanda Cheung, Caroline Fok, Christine Fok, Christopher Owen, Edward Tang, Emerald Shek, Gilbert Yeung, Ivan Pun, Jonathan Cheung, Lester Lam, Luke Fehon, Pearl Shek, Sean Lee-Davies, Stephnie Shek, Victoria Tang Owen, and Yenn Wong.

The hosts, Princess Alia Al-Senussi and Dino Sadhwani, has successfully organized yet another entertaining and eye-opening event for the third consecutive year. It is hoped that the event will continue the success in connecting art, entertainment and culture for the audience in the coming year.

About Princess Alia Al-Senussi

Princess Alia Al-Senussi is a patron and academic, has just completed her PhD in Politics at SOAS (UCL London). She has a degree in International Relations and Middle East Studies, a masters in Political Science and a MSc in Law, Anthropology and Society. Alia works to promote various institutions and non-profit organisations through the arts and their overlapping interests with fashion and business. She holds a variety of non-profit board and committee positions that promote young patronage of the arts in Londonand collecting in the Middle East. She is a founding member of the Tate’s Acquisitions Committee for the Middle East and North Africa, the Board of Patrons of Art Dubai and the Middle East Circle of the Guggenheim. She served as Chair of the Tate Young Patrons and is a founding International Co-Chair of The Chinati Foundation Contemporaries Council, as well as a member of the Committee for the Serpentine Gallery Future Contemporaries group. Alia served on the Board of Trustees of the ICA London and currently sits on the Board of Trustees for the Global Heritage Fund UK. She works as the VIP Representative for the UK and the Middle East and consultant for Art Basel, as well as Advisor for Arts & Culture to Milken Institute and holds various ambassador and executive roles.

About Dino Sadhwani

Raised in Singapore and with family roots in Hong Kong, Dino Sadhwaniattended university in Los Angeles and has been a passionate entrepreneur from a young age. Dino set up his first business at the age of 15, and in the years since, has developed multiple ventures in the areas of real estate, food and beverage, wellness, commodities, venture capital, and supply chain management that operate in many countries around the world.

He co-founded Iris Group in 2007. Of which, his first company ‘Iris International’ specializes in China product sourcing and logistics management. The company has continually grown focusing on building long-lasting client relationships based on integrity and trust. In his spare time, Dino enjoys football, tennis, mathematics, travelling and, most importantly, spending time with his three kids.

As a visionary young entrepreneur, Dino has successfully honored the Los Angeles County Museum of Art (LACMA) for the past two years during Art Basel. He is a vibrant art lover, with a sharp investment point of view.

The celebration of LACMA serves to offer a unique alternative for lovers of art and culture. The ethos of his event is to eradicate cultural bias and create a sense of unity. Hong Kong, being his home, is blessed with rich heritage as well as its many quirks. These acts as the perfect canvas in which he can bring his vision to life, and in turn, showcasing this vibrant city in all its glory to an international audience.

About LACMA

Located on the Pacific Rim, LACMA is the largest art museum in the western United States, with a collection of nearly 140,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the region’s rich cultural heritage and diverse population. LACMA’s spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.

For more information, visit lacma.org.

About UCCA

UCCA Center for Contemporary Art is China’s leading contemporary art institution. Committed to the belief that art can deepen lives and transcend boundaries, UCCA presents a wide range of exhibitions, public programs, and research initiatives to a public of more than one million visitors each year. UCCA Beijing sits at the heart of the 798 Art District, occupying 10,000 square meters of factory chambers built in 1957 and regenerated in 2019 by OMA. UCCA Dune, designed by Open Architecture, lies beneath the sand in the seaside enclave of Aranya in Beidaihe. Formally accredited as a museum by the Beijing Cultural Bureau in 2018, UCCA also operates non-profit foundations, licensed by the Beijing Bureau of Civil Affairs and the Hong Kong government. UCCA’s commercial ventures include the retail platform UCCA Store, the children’s education initiative UCCA Kids, and collaborations and projects under the rubric UCCA Lab. Opened in 2007 and revived by a committed group of Chinese and international patrons in 2017, UCCA works to bring China into global dialogue through contemporary art.

About MGM Resorts Art & Culture

MGM Resorts International Art & Culture focuses on commissioning, collecting, supporting and presenting contemporary art in and around MGM Resorts’ destinations globally. Currently the MGM Resorts Art Collection includes more than 800 pieces by over 200 artists.

MGM Resorts Art & Culture was established in 2016 to encompass all of MGM Resorts’ collections and varied art-related initiatives and partnerships to develop a comprehensive, multifaceted arts program. Reflecting the company’s core values of inclusivity and diversity, MGM Resorts Art & Culture aims to create special, accessible experiences for all audiences. Each project thoughtfully considers the artist, the environment, and the overall experience, recognizing the power of art to evoke emotion, engage the senses, and spark conversation. Art is prevalent throughout MGM Resorts distinctive world-class brands including Bellagio, ARIA, Vdara, MGM Grand, and Delano Las Vegas; as well as MGM National Harbor outside of Washington, D.C., MGM Springfield in Massachusetts, and internationally at MGM MACAU and MGM COTAI.

Examples include works by Alice Aycock (National Harbor, Maryland), Jenny Holzer (ARIA, Las Vegas), Antony Gormley (ARIA, Las Vegas), Maya Lin (ARIA, Las Vegas), Robert Rauschenberg (Bellagio, Las Vegas), Nancy Rubins (Vdara, Las Vegas), James Turrell (ARIA, Las Vegas), among many others.

About Jason Swamy

Jason Swamy is creative visionary and thought leader that has helped shape cultural zeitgeist through art, music, food, wellness, thought leadership and community building. He’s best known for his involvement with the legendary Robot Heart, award winning Wonderfruit and critically acclaimed Future Future.

He is highly sought after globally for his creative, curation and experience design ability. He’s a tastemaker that has influenced many. Always pushing boundaries, his work defies definition.

Swamy has worked with A-listers from tech leader Eric Schmidt, 3 Star Michelin Chef Gaggan, Grammy Winner Skrillex to award winning hotels like The Upper House, NASDAQ liste tech behemoth Netease and innovative casino group Melco Crown to name but a few.

About COI Communications

COI stands for Collection of Individuals — we curate the best collection of talent from our core team, our vendors and collaborators and clients – because we believe that a group of likeminded and determined individuals working together in tandem can create a force strong enough to break traditions, assumptions and expectations.

Based in Hong Kong, COI Communications is a boutique events & communications agency founded with a curious spirit and a specific objective: to offer businesses a new way to engage their audience in its most genuine, yet creative form.

We don’t believe in using the same formula for each project. This is why we surround ourselves with talented crafters, eccentric creatives and disruptive thinkers to ensure that each project, no matter the size or scope is as unique and enjoyable to its end users as it has been for our team to create.

About Ania Catherine & Dejha Ti

Ania Catherine is an artist and director based in Los Angeles. Her work merges performance, film, and choreography and has been shown internationally at the British Film Institute, Art Basel Hong Kong, Peacock Theatre (London), LA Center for Digital Art among others. She has designed performance installations for brands and institutions such as Adidas, LACMA and Thinx and holds a master’s degree in gender and politics from the London School of Economics. Dejha Ti is a Los Angeles based immersive experience designer with no allegiance to any one medium. Her work integrates environments, bodies and creative technology.

About The Mills

The Mills, a landmark revitalisation project completed in December 2018 by Nan Fung Group, integrates three formerly separate mills of Nan Fung Textiles in Tsuen Wan into a coherent complex, encompassing a business incubator, experiential retail, and a non-profit art and cultural institution (CHAT), inviting visitors to an authentic Hong Kong story where the theme of textile is re-invented into creative experiences. CHAT’s inaugural season in March presents a historic exhibition of HK’s textile industrial history and a contemporary art exhibition featuring the works of 17 artists from the Asia Pacific region.

This article is published by PRNewswire

Buried beneath a sand dune, in the beach town of Beidaihe, nestles one of China’s newest art galleries. An offshoot of the Ullens Centre for Contemporary Art in Beijing, 300km away, the ucca Dune is unlike any other cutting-edge art museum in China. Most are high-profile architectural statements, erected in the middle of bustling cities. The Dune is subtle and secluded, its galleries unfolding against the backdrop of the sands.

Interdependence with the landscape and the local community is at the heart of the Dune’s purpose. It aims to be sustainable ecologically as well as financially, and to help protect the environment rather than destroying it. “Our work was not just to design a physical structure,” says Li Hu of open Architecture, one of the overseers of the project, but to “dream up an entirely new type of institution.”

Mr Li wanted to create a gallery that was not “juxtaposed” to its environment but “merged into it”. Instead of placing the museum on top of the dunes as was originally planned, he decided to bury the building beneath them to preserve the coastal ecology. The structure is heated by geothermal energy; its walls and windows and the wooden tables in its café were handmade from local materials, a tribute to the craftsmanship of the Hebei region. Because the museum is lit naturally by skylights, visitors’ experiences of the artwork will vary with the seasons and time of day.

The Dune’s interiors are meant to cultivate an intimacy between viewer, work and space. “Going to a museum in China often feels like going to a shopping centre,” says Mr Li—an experience of rushed consumerism, typically characterised by large crowds and smartphone selfies. By contrast, the Dune’s subterranean galleries invoke the caves in which the most primitive human art was first daubed. The design was inspired by Louis Kahn, a 20th-century American architect who envisaged museums as a “society of rooms”, which foster interaction and encourage people to slow down. Given the isolated location, visitors will have to make a deliberate “pilgrimage to the art”, as Mr Li puts it, rather than just a hurried urban fly-by.

“After Nature”, the inaugural exhibit (curated by Luan Shixuan), focuses on a pertinent subject: the future of humanity’s relationship with the natural world. Each of the nine contemporary Chinese artists in the show engages cleverly with the space that their work occupies. Visitors standing in front of Liu Yujia’s “Wave”, a digital diptych featuring aerial footage of waves rushing against the coast, need only to turn around to find themselves looking out at the Bohai Sea. Beyond a glass door lies Zheng Bo’s “Dune Botanical Garden”, a work of bio-art made of transplanted local weeds that also functions as a museum garden. Nearby stands “Destination”, an installation by Na Buqi, which comprises an overturned billboard advertising an eerily photoshopped beachside getaway.

Ms Na’s contribution is a wry commentary on the museum itself. Its location, Beidaihe, is well-established as both a summer retreat for Beijing’s political elite and a popular beach resort for domestic tourists. Cranes crowd behind the dunes, supervising construction work by Aranya, a Chinese developer that also funded and built the museum. Much as the Dune wants to attract visitors, a big influx might threaten its sustainable vision: like that forlorn billboard, a picture-perfect ideal risks being compromised by the double-edged forces of consumption.

This article appeared in the Books and arts section of the print edition under the headline “The sands of time”

元旦前夕，YeeHoO英氏奉上宝宝2019春夏衣物“型录”。YeeHoO英氏 | 2019春夏新品呈献！演绎欢乐嘉年华！当中有没有妈妈们的心动款？

一季又一季，YeeHoO英氏以匠思妙想向人们展现着初生宝宝的衣物绝不千篇一律。尤其是哈衣，每一款的设计和工艺都蕴藏着独特心思。而在今年，又有一系列全新惊喜带给大家。

2019，NEW STYLE

去年，YeeHoO英氏竹纤维“雪糕”系列、草珊瑚系列大胆地运用大印花图案，以突破性的设计带来惊喜视觉感。让初生宝宝的贴身衣物不再单调。

2019年春夏再次演绎欢乐主题，全面提升色彩与设计感，融入北欧风的简约、自然感觉，处处流露出设计师们对柔和的初生世界的美好想象。

缤纷印花更注重与纯净底色和谐搭配，形成一种快乐优雅的轻盈气氛。以低对比度的色彩渲染出属于初生的甜美感。

粉嫩的色泽与宝宝肌肤完美映衬，形成一种高级视觉感，让宝宝在新的一年软萌加分！

细节处仍然一丝不苟。无论色泽、触感还是车缝、钮扣，都充分体现YeeHoO英氏匠心做工。

英氏今年与迪士尼依然进行IP授权合作。宝宝们将能开心畅快地和米奇、维尼小熊、Elsa继续欢乐共舞！

颠覆对面料的想象

2018年，功能性面料让宝宝贴身衣物拥有更多可能性。抑菌面料、润肤面料、凉爽面料…从春夏一直呵护到秋冬。2019年，英氏面料在设计与工艺上进一步提升，甚至还可能会“颠覆”您过去对它的认知！

白色的有机棉？

2019春夏有机棉系列一改有机棉的“有色”印象，以纯白示人。色泽源于天然有机白棉，不进行化学印染，亲肤依旧。01

今季有机棉还采用了棉纱面料，比以往更为轻薄透气，剪裁也十分自然贴合，适合宝宝夏天活动时穿着。

丝麻提花内衣

丝麻面料拥有天然麻织物外观风格，具备挺括的优点，透气性和舒适性都会较好。

02

YeeHoO英氏以47.5%丝麻混纺制作贴身内衣，在春夏转季为宝宝带来凉爽穿着感，是2019年宝宝贴身衣物的又一个好选择。

牛奶纤维面料

柔似丝绸，滑如牛奶，备受妈妈宝宝喜爱的牛奶纤维系列再次回归！在2019年给宝宝全新的丝滑体验！
03

今季在视觉上加入了蓝色星点、彩条点缀，更加活泼跳跃。看起来就像蓝纹乳酪般诱人可爱。

晒出简约活力风！

率先登场的2019春夏外服新款更偏简约风格。大色块、线条、花边之间的微妙融合，让最简单的搭配也呈现出无穷生机。

热情似火的新年红绝对是新春佳节C位担当！红白线条穿梭出帅气视觉感，喜悦而不“喜庆”。

藕粉色从来不会令小女生失望。柔和的色块呈现纯洁童真。细腻的荷叶边、褶皱工艺则展现出女孩的小小心思。

清爽的月食蓝穿上马上显帅！搭配黑白色的线条色块，让宝贝运动感满满。

无论是初生宝宝，还是已经会走路、懂说话的大宝宝，YeeHoO英氏都在用心打造属于Ta们的柔美衣物。谁说初生宝宝的衣物千篇一律？这，就是宝宝在2019的 NEW STYLE ！

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尤洋

创新BMW X7 × UCCA系列对话主持人

UCCA副馆长

张有待

本期嘉宾

著名DJ、音乐文化推广者

张有待的唱片收藏。

音乐最大的三个魅力就是影响、发现和分享。

艺术由私人变得公众，本身即是值得把玩和思考的过程：艺术品如何走入公众视野？究竟发生了什么，使得艺术家的个人创作转换为大众所接收到的文化现象？对这种传播和分享本身加以考究同样富有趣味。创新BMW X7乐于充当分享者，这次带来的两位艺术工作者对话，就是和读者们分享关于“分享”本身的乐趣与启发。

生活中的不同平台会连接起不同的人：比如通过艺术、音乐、驾驶……在相同的兴趣面前，人们得以卸下职场中的身份，寻找精神的自足和解放。而相比于视觉艺术，声音的艺术往往有着更为广阔的赏鉴空间——在驾驶中无法欣赏一幅绘画作品，但可以通过电台去聆听音乐和广播。你在做节目的过程中，会预设听众所处的空间属性吗？如何用声音去激发听众的兴趣？

张有待：因为从小喜欢电影，我在大学选择了戏剧文学作为专业。但后来听到摇滚乐的时候，我便开始对音乐产生了兴趣。因为我发现在一首短短的歌里，可以包含所有我喜爱的艺术形式：包括文学、戏剧、诗歌……一首歌可以营造一种氛围、情绪，或者讲述一个故事——很多三五分钟的歌曲也可以表达出很宏大的叙事，这就是音乐的奇特之处。甚至还可以通过音乐家、唱片封面等视觉方面的形象使音乐的呈现更为立体。

当我开始做电台节目的时候，这份工作可以让我去创造一个心理层面的“空间”，让很多人介入其中，却不需要相见。电台不同于电视或视频节目，它最大的魅力就是想象力。听众也可以在任何时间、地点去收听。同时在聆听的时候，主持人播放的音乐仿佛就在你的身体里边，是离你最近的。他是让你感到最可信赖的一个人，有时候他可能就是你自己。当我在做节目的时候，我感到自己可以运用想象力做任何想做的事，成为任何想成为的人——在那一刻我不受时间和空间的约束，我就在空气中。

张有待     

我还曾给直播间里的麦克风起过名字，每次主持节目的时候仿佛就在跟它说话，所以它可能是预设的一个听众，但我预设的是一个单独的对象。在一个小时的节目中，播放的音乐和我介绍的音乐故事可以组成受众的体验。或者说，这是我为听众创造的一件作品、导演的一部电影。

张有待工作照。

尤洋：很多人从你的节目中受益——不仅获得愉悦，也分享给周围的朋友，令音乐史中的典故和传说在听众各自的圈层中再次转播。比如我和友人在旅途中开车时，就曾在听你节目的时候引发即席的讨论。那么在你看来，该如何去描述“分享”？

张有待：对我来说，音乐有三个最大的魅力，其中第一个就是分享——当音乐与你喜欢或者相爱的人分享时，它就具有了特殊的意义；第二个是发现——你永远可以在音乐中不断地发现新的声音，或者从已知的声音里再去发现新的声音；第三是影响——所有的音乐都能够听出它受影响的渊源，好的音乐也会继续去影响其他人。音乐之间可以互相影响，音乐家之间可以互相影响，同时音乐可以受到其他艺术门类的影响，并且影响到其他艺术类别。所以音乐最大的三个魅力就是影响、发现和分享。

尤洋：来美术馆参观的大多数观众都会认为“艺术”是指向视觉的，如绘画、雕塑等。而实际上，艺术的发展和同时代的媒介发展息息相关——在上世纪60年代，随着电视机的普及，艺术家也开始采用影像作为创作媒介，影像中的声音自然也成为了作品的一部分，随后又出现了一批专注于使用声音表达观念的艺术家……作为音乐领域的专家，你觉得声音艺术和视觉艺术相比，有哪些特性？

张有待   

对我来说，好的音乐往往是有画面感的——好的音乐家是用音符来作画。而听到不好的音乐，眼前会是一片漆黑，没有任何画面和联想。同时，一件好的绘画作品也会让我在它面前驻足的时候听到声音——有时是大自然的声音，有时会听到音乐。

蒙德里安，《百老汇爵士乐》，1942-1943，布面油画。图片来源于网络。

张有待：20世纪初的抽象绘画在很大程度上受到了同时代爵士音乐的影响。而很多音乐家也都尝试创作绘画——比如鲍勃·迪伦（Bob Dylan）、琼尼·米切尔（Joni Mitchell）等——他们的绘画作品也和音乐作品同样出色。甚至迈尔斯·戴维斯（Miles Davis）也尝试过用画笔来表达他的想法。有种说法还将Miles Davis比作爵士乐领域中的毕加索，而且他也创作过一首献给毕加索的作品——《巴勃罗·毕加索（Pablo Picasso）》。

对于很多伟大的音乐家来说，他们的音乐理念已经超越了音符的概念。比方说约翰·凯奇（John Cage）、菲利普·格拉斯（Philip Glass）、比如布莱恩·伊诺（Brain Eno）、坂本龙一……他们都是在用声音进行创作，已经超越了音乐的领域。

鲍勃·迪伦唱片封面上的自画像。图片来源于网络。

尤洋：你在不久前邀请了日本音乐家坂本龙一到访北京。他是一位具有多元化身份的创作者，对中国的艺术界和文化领域都影响很大。那么我们今天应该如何定义身份？身份对我们来说是一种便于识别的表皮，还是束缚我们创造力的枷锁？

张有待：像坂本龙一这样的音乐家，就是典型的在不同领域当中都很有影响力的艺术家，也很难定义他在某一个领域的成就。他近年的音乐创作已经不是简单地写旋律、做合声，而是用声音，甚至是我们周围的环境音或噪音在创作艺术作品。他会通过一些声音的装置来表达对生命、世界、自然等方面的认知和理解。坂本龙一有一张专辑叫做《BTTB》，意思即“Back to the Basic”——他永远能回到生命和生活最本质的根源上，将一切化繁为简。他所追求的艺术的极致就是“Less is More”。

张有待   

我们这个时代已经越来越少地把音乐家当作艺术家去看待，能够把音乐本身当作艺术创作的音乐家也越来越少。所以我想，也许这就是坂本龙一这样的艺术家被爱戴和尊重的原因吧。

坂本龙一与朱哲琴等音乐人在有待的九霄俱乐部现场即兴表演，2018。

创新BMW X7对分享说：

有时候，艺术品的魅力并不仅仅来自于其本身。借助分享，我们的乐趣与艺术家的乐趣重叠、交融，艺术品被重新谱写、感知和解读，流动的气息沉淀成醇厚的气质。从两位艺术工作者的对话中，我们就能勾勒出这样一幅关于分享的充满勃勃生机的画卷。创新BMW X7一向以分享为荣，超大空间的设计理念和Bowers&Wilkins钻石环绕音响系统都是为分享而生。无论是空间还是音乐，创新BMW X7都是分享一切美好体验与感知的最佳平台。

关于创新BMW X7 × UCCA系列对话

▼

创新BMW X7 × UCCA系列对话关注并探讨将新媒体平台拓展为艺术空间的方式。

美术馆本身是具体的空间，策展人和艺术家的任务是去创造空间，于是当今的众多项目正在将美术馆外的空间转化为艺术现场。不同空间对不同人群产生的张力各不相同，新媒体平台作为开放知识共享的重要渠道，是否可以通过艺术观点的交换而成为一个数字化的艺术现场？

我们很荣幸地邀请到5位不同社会身份的嘉宾参与此项实践，由UCCA副馆长尤洋主持，试图创造一个充满张力的线上艺术空间。

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宝宝弄脏时，如何擦掉娇嫩肌肤上的污渍？帮宝宝洗澡，怎么洗对肌肤刺激性最小？宝宝衣物又该如何保养和洗涤？这些都与成长健康息息相关。

这些思考，成为一个全新产品线诞生的契机。我们决定从完全崭新的角度，再次诠释YeeHoO英氏的呵护之道。因此推出YeeHoO洗护。

作为一个跨界合作的产品线，我们携手国际顶尖洗护品牌共同研发。从纺织到洗护，跨度并不算小。但通过彼此之间技术和经验的互补，一系列为宝宝肌肤健康带来特别呵护的洗护新品由此诞生。

在这个过程中，我们都意识到守护初生肌并不是一场“阵地战”，而是不断变化的“运动战”。在千万种无法预知的情况下，必须想方设法真正有效地保护宝宝。而当我们将成长的日常拆分为一个个场景后，便有了答案。

洗澡时如何做到温和不涩眼？

不少宝宝抗拒洗澡，因为不喜欢水和泡沫进眼睛时的难受感。为了让宝宝爱上澡澡，YeeHoO洗护带来“氨基酸泡泡”。   

它的氨基酸洁净配方专为宝宝研发，温和洁净不涩眼，洗后也不会感到紧绷。挤出丰富泡沫，好玩又省量，一瓶搞定宝宝洗澡和洗头！泡沫严选成分，不含硅油，用起来更安心。

洗衣时如何干净又健康？

宝宝洗干净了，但宝宝的衣物却不一定。奶渍、便便渍…没有一样好对付。用力过猛，又担心宝宝的衣物经不起折腾，还怕影响宝宝健康。

而植物酵素就是我们的妙招。YeeHoO Baby婴儿洗衣皂蕴含三重酵素洁净成分，轻松去除奶渍、便便渍。还特别添加了不伤手的芦荟提取物，不伤手的同时更加可以保持衣服柔软，手洗不伤衣，细心呵护周到。当然，洗衣皂里绝不含荧光剂。宝宝安心穿，用嘴啃咬也不怕。

干燥时如何拒绝“苹果脸”

初生肌是最水嫩的，同时也是最需要保湿的。因为它实在太容易受到伤害，尤其像这种干燥寒冷天气。

YeeHoO Baby 婴儿多效霜富含五大保湿成分，质地温和，零酒精添加，不含水杨酸。用它来为宝宝四季保湿，同时还有舒缓修护的作用，绝对是妈妈的安心之选。

弄脏时用什么帮宝宝擦干净？

不少妈妈都爱用湿巾。但总担心湿巾容易繁殖细菌，比不上干燥棉柔巾随抽随用，方便实用。

有见及此，YeeHoO Baby湿巾包装采用加强密封设计，反复开合都能有效避免外界脏物进入湿巾内部。每一次使用都如同打开一包新湿巾一样，安全安心。

针对不同部位，YeeHoO Baby 湿巾还分为手口湿巾和柔护湿巾。手口湿巾添加可食用木糖醇精华，通过经口毒性测试，安全放心。柔护湿巾富含维生素E。里面的植物精华能有效保护宝宝皮脂膜。

不难看出，上面每一个场景，都基于我们对婴幼儿成长的深度了解。初生肌要面临的问题虽然百千样，但只要把握好每一个关键点，妈妈就可以放心。

而YeeHoO洗护带来的每一款产品都以国际尖端的洗护技术为支撑进行研发。在全新的领域，YeeHoO英氏仍然严守品牌对初生肌的呵护承诺。

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