lucanojr working with the beautiful and super talent #fayewong…

The camera operator on Faye’s Neiwai ads posted a couple behind-the-scenes videos on his IG

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let’s tightly embrace for one minute
then kiss forten

Faye Wong promotes Miss Hong Kong Pageant (1993)

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Wonderland - Faye Wong | NEIWAI’s 10th Anniversary

5 Ways to Wear Mohair Like a ‘90s It Girl

Historically, mohair has been a ’90s “it girl” favorite—think about this iconic Faye Wong look, the cover of Bjork’s Debutalbum, or Liv Tyler’s sweater-and-plaid skirt outfit in Empire Records.The material is soft, sweet, and carries a connotation of innocence, but like Mary Janes or the infamous American Apparel tennis skirt, can be coyly sexy. With the ’90s and Y2K revival, it makes sense that today’s style starlets like Emma Chamberlain, who was recently photographed in a teal mohair set, are gravitating toward the material. So, in the spirit of rebellious ’90s ingenues and breaking fashion rules, we’re sharing five ways to wear mohair this spring, below.

SOURCE:COVETEUR

Faye Wong (1997)

[TRANSLATION] 24 Classics by Faye Wong (Netease, 2001)

Highlighting music and/or lyrics written by Faye Wong. In order by release date.

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PROLOGUE: NO REGRETS, 1993
Faye Wong’s first time writing lyrics was for the song “No Regrets”. The significance of this song was that she focused on her own existence as an independent individual. The key lines were: “I use my heart to see and feel, you are not me, so how can you understand? / Whose heart should I use, to truly feel my surroundings, even if it’s painful, even if it’s tearful, it’s all my sorrow”. The emphasis was all on herself. “No Regrets” was a revelation and it showed the sincerity of Faye Wong’s self-written songs. And if sincerity alone was not enough, then the calm intoxication of her pen was ingenious.

1. TEMPTED HEART, 1993
This was a song that the whole family could enjoy. It was a melodious traditional song. Faye Wong composed music for the first time and it was used as the themesong for her TV drama. Because of this, the song could have been stereotyped as dull and old-fashioned. But in fact, there was a hint of mysterious coldness in her singing which was very contemporary and it was able to conquer the listeners’ ears. From this moment on, Faye proved that she was able to subvert these standard melodies and advance in the future.

2. PLEDGE, 1994
A collaboration with Dou Wei, so it had a little more rock flavor with a slight folk style. It’s very catchy. The song also featured a flute, just like "Tempted Heart”, but here it sounds trendy. There is no reason why this song can’t win the hearts of fans to this day. The lyrics were also written by Faye. She made concise statements without being superfluous. It was simple but also poetic.

At the beginning, she sang: “It doesn’t matter, nothing matters to me.” Later the lyric was reversed:  “Don’t think that nothing matters to me."  Only women have this kind of prerogative. There’s a bit of anxiety and vulnerability. It’s an uneasy and unreliable pledge. Faye Wong’s songs can be unhappy and pessimistic. This has long been established as related to her nature, even while she was in love in those early days. This was not a sign, but it was her intuition.

3. PLEASE MYSELF, 1994
The song "Please Myself” was regarded as Faye Wong’s musical stance. The tune had a bit of a British band sound. Faye sang within her throat, like she was lost in thought and mumbling to herself. The lyrics were written from two perspectives, herself and others. The others may see the good in her but there’s actually feelings of inferiority. In fact, it’s all self-deception. The last two lines were actually the climax of the song. Emotional, helpless, and sad. “Unconsciously, pulling away” / “Unconsciously, drifting away”, echoing each other end to end, from pulling away to drifting away, it’s a gradual process that was sung languidly and faintly.

Faye Wong’s self-composed songs are usually much shorter and more concise than the average pop song and they are arranged very well.

4. EXIT, 1994
1999 passed by smoothly, but “Exit” still applies to the 21st century. People still care about society but society has fallen into enemies hands. “Of course there is a good side.” At that time, I was most appreciative of this lyric.  In a state of being half-alert and half-distracted, in an effort to console the listener, she responds immediately by making a meaningless, routine statement which demonstrates her dry humor. A single sentence shows Faye Wong’s lyrics are indeed cool.

If you remove Faye’s voice from this song and are only left with the music, you will find Dou Wei’s style and will be able to place it directly into his album “Sunny Days”.

5. DI-DAR, 1995
Another short composition that is clean and efficient. Gazing at someone you love so much, separated by small increments of time. Di-dar, di-dar, the heartbeats per second.

At this time, Faye had broken away from The Cranberries style. Even if the “di-dar” was similar-sounding, it was just out of habit to curl up her tongue skillfully. In fact, it made the word sound better and fuller.

6. VACATION, 1995
This song is divided into three parts. The beginning starts with an inspired guitar. Her voice extended to a lower register and sounded entirely despondent. The second part added drums. Her voice floated up and it felt like a plane starting to take off, with two lines “La La La” as the boundary. The plane takes off and enters the third part which adds a beautiful harmony. The emotions are stabilized and you can calmly think about the problem. The three parts are all different and are like the progressive stages of a relationship.  Faye’s voice seems to process this experience. There is no roundabout repetition. The overlapping of the background vocals makes it more textured and spatial. The lyrics are excellent. This is my favorite song composed by Faye.

7. SPORADIC, 1996
After a long preparation period, the album FUZAO was released in 1996. This was Faye Wong’s first bloom. With the exception of two Cocteau Twins compositions, the remaining songs were composed by Faye. The song styles were very harmonious and unified. They can be regarded as a whole and cohesive.

“Sporadic” was like a flickering light gleaming on the reflection of waves in the sunlight. The music is bright, the tone is light and comfortable. But the whole thing is wrapped in rumination - it has Dou Wei’s feeling.

8. RESTLESS, 1996
"Restless” can be compared with DI-DAR, though it is simpler than DI-DAR. Most simple compositions have to rely on arrangement. Going back and forth from tense to relaxed, it is never monotonous.

9. DEGENERATE, 1996
“Degenerate” corresponds to “Vacation” from the aspect of melody and vocals. There are many similarities between the two songs. The words “come, come” is the best expression of “Degenerate”, like clouds and mist pouring into a deep valley. The chorus is high and floating, almost a falsetto. It has the flavor of the Cocteau Twins.

10. DOOMSDAY, 1996
“Doomsday’s” lyrics are sung one word at a time and appears to be blunt. Fortunately, each sentence’s last word was elongated, like an undulating cat’s tail. The first and last words are twisted to bridge the gap between the lyrics. Faye Wong’s lyrics apply human behavior to nouns such as ”ideal“, ”confidence“, ”beauty“, and ”desire“. It is reminiscent of early period European morality plays in which people put on masks and acted out various behaviors in stage dramas.

11. WHERE, 1996
12. IMAGINATION, 1996
"Where” and “Imagination” are songs without intelligible lyrics. Just listen to Faye Wong sing. The words do not have many syllables. They are simple and easy to pronounce. Highlighted by “ah’s” and “oh’s”, they are very clear and round, accompanied by consonant sounds to give it a shiny effect. The tunes are fast-paced which accelerate the blurriness of the sound. The airflow of her pitch seems to be forced out, long and high, moving closer to the etherealness of the Cocteau Twins. It is really hard to achieve this kind of pure effect.

13. UNEASY, 1996
14. WILD THREE HILLS, 1996
“Uneasy" and “Wild Three Hills” are instrumentals. Here Faye Wong gave up her status as a singer. She is like a member of the band, although she does not play musical instruments. This makes the album more cohesive. Faye’s participation in the production demonstrated her talent to the fullest extent. It’s no surprise that she personally likes FUZAO the most. For listeners, these songs are also the most enduring. After listening to them year after year, they still don’t feel boring.

15. EMOTIONAL LIFE, 1998
There are only a few verses in the song, but once the music starts, you can’t stop it. It’s like a train roaring down the tracks on a foggy morning.  The meaning of Faye’s songs at that time can only be left to anyone’s guesses. Lin Xi’s lyrics were more detailed than Faye’s own writing in FUZAO. He is more abstract when writing for her than any other singers.

16. FACE, 1998
A classic opera voice appeared. This song was another breakthrough. At first, the song starts with a beautiful, heavenly sound. Then the music suddenly becomes aggressive and her operatic voice turns into her natural voice. Like meeting a fireball head-on, it quickly transformed into a fierce scene. The music video depicted two Faye Wongs divided, each representing a voice. At the end of the song, the two voices have an intense and violent battle with each other. In the abrupt end, will both sides die together? Unspeakable strangeness. A local radio host Ding Zi called this song the best pop song of the year. In her concert, Faye discarded the lyrics during the operatic part and replaced them with made up nonsensical words - to save herself the trouble of memorizing lyrics!

17. A LITTLE CUNNING, 1998
The music is more serious, the layers are deeper, and the sound is more mature. Does maturity mean it is similar to most other pop music? It’s best to listen to the harmony part to find out.

18. CHILD, 1998
The sleeping baby is quiet and even in her dreams she is dedicated to awakening people’s love. This “child” is her baby, constantly moving her eyes, nose, mouth, hands and feet. Full of fun. So the drums never stop and keep stimulating youthful vitality. It is strange yet gentle. Listening to Faye Wong’s voice, I felt she had no choice but to dive into the love for her child. The inclusion of her child’s voice made the song interactive and resonated between the singer and the listener.

19. SPECTACULAR, 1999
“Spectacular” was a collaboration with Zhang Yadong. Outside of the rhythm of the dance music, there’s a buzzing electronic sound in the background, which makes the song suddenly become layered. It is also the kind of song that gets more interesting the more you listen to it carefully. In fact, Faye Wong’s compositions really have her own pattern. The lyrics “You and I, persevered several times“ is familiar. We recognize the word "hui” used previously, reminding people of “Sporadic”. Scattered throughout the song, there’s a taste of traditional opera, but only for a moment as it disappears into other notes.

20. THE CAMBRIAN PERIOD, 2000
The first five songs of FABLE were composed by Faye Wong. They earned praise for being unlike the typical compositions of other singers. But they were also criticized for their pseudo style. The divided reaction of these five songs by the audience is obvious. But several of my female colleagues like them without exception and even sing songs such as “Chanel” and “Asura” in karaoke. In the long intros, the lyrics seemed to be delayed by those strings and rhythms. Those who did not have patience really couldn’t stand to listen to them. Those who like it are fascinated by the detailed sound effects and harmonies. The styles and genre of these songs are hard to categorize and was also the reason why some people criticized them.

“The Cambrian Period” was the first song on the album. It’s sensational string music and gloomy rhythm captured my heart immediately. I waited for Faye Wong’s voice. She used a beautiful vocal which was more comfortable than anything. It was a peaceful voice singing with care while revealing pity. In the whole song, her singing skills are very good. It is rare to be that gentle and delicate at the same time. The feeling of tenderness stirred the listener’s emotions.

21. NEW TENANT, 2000
The rhythm is light with speed and frequency. Suitable for our body to sway gently, so it is very comfortable. I like the sound of the little water droplets and the way she sings the line “I have caught a flying bird” with a very serious expression like a little girl telling a story. Then her voice comes down, absent-mindedly into the endless blank void.

22. CHANEL, 2000
There’s faint thunder rolling in the beginning, signalling the emergence of mysterious power. The rhythmic drumming is more dense than “New Tenant”. A trumpet or two was added and it feels like jazz. Her tone is sly, but her way of uttering the words was short and fluttering, which made people think that her expression was vacant and detached again. It gives the sense of weariness that one feels after gaining insight. This song does indeed have a trendy atmosphere. Perhaps because of this, the song was used for a commercial advertisement.

23. ASURA, 2000
Her voice is mournful as soon as she sings. Throughout the entire song, you are constantly hearing this descent, like the gradual collapse of a palace. The harmony is strange, like some kind of spell. A gloomy but glamorous beauty. The violin in the last section is even more devastating.

24. FLOWER ON THE OTHER SHORE, 2000
The prelude strings are very similar to “Chanel”, only slowed down. In fact, the background strings of these five songs are almost all the same, only the rhythm is changed and leans towards trip-hop. Many people credited Zhang Yadong for taking Faye’s songs into this realm. In fact, Faye’s songs are different from others and her singing methods vary in the five songs and should be considered very advanced. But unfortunately not everyone could recognize it.

If the beautiful sound of “The Cambrian Period” feels like a misty sky, then the soft echo of “Flower on the Other Shore” brings us back to the wilderness world where we are facing the edge of a cliff. The ending is powerful and distinguished from the different colors of the previous songs. The last piece of string music comes and goes. It is a long and difficult road reverberated in the line “I’m not afraid, I love him very much”. Facing heaven and earth, she makes this touching confession.

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a new photo of faye! <3

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[I Wanted to Be That Person] Faye Wong in the 1990s

The timeless diva from Hong Kong

Faye Wong was the reigning queen of Asian pop in the 1990s. Her stage outfits, including a Vivienne Westwood corset and Helmut Lang metallic pants, were avant-garde and drew a lot of attention. Off stage, she wore cropped knit sweaters and mini skirts, reflecting the trends of the time. This photo was taken in Beijing in 1997 by photographer Meisa Fujishiro. The nonchalant street style of long T-shirts, checkered pants, and sneakers looks trendy once again in the midst of this revival boom.

SOURCE:SPUR.JP