As Ballroom continues to captivate the global mainstream, few people have done more to cultivate the scene in Asia than Kiki House of Sassy Savage's Founding Overall Mothex Wan.

For nine years, Wan has been at the heart of Hong Kong's Ballroom culture, helping to transform what was once a niche underground community in Hong Kong into a vibrant international network.

In 2020, they founded Hong Kong's first homegrown Kiki House, House of Sassy Savage, which has since evolved into the International Kiki House of Sassy Savage, with chapters spanning Mainland China, Melbourne, and Adelaide.

Most recently, House of Sassy Savage took over WestK's Xiqu Centre for Cabaret Nights: Night of Voguing, where members took to the stage for an enchanting showcase of runway, performance and vibrant queer expression. 

From teaching categories such as Vogue Femme and Runway to judging balls and producing events such as Gods & Goddesses Ball, Forbidden Forest Ball, Blue Flame Kiki Night, Studio 54: The Mini Ball, and Jade Odyssey - The Inaugural Ball, Wan has emerged as a key figure in Hong Kong's growing Ballroom scene.

A dancer, model and performer, they move between the Ballroom floor and the community spaces that sustain it — winning multiple Grand Prizes while leading workshops, judging battles and championing queer youth through university outreach programs across Melbourne.

The Beat Asia sat down with Wan to discuss building Hong Kong's first Kiki House from the ground up, honoring Ballroom's history while pushing it forward, and why Voguing remains as much about community as it is about performance.

How did you first discover Ballroom culture and what drew you to it personally?

I first discovered Voguing and Ballroom culture in 2017 from friends I did Waacking with, and they asked if I would be interested in learning Voguing and performing with them in Taiwan. I took that first workshop, and it was really liberating.

I never felt so much like myself when I danced in those styles, and I loved being allowed to be super feminine and unapologetic. It was like there was something in my blood that I was finally allowed to let out.

What inspired you to start the house, and what vision did you have for it?

In 2019, I went to New York for the first time. Since New York is the birthplace of Ballroom culture, I wanted to explore the culture more, so I went to a mini ball and got invited to become a member of the mainstream Iconic House of Chanel. After joining the house, they asked if I wanted to become the Mother of the Hong Kong chapter — that became the beginning of my journey as a parent in the Ballroom scene.

Ballroom was still very new in Hong Kong back then, so I decided I should start building up the Kiki scene first, because the Kiki scene is less formal and more focused on having fun than the mainstream scene.

The Hong Kong scene back then was a bit toxic, and there were aspects of it that made me and others in the scene feel unsafe. That was one of the reasons I wanted to start The Kiki House of Sassy Savage, to create a space built on my vision of revolution: a family-oriented house where members could support and care for one another both inside and outside of the Ballroom.

What are the values of The Kiki House of Sassy Savage?

The House of Sassy Savage is about family, and being real and genuine. I always ask my members to communicate openly and honestly. This is a space that allows us to speak up and be authentic. If you can't express yourself within your chosen family, how can you expect to speak up in the broader sense in society?

Secondly, how do you maintain a safe and inclusive space for the LGBTQ+ community, so that when something wrong happens, you know how to deal with it? There will always be some drama in the space, but I think it's very much about tackling the issues with maturity, calling it out on the floor, and speaking up. And, of course, it is about being ‘savage’ in the Ballroom space.

The house has roots in both Australia and Hong Kong. How have these different communities shaped the identity and evolution of Sassy Savage?

I feel like Ballroom is really non-conforming in Hong Kong. I think Hong Kong is still not that queer-friendly, and there isn’t much awareness about identity and sexuality. I identified as a cis woman for a long time until I came to Australia, and now I identify as gender non-conforming.

In Australia, I saw a lot more gender identities, and that was really eye-opening for me, because when you don’t have a role model or a real-life example, it can be hard to explore that part for yourself. I was able to explore a lot more about my gender and sexuality after I came to Australia, because the queer community is so much bigger here. There was a lot more representation, which allowed me to bring in more diverse members to the house.

When I identified myself as a cis woman, Ballroom was really eye-opening for me. I realized I actually could be that sassy, that cunty. I think Ballroom also gave the Butch Queens and the other cis women in the House an opportunity to explore their more feminine side. I also started walking the category Sex Siren, which embodies the survival and resilience of trans women while celebrating sexuality and the visibility of sex workers.

Ballroom is often described as more than just performance – it's also about chosen family, empowerment, and community. What has that meant for you through your journey?

Ballroom is about creating our own space and our own chosen family. Without my chosen family and my kids in the House of Sassy Savage, I don’t think I would have become me today.

The great thing about Ballroom is that you can always find community members no matter where you are. You can go to another country and try to connect with someone there and ask when the next ball is, or if they have any community training or events.

For someone curious about Ballroom culture or thinking about joining the collective, what would you want them to know?

I would say it’s not only about the performance — there’s also a really deep culture behind it. I would recommend all the newcomers to do their research and try to understand the culture instead of just looking at it as a dance style.

I also recommend the documentary "Paris Is Burning" to learn more about Ballroom culture and its history. It's also worth contacting the community leaders, who can recommend you to speak with members of the community who would be happy to share their experiences.

As a performer, what aspects of Voguing and Ballroom allow you to express yourself most authentically?

Voguing just allows me to be who I am fully and unapologetically, and use my creativity to express both my feminine and masculine sides. I definitely connect most with the performance categories — especially the dance styles — as well as runway. Within performance, there are three styles: Old Way, New Way, and Vogue Femme.

Vogue Femme is an ultra-feminine style that really allows me to embrace my femininity, and I can choose how to express it in my own way.

What have been some of the biggest challenges of building and organizing Ballroom events in Hong Kong?

Definitely the budget when hosting events, because there isn’t a lot of funding available in Hong Kong that you can apply for, and this means we often have to use our own money to make it happen, which is quite challenging.

The biggest expense is usually the venue. You could book a studio or a room in a dance studio, but sometimes you want the event to feel more grand and elevated. Quite a lot of organizers will run at a loss unless they get sponsorship from a venue or funding from an organization. This is less of a challenge in Australia, because there are a lot more funding options for venues that will collaborate with you — like a queer venue, or a queer-friendly bar.

The other challenge is that it’s not easy to attract a large audience, because the Ballroom community is still quite small in Hong Kong, and the wider queer community is also relatively limited. It can be difficult to bring in a large crowd, because the people who are usually interested are often those within the queer community, adjacent communities, or friends of friends. If we can get more than 100 people, that’s already considered a very successful turnout.

What are some of the rewards?

Ballroom definitely shaped me as a person. I would not be who I am today without it.

I’m able to explore my identity, my sexuality, and how I want to express myself, as well as train up my craft in dancing and other non-performance categories.

When you're judging a ball, what qualities are you looking for beyond technical skill?

As a judge, that person needs to show they know about the foundation and language of the categories. A very important part is their essence character and their self-confidence, whether they’re able to have fun and show their creativity, but also have that drive that they want to win, that they’re hungry for the category.

How do you see Ballroom culture helping to create visibility, connection, and safe spaces here in Hong Kong?

I would say Voguing and Ballroom culture are very intriguing to people in Hong Kong because it’s a very unique space for people to explore who they are. Ballroom is for anyone from the marginalised communities who needs it. It is a space created by the Black and Latinx LGBTQIA+ community.

Our house just did a cabaret show in the WestK at the beginning of this year. This was a big milestone for a house, but also for the Hong Kong Ballroom scene, to let the general public have access to the Ballroom, because anyone can come to WestK.

We occasionally host Ballroom and community sessions that welcome everyone to join. This is one of the ways we create exposure for Ballroom culture and provide a platform for people to learn about it for the first time and take their first steps into the community. And we host balls as well and continue to reach out to queer organizations to build connections. I think all of these efforts play a role in promoting Ballroom culture and gaining that visibility.

Are there any upcoming events, projects, or collaborations from The International Kiki House of Sassy Savage that people should keep an eye out for??

For now, we don’t have anything confirmed. We host periodic sessions in Hong Kong and occasional functions in Australia. Keep an eye on our Instagram page, @houseofsassysavage, for upcoming events, and @houseofsassysavageau for the Australia side.

Looking ahead, what are your hopes for the future of The International Kiki House of Sassy Savage and the Ballroom scene in Hong Kong?

My vision for The International Kiki House of Sassy Savage are to have more chapters internationally so that our house members — the family, the siblings — can feel at home everywhere they go.

I want to keep expanding and bridging the gaps between Hong Kong and Australia. That is how I contribute to the community — if I see something lacking, I will do something about it.

I hope that Voguing in Hong Kong can keep evolving while staying connected to the roots of Ballroom. It's important that people in the scene remain curious about the culture and history of Ballroom and promote the right knowledge to people.

If you want to know more about Ballroom culture or you want to collaborate, feel free to reach out to us on our Instagram page. I hope we can connect more with the queer community, especially the transgender community, and provide a safe space for them.

Follow Wan on Instagram, and keep up with the latest House of Sassy Savage events, performances and workshops via their Instagram, Linktree and Youtube.