9GAG is celebrating its 18th birthday with a collab, not a cake.
The meme platform has teamed up with Hong Kong lifestyle label GRS (Growth Ring & Supply) on "9GAGRS," a limited streetwear collection released on July 1 under the new "Youth Association" line. Pieces are available at the Potatoz Pop-Up in Mong Kok and online while supplies last.
The collection's centerpiece is "Kowloon," a custom typeface created by Japanese Type Designer Yu Miyama. Designed with younger audiences in mind, the font runs through a collection that reworks the Three Wise Monkeys — the ancient trio famous for seeing, hearing, and speaking no evil.
Instead of covering their eyes, ears, and mouths, 9GAGRS' monkeys get an update: choose what gets in, filter the noise, and think before you share. The brand sums up the whole ethos in four words: "Go Fun, Wise Move."
Photo from Instagram/GR Squad
The collaboration marks 9GAG's 18th anniversary. A home for internet memes, the collaboration leans into that milestone directly, framing the coming-of-age moment as an invitation to be more deliberate when it comes to social media.
GRS brings its own design philosophy to the mashup. Founded in 2014, the label started as a shop curating lifestyle goods sourced internationally across different eras, prioritizing quality and function over trend-chasing. It has since expanded into its own apparel, furniture, and accessories, built around an "Authentic Aesthetic" philosophy.
The 9GAGRS collection is available now through the Potatoz Pop-Up Store at T.O.P This Is Our Place, 1/F, 700 Nathan Road, Mong Kok (MTR Mong Kok Station, Exit B4), open daily from 12 NN to 7 PM, and online, while stock lasts.
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After a seven-year hiatus, one of Hong Kong's beloved beachside music festivals is making its long-awaited comeback. The Big Picnic returns to Tai Pak Beach in Discovery Bay on Nov. 21, 2026, bringing more than 24 live acts across two stages, an artisan market, and 11 hours of music to Lantau Island.
Running from 11 AM to 10 PM, the festival marks 20 years since its founding in 2006. And while the name suggests a laid-back afternoon picnic gathering, everyone can expect a full-day event with live music performances, local food and drinks, and much more.
The Tai Pak Stage, set right on the beach, will feature festival favorites and headliners, including Jaywalkers, Helium 3, Murphy and the Lawyers, Samba Latina, Indigo Town, Powerful Moss, MOJO, Don't Panic, Naggin Eejits, Mr Big Stuff, DC Bands, The Unsung Heroes, The Decibels, and the Hong Kong Welsh Male Voice Choir.
Meanwhile, the Chek Lap Kok Stage will serve up an eclectic mix, with performances from The Gurrling, Diamond 6, Funkaphones, U2D2, The Young Bucks, Tetrys, Junior Fireflies, Benzine, and Black Cat Bone.
Beyond the music, festivalgoers can browse an artisan marketplace curated by Handmade Hong Kong, discover locally made goods, and grab refreshments from food and beverage stalls. There's also a beach bar for those looking to enjoy a drink by the water, while a dedicated Kids Zone by Tekkers will keep younger attendees entertained.
Courtesy of The Big PicnicCourtesy of The Big Picnic
Originally launched as Picnic in the Park at Siena Park in 2006, the grassroots gathering began as a way to bring Discovery Bay residents together while championing independent local musicians.
A decade later, in 2016, the event adopted its current name and moved to DB Plaza and Tai Pak Beach. It eventually became an annual community tradition and a platform for emerging artists before its last edition in 2019.
For Carla Acepcion, the festival's Programming and Marketing Director, bringing the event back is particularly meaningful. "Like so many kids raised in Discovery Bay, I grew up with Picnic in the Park," Carla said. "I spent my youth performing on stage and managing these stages, soaking in the music, and learning what it meant to build community through art."
Now, the festival aims to reconnect longtime residents, introduce newcomers to Discovery Bay's creative community, and give local talent another opportunity to shine.
Courtesy of The Big Picnic
Tickets to The Big Picnic are available through Ticketflap.
Early Bird (available now until Oct. 16):
General Admission: HK$198
Youth (Ages 5 to 17): HK$98
General Release (from Oct. 17 to Nov. 20):
General Admission: HK$258
Youth (Ages 5 to 17): HK$150
Door/Event Day (Nov. 21):
General Admission: HK$288
Youth (Ages 5 to 17): HK$170
Community Tier (Domestic Helpers, now until Nov. 21): HK$50
The Big Picnic 2026 Tai Pak Beach, Discovery Bay Sat, November 21 11:00 AM
- 10:00 PM
THE BIG PICNIC IS FINALLY BACK! Celebrate 20 Years of Live Music and Community.
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Clockenflap has unveiled the first wave of artists for its Dec. 4 to 6, 2026 return to Central Harbourfront Event Space, with Hayley Williams, Keshi, Slowdive, Malcolm Todd, and Queens of the Stone Age among the major names heading to the city.
Hayley Williams, the Paramore frontwoman who has also carved out a formidable solo career, will headline on Dec. 5, while alt-R&B artist Keshi tops the Dec. 4 bill. According to the festival organizers, Hong Kong will be the first stop in the region to catch Hayley Williams' latest live show, following her announcement as a Primavera Festival 2027 headliner.
Sunday, Dec. 6, brings Slowdive alongside South Korean indie favorite Hyukoh and alt-rock band The Jesus and Mary Chain, while Sonic Youth Co-Founder Kim Gordon joins the Dec. 4 lineup. Queens of the Stone Age, meanwhile, are scheduled to perform on Dec. 5.
Alternative R&B star Malcolm Todd, jazz duo DOMi & JD BECK, alternative hip-hop veterans Digable Planets, post-punk duo Sleaford Mords, techno heavyweight Marcel Dettmann, and electronic act HE.R Soundsystem are all on the lineup. Singer-songwriter Daniela Andrade, pop-rock band SIX60, alt-R&B vocalist PAMI, dream-pop artist Fazerdaze, genre-blending trio Chanpan, and jazz-fusion Brekky Boy round out the first batch.
More artists are still to be announced.
Courtesy of Clockenflap
Clockenflap will once again spread across multiple stages, but aside from the music, the 2026 edition promises art installations, family-friendly workshops and performances, plus food and drinks from local outlets.
General admission weekend passes are priced at HK$2,180, while single-day tickets cost HK$1,380. For attendees under 18, three-day passes are HK$1,680, with single-day tickets at HK$980. Tickets are available online via this link.
Eligible American Express cardmembers have priority booking with 15% off tickets from now until Oct. 10, 2:59 PM (HKT). Public sales begin on Oct. 10 at 3 PM (HKT), with eligible American Express cardmembers receiving 12% savings through Nov. 10.
For more updates and information, visit Clockenflap's official website and follow them on Instagram.
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Hong Kong's annual international jazz festival is returning this November with its biggest edition yet, bringing 10 days of music, seven indoor and outdoor stages, and a lineup that explores everything jazz and beyond.
Cathay・WestK Jazz Fest runs from Nov. 13 to 24, 2026 across Freespace, Xiqu Centre, Wonderland and the Art Park, with Grammy-winning stars Kenny G and Diana Krall, acclaimed vocalist Stacey Kent, and a mix of international names, Hong Kong artists, and cross-genre performers.
Tickets for the festival's paid programs went on sale on Sept. 29, through Cityline and the Xiqu Centre Ticket Office, with a maximum of four tickets per program per transaction.
Now in its eighth edition, the festival will unfold across two weekends and multiple venues, including three outdoor lawns. In typical music festival fashion, everyone can move between stages from early till late, catching everything from jazz and pop to new collaborations and genre-mixing performances.
Jazz icon Diana Krall opens the ticketed lineup on Nov. 13, followed by Grammy-nominated artist Cory Wong and Hong Kong harmonica champion Cy Leo on Nov. 15. Jazz vocalist Stacey Kent performs on Nov. 17, while Korean jazz vocalist Song Yi Jeon brings her Acoustic Trio to the festival on Nov. 19.
Hong Kong singer-songwriter JACE joins music director Teriver Cheung for "I WANNA RIDE THEM BIG CARS: INTO A FUTURE PAST" on Nov. 21, with rising Italian jazz pianist Francesca Tandoi following on Nov. 22.
The festival closes on Nov. 24 with Kenny G at Wonderland. The Grammy-winning saxophonist's appearance marks his first Hong Kong concert since 2008 and is presented in collaboration with Montreux Jazz Festival China. Performing with his four-piece band, Kenny G is expected to revisit some of his signature tracks alongside some pieces from his 20th studio album, "Innocence."
Beyond the headliners, Cathay・WestK Jazz Fest will also host free outdoor performances, food and drink offerings, and a new "calm oasis" on the lawn beside M+. The wellness space will offer complimentary activities focused on the body, mind, and soul.
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Ne-Yo, MEOVV, and members of MIRROR are taking over Wan Chai Harbourfront for the 2026 return of FWD Insurance Presents: Spooky Halloween.
Organized by Live Nation Electronic Asia, the Halloween music carnival returns from Oct. 30 to Nov. 1, 2026 at the Wan Chai Harbourfront Event Space, combining nightly live performances with a supersized carnival packed with horror attractions, installations, games, and food.
The Mainstage Music Zone kicks off on Oct. 30 with underground electronic acts Holy Priest, ¥ØU$UK€ ¥UK1MAT$U, and AK SPORTS, plus DJ KPEE (aka Kelvin Poon) performing with a mystery guest.
Halloween night itself gets a K-Pop meets Cantopop crossover, as MEOVV joins MIRROR members Alton, AK, Frankie and Lokman, alongside VIVA and IdG Bubbles.
Closing night on Nov. 1 belongs to Grammy-winning R&B star Ne-Yo, sharing the bill with Marf, Kiri T, and Gordon Flanders.
Photo from Website/KKTIX
Beyond the music, the carnival is going big — literally. Visitors can snap photos with a 9-meter Colossal Titan from "Attack on Titan" and Godzilla, while pop artist Matt Gondek is bringing custom giant inflatable installations to the grounds.
Those after actual scares can enter CLOT's "Parade of Demons" haunted maze, an immersive attraction inspired by Eastern horror. Kids will also have their fun at the family zone, which features themed booth games, food, and a large Halloween bouncy castle and slide.
All-access passes, which cover both the mainstage and carnival and are restricted to guests aged 18 and older, start at HK$730 for early-bird buyers, before handling fees. Regular single-day passes cost HK$930. Carnival-only tickets are HK$170 for adults and HK$50 for guests aged 17 and younger. Tickets can be booked online via this link.
The carnival runs from 4 to 10 PM on Oct. 30, and from 12 NN to 10 PM on Oct. 31 and Nov. 1. Mainstage performances run from 6 to 10:30 PM daily.
Before you plot your Halloween fits, just take note that masks, full-face paint, and special effects makeup covering the face are not allowed.
FWD Spooky Halloween 2026
Location: Wan Chai Harbourfront, 3 Hung Hing Road, Wan Chai, Hong Kong (Adjacent to Wan Chai Ferry Pier)
Dates: Oct. 30 to Nov. 1, 2026
Time: 4 PM to 10 PM (Oct. 30), 12NN to 10 PM (Oct. 31 and Nov. 1)
Mainstage Performances: 6 PM to 10:30 PM (Oct. 30 to Nov. 1)
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Just weeks before G-DRAGON’s highly anticipated return to Hong Kong for BIGBANG's three-day concert at Kai Tak Stadium this November, the K-pop icon is giving fans another reason to line up, this time at McDonald’s. The fast-food giant has officially launched its collaboration with G-DRAGON and his fashion label PEACEMINUSONE, bringing a Korean-inspired menu and a collection of limited-edition merch to the city as part of a rollout spanning 13 Asian markets.
The food lineup centers on a new Gochujang Butter Sauce developed by McDonald’s Korea. In Hong Kong, fans can try it in the new McCrispy with Gochujang Butter Sauce, which pairs a crispy Cajun-seasoned chicken thigh fillet with the sweet, savory, and spicy Korean-inspired sauce. The sauce is also available as a dip for Chicken McNuggets. Meanwhile, those who prefer extra heat can opt for the McSpicy burger version.
Photo by Website/McDonald's Hong Kong
Of course, the collaboration extends beyond burgers. Diners can upgrade to the Jumbo Combo series for an extra HK$9.50, which includes large McShaker Fries with Korean Bulgogi or Honey Butter seasoning powder and a Jeju Mandarin Punch with Mini Nata de Coco.
For dessert, there’s an OREO McFlurry with Sweetheart and Bite-sized Salted Caramel Churros. Selected items also arrive in packaging decorated with PEACEMINUSONE’s signature daisy motif, complete with the missing petal.
Photo by Website/McDonald's Hong Kong
Collectors will want to mark their calendars, too, as limited "I’M M FAN" collector cards will drop on Sept. 21 from 11 AM, followed by exclusive merchandise on Sept. 23 from 11 AM.
The merch lineup includes the same retro cap seen in G-DRAGON’s "TOO BAD" music video, a set of enamel pins showcasing the MCD heart logo, McDonald’s fries, and the PEACEMINUSONE daisy, plus a tote bag combining the Golden Arches with PEACEMINUSONE branding.
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This is your sign to add more KATSEYE merch to your K-Pop collection!
The KATSEYE "WILD" pop-up is currently happening at K-POP NAMU in Hong Kong, but fans only have until Sept. 20, 2026 to catch the exclusive sale.
Located on the first floor of MOKO, the temporary pop-up runs daily from 11 AM to 9 PM. The space brings KATSEYE's "WILD" era to life with a wide selection of merchandise throughout the store, alongside decorations and photos of the group that fans will want to snap photos of.
Among the items spotted at the pop-up are "WILD"-themed goods, photo sets, and other collectible merchandise. Fans can also get their hands on pop-up exclusive photocards, making the visit particularly tempting for EYEKONS.
The store is designed for the full fan experience, with KATSEYE visuals arranged throughout the space. And naturally, fans can spot a lightstick or two because no K-Pop shopping experience is complete without one.
Whether you're looking to support KATSEYE, collect the latest official merchandise of your favorite K-Pop groups, or simply immerse yourself in a little K-Culture while in Hong Kong, K-POP NAMU is your destination. NAMU, according to the brand, means "tree" in Korean, symbolizing K-Pop as its roots and the diverse range of art that grows from them.
For more updates and information, follow K-POP NAMU on Instagram.
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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.
Courtesy of Wan
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 homegrown 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?
Courtesy of Wan
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?
Courtesy of Wan
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.
Courtesy of Wan
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?
Courtesy of Wan
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?
Courtesy of Wan
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?
Courtesy of Wan
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?
Courtesy of Wan
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?
Courtesy of Wan
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.
Courtesy of Wan
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.
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My hometown of Edinburgh, Scotland hosted the 1986 Commonwealth Games — an international, multi-sport event happening every four years. As a young laddie, I volunteered to help sell programmes. My two abiding memories of the Games were getting decathlete and two-time Olympic gold medalist Daley Thompson's autograph, and my father complaining bitterly about the costs of the Games and how the local taxpayers would be left to foot the bill.
And he was right. Back in those days when one spoke of the "legacy" of sports events, it was more often than not in a negative sense. It took Montreal 30 years to pay off the debts left by the 1976 Olympics, whilst the cost overruns when Athens hosted in 2004 were a significant contributor to Greece's subsequent national debt crisis and economic downturn.
However, in more recent years, there have been more examples that illustrate the positive impacts sports events can have on communities, economies, and the environment — contributing to long-term benefits and sustainability.
Whether the legacy that remains will be positive or negative is not just something that happens by chance. The efforts being made by Hong Kong China Rugby (HKCR) around their hosting of the upcoming World Rugby WXV Global Series Challenger 2026 tournament, however, nicely demonstrate this point.
WXV Global Series Challenger 2026
Courtesy of Hong Kong China Rugby
This women's 15-a-side tournament is an important event for our city, bringing together six international representative teams to participate over three weeks at the Kai Tak Youth Sports Ground — and its significance has been recognized by the government, with the Major Sports Events Committee (MSEC) awarding the rugby event the prestigious "M" Mark status.
The status symbolizes a new series of signature sports events bolstering Hong Kong's status as a sports and mega event capital.
And with this upcoming event, there is much at stake. HKCR Women's XV first debuted in 2017 in Ireland, becoming the first representative rugby team to qualify for the Rugby World Cup.
A 50-Year Legacy in the Making
Courtesy of Hong Kong China Rugby
When it comes to sorting out legacy plans, the HKCR is at a distinct advantage given its 50 years of experience hosting the Cathay/HSBC Sevens. Plus, their engaged, passionate local community sits at the very heart of the exciting initiatives that are being rolled out over the coming weeks. It also doesn't hurt to have, amongst your management team, an individual like Jamie Farndale, their General Manager for Club Development & Sustainability. Jamie himself competed at two Commonwealth Games and has become a globally recognized voice through his role as an International Olympic Committee Sustainability Ambassador.
As Jamie explains, whilst there will naturally be a focus on girls' and women's rugby, every effort has been made to engage the entire community across all ages, both on the pitch and off it:
"To mark the one-week countdown to the opening match day, we joined with the Mini Rugby Union to host a Mini WXV Day last Sept. 5, 2026 at King's Park Sports Ground, with 250 youngsters aged from 8 to 11 years getting to play in the colors of the six participating teams — Fiji, Spain, Netherlands, Brazil, Samoa, and of course, Hong Kong, China."
Hong Kong currently ranks 16th in the world, just behind Samoa at 15th. Spain follows at 14th, while Fiji holds the 13th spot. The Netherlands is at 27th, just two spots behind 25th-ranked Brazil. The final resulting standings will affect their qualification for the Rugby World Cup 2028.
Each participant also received a souvenir shirt, a mini WXV medal, and an education workbook with facts about the participating countries. He continues, "Alongside the tournament, 100 girls from older age groups had an opportunity to enjoy a skills training session run by HKCR senior coaches, with our professional Sevens players also taking part in some fun skill games. The whole day centered around the chance to watch the Samoa and Hong Kong, China teams have a training game together, and then grab autographs and selfies with the stars.
Having all of our next generation of talent playing and training alongside these superstars in one colorful celebration of girls' and women's rugby really created that 'see it to be it' space, and I love the idea of how many girls might have left the day having decided they are going to one day play for Hong Kong, China."
Hong Kong's Next Generation of Talent
Courtesy of Hong Kong China Rugby
Whilst playing skills are being honed on the pitch, young creative talent is also being nurtured in the stands, as HKCR has joined with World Rugby to offer 16 budding content creators the opportunity to join a workshop and learn from the pros on how to more effectively capture and tell stories. On the tournament match days, each participant will be assigned a team to follow and produce content on, with ongoing tips and advice from their assigned mentors.
What about the adults? I hear you cry - well, never fear, HKCR has got plenty lined up for them as well, as Jamie explains:
"We're running a coach-shadowing program throughout the duration of the WXV, with young female coaches being given full access to watch the international teams go through their training and match preparations. These coaches will then use what they have learned as part of a coaching task force that will deliver 10 Rugby Rising sessions in local schools, introducing students to the basics of the game along with the values of rugby and the important life skills it imparts."
And last, but by no means least, a special Women in Rugby Summit will be held alongside WVX, leveraging the tournament as a platform to bring together some of the most passionate hearts and influential minds in women's sport. Themed "From Opportunity to Impact," the summit will feature panelists from the international rugby community, entrepreneurs, and senior leaders, providing a powerful platform to explore the opportunities and potential for advancing women's sport, both in Hong Kong and globally.
All in all, it seems that, however the ball bounces on the day and whichever team takes home the silverware, there's going to be a lasting legacy from WXV Challenger 2026 — and that's truly something we can all celebrate.
WXV Global Series Challenger 2026 Kai Tak Youth Sports Ground Sun, September 13 3:30 PM
onwards
Catch world-class women’s rugby action at the WXV Global Series Challenger 2026 on Sept. 13, 19, and 26, 2026, at Kai Tak Youth Sports Ground.
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For RAINB.W, painting is more than an art form; it's a conversation. Starting with a blank canvas, it evolves with every stroke, slowly building into "something, but not something yet," as she puts it. Little by little, the painting reveals itself. And it's not something you can control or force. This process, while seemingly minimal, is a technique she's perfected over the last decade — and her artworks speak for themselves.
Rainbow Tse, better known by her artist name RAINB.W, has spent years turning Hong Kong's scenery and skyline into something soft and glowing — more like a memory rather than a photograph. Her signature technique of pairing delicate, translucent watercolor with moody, high-contrast nightscapes may sound like a contradiction. But on canvas, the appeal is instant. With bokeh blur and soft edges, you're immediately taken into the scene, feeling something you can't quite name.
Courtesy of Rainbow Tse
But it's not what she originally trained for. Rainbow studied Fine Arts (Arts History) and Psychology at the University of Hong Kong, then came back for a Master's in Counselling. Even though it's not the career she pursued, Rainbow shares that her psychology background has given her a unique advantage as an artist, an ability to translate emotions onto a canvas.
She's painted Hong Kong's Victoria Harbour more times than she can count, but she still loves visiting the site to gather inspiration. Her works have been exhibited everywhere from PMQ to Prague, landing in the pages of local magazines, featured in Hong Kong's Affordable Art Fair, and more.
In this Artist Spotlight exclusive, The Beat Asia sits down with RAINB.W to talk about painting Hong Kong through a psychologist's lens, the beauty in watercolor's unpredictability, and why painting is not so much about bringing an idea to life as having a conversation with your canvas.
Courtesy of Rainbow Tse
What was it about art that drew you away from a "traditional" career path?
I've always just liked doing my own thing. There's something in me that resists a straight, predetermined path.
I think sometimes the artist is simply the person who couldn't stay on the traditional track — not out of rebellion exactly, but because the pull toward making, toward seeing and expressing, was stronger than the security of a conventional career. I love that through creating art and through watercolor, I get to do that.
Does your psychology background shape the way you think about how viewers emotionally respond to your work?
Yes and no. When I'm creating, I deliberately try not to think about the audience. If I start calculating how someone might feel or what they might need from the painting, the work becomes self-conscious and loses its honesty.
At the same time, my background has made me more attentive to the quiet, preverbal emotional currents that run through an image. It helps me stay in contact with my own inner state as I work — the subtle shifts in feeling, energy, and intuition that arise while I'm painting. As I converse with the paper, the paint, and the water, I'm also listening to myself.
In many ways, the quality that makes me effective in psychology — this sensitivity — is the same quality that shapes my paintings and lets them come into being with the depth and nuance they have.
There's another interesting layer to this. Sometimes, when I look back at paintings from a certain period, I can feel the version of myself who made them — the particular questions, moods, or life circumstances I was carrying at the time. Each piece holds a kind of quiet spirit of who I was then. That's why there are actually many paintings I simply can't bring myself to sell!
Looking back, do you see painting itself as a kind of therapy — whether for yourself or the people who view your work?
Absolutely. When I'm painting, I'm in a deep state of flow [and] I feel fully present. And I think the paintings themselves say something my words can't. They capture or express something...a feeling that arrives before language. I believe that's part of why people are drawn to them. Viewers often sense an emotion or atmosphere they recognize but couldn't quite name until they saw it. In that sense, I think the work can be therapeutic for both of us: it helps me process and stay grounded, and it offers others a quiet place to feel something true.
Courtesy of Rainbow Tse
You've described watercolor as a medium "that can never be fully controlled." What is it about that nature that appeals to you?
I like the challenge and the thrill. There's a real time constraint: you have to move before the layer dries, decide quickly, and respond to what the water is already doing. Water is so malleable, shapable, and changeable. It never behaves exactly the same way twice. That unpredictability forces me to stay present and adaptive rather than controlling.
The painting isn't just something I impose; it's something that emerges between me and the medium. The beauty that appears when the water does something unexpected is often more alive than anything I could have planned. It's not something I can replicate even if I wanted to.
When you create, do you start with a clear vision?
I usually begin with a slight hunch or a direction — maybe a color in mind, a particular quality of light, or a mood.
Then I let the rest unfold naturally. I often don't know how a painting will look until I reach the end. In some sense, that uncertainty is what makes it art for me. Painting becomes a conversation with the paper, the paint, and the water. We co-create the image through that interaction.
Courtesy of Rainbow Tse
Your work often pairs soft, transparent watercolors with dark, high-contrast nightscapes. It's a pairing you've called unlikely. How did you develop this specific aesthetic?
In my very early years, I worked mainly in acrylic. I was drawn to bold light and color, dramatic high contrast, and the glow of night cityscapes.
When I began plein air painting, watercolor became the practical choice because it's portable and dries quickly. It was then that I discovered that watercolor has a unique ability to paint light because of the way it flowed and blended.
We often think of watercolor as soft and pale, but I became fascinated by how far you can push it into deep, rich darks while still keeping the transparency and luminosity that only water can give.
Do you draw inspiration from Hong Kong's vibe specifically, does it come from a universal feeling, or something else?
I grew up in this city, so naturally — and often unconsciously — Hong Kong has deep roots in my work. The light, the density, the particular way night falls over the buildings and neon signs.
At the same time, I don't think the paintings are only about Hong Kong. What I'm really drawn to is a more universal feeling: atmosphere, quiet drama, the emotional charge of light against dark, the sense of a place that is both specific and somehow familiar. Hong Kong is the landscape I know in my bones, so it becomes the vessel for those feelings. But the feelings themselves — wonder, nostalgia, stillness in the middle of movement — are not limited to this city.
What's the hardest part about painting darkness and light with a medium that's naturally so translucent?
The unique thing about watercolor is that the white you see in the painting is the white of the paper itself. You're not painting light on top of something; you're preserving it by leaving it out.
That reversal is already a mental shift.
Then, to create true darkness and high contrast, you have to build rich, dark colors in very few layers. If you go back too many times, the paint can start to look lifted, dull, or overworked. Every brushstroke has to carry a certain confidence and assurance, because once the pigment is down, you can't really take it back.
Courtesy of Rainbow TseCourtesy of Rainbow Tse
Looking at your work, there's a signature blur. Lights often dissolve into soft bokeh-like circles. How did you develop that technique?
If you look at my earlier paintings, you can clearly see the evolution. I've always been interested in light and color, but over the years, the edges have grown softer and more blurred. The soft bokeh quality came gradually as my technique developed and as I grew more certain in my own practice. I began to feel freer to move beyond strict realism.
There's also something special about painting cityscapes and familiar street scenes that makes this possible. Because most people already carry a mental structure of what a city looks like — especially a place as distinct as Hong Kong — I have more freedom to [be] abstract. Even if a building is only suggested or reduced to a shadow of itself, the brain still recognizes it. The image isn't fully abstract; it's abstraction built on a familiar foundation.
That blurriness creates space: space for the imagination, space for the viewer to complete the scene with their own memories and feelings. A sharper, more literal rendering would close that space. The soft edges let the painting breathe and invite the viewer in.
Do you remember when you first developed this style? And how did it make you feel?
Some of my early paintings from around 2014 already carried that love of high contrast, glowing night scenes, and dramatic mood. The softer, more blurred quality arrived later.
I don't remember one single "breakthrough" painting so much as a gradual loosening — a growing sense of ease and trust in the process. It became less about capturing every detail and more about letting the atmosphere speak. I think this is the natural path: we often need to move through structure and clarity first before we can truly [go] abstract.
Courtesy of Rainbow Tse
You've said you see painting as a way of encountering the world with wonder and awe. Is there a particular moment that first made you see Hong Kong that way?
I don't think it was one single moment, and it's not entirely about Hong Kong itself. It's more of a way of seeing that comes from within.
Sometimes when we pause and slow down, we start to notice beauty in the ordinary — the walkway to work, the particular street we pass every day on the way home. We can become jaded and stop seeing what's always there. But if we slow down, more becomes visible. That was one of the first things I wanted my paintings to do: to offer everyday streets of Hong Kong through a fresher pair of eyes, so that others might also notice the quiet beauty that is already present.
Is there anywhere in Hong Kong that still gives you that feeling?
Walking by the harbor never gets old. It's one of the reasons I've painted it more than a hundred times and still find new ways to approach it.
I'm not bored of it. The light changes, the weather changes, my own state changes — and each time the harbor meets me differently. That outgoing sense of discovery is part of what keeps the wonder alive.
Beyond watercolor, you've mentioned an interest in digital art and its "limitless potential in creating the imagined." What can digital work let you do that watercolor can't? And vice versa?
The undo button, of course! Jokes aside, digital work offers a different kind of freedom. There's more room to experiment, test ideas, change direction, and try things without permanent consequences. You can explore imagined worlds and push compositions to a whole different level.
Watercolor is the opposite in the best way. Once a color is down, you essentially cannot remove it. The process has to unfold organically, and sometimes, the painting takes a turn you can no longer reverse. That irreversibility forces a different kind of presence and decision-making. The medium has its own will; you're in conversation with it rather than fully in control.
Courtesy of Rainbow Tse
Your work has been featured in publications and exhibited locally and internationally. Has seeing your work reach an international audience changed how you think about painting Hong Kong?
I think we really do have one of the most beautiful skylines in the world (I admit I'm biased!) But more importantly, I've learned that people relate to the paintings in their own ways, whether or not they recognize Hong Kong specifically. The sentiments, moods, and quiet stories created through light and color feel universal. Even viewers who have never been here often respond to the atmosphere.
I've also heard from people overseas who once lived in Hong Kong or visited, and who say a painting brought them right back to a particular feeling or memory of the place. That has been especially meaningful to me — knowing the work can act as a kind of emotional bridge across distance and time.
I love hearing these stories when I'm showing work in person. People relate to the same street or the same colors in completely different ways. For one person, it might trigger a childhood memory; for another, it's tied to a love story or a particular season of their life. The same painting can hold all of that.
This is one of the things I love most about art — how an image can become a mirror for so many different private worlds.
Your regularly exhibit at Affordable Art Fair. What role do you see yourself or your artwork playing in bridging the gap between young people and the traditional fine art world?
Art collecting doesn't have to be only for the elite.
I believe we all need a little art in our lives — something that brings color, feeling, and presence into everyday spaces. At the Affordable Art Fair, I've especially enjoyed meeting people who are buying art for the first time: sometimes for a new home or a meaningful, one-of-a-kind gift. Being part of that first encounter feels important, and I hope my work can help make their space a little more colorful too.
What would you say to young person who loves art but feels shut out of or intimidated by the "fine art" world?
Start creating. You become an artist by making art. I also believe that what we believe tends to shape what becomes possible. Our perspective influences the choices we make, how we carry ourselves, and the paths we take. To do well at anything, you have to be willing to believe in yourself enough to begin. You have to be willing to bet on yourself — that, more than anything else, is what opens the door.
Do you see a shift happening in who's collecting art now? And does that change how you think about your own work?
I sense that the circle of who collects art is widening, which I think is great. As I've said, everyone could use a little more color in their space, and I love being a part of that through my paintings. At the same time, I still paint from the same internal compass and trust that the rest will follow.
Courtesy of Rainbow Tse
What's next for you?
I'm working on new paintings that will be released later this year, and I'm organizing some open studio events.
I'll also be offering more online classes, as well as in-person workshops again. I haven't taught in person for a while, so I'm excited to return to that. There's a different energy when people are painting together in the same room, and I've missed it.
This interview has been edited for length and clarity.
To learn more about Rainb.w and her art, visit her website and follow her on Instagram.
Enjoyed this article? Check out our previous Artist Spotlight profiles here.
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Hong Kong-born Jordan Leung, better known online as 69ranch, is bringing his international "Back to Work" tour home for two nights at TIDES in Whampoa this October.
Leung performs in English on Oct. 17, 2026 and in Cantonese on Oct. 18, 2026, with both shows starting at 8 PM. Tickets are HK$480 and HK$380, currently on sale via Ticketflap. The run is presented by BOHM Presents, Clockenflap, and TIDES.
[Update] Due to popular demand, organizers added a second 5 PM show on Oct. 18, 2026. Tickets are on sale now, but fans hoping to catch the set should move quickly.
The bilingual stand-up comedian built his following on viral Instagram reels before taking his act to international stages, earning critical acclaim along the way. His comedy has been described as deadpan, and organizers describe his sets as "rude, rich, razor-sharp," capturing the essence of Hong Kong filtered through his own American-born Chinese perspective.
By his own description, Leung is a "Hong Kong American stand-up comedian floating somewhere between U.S. and Hong Kong." His Hong Kong stop is expected to be something of a homecoming for the comedian. Tickets are running out fast.
Location: TIDES, 1/F & MEZZ/F, Site 6, The Whampoa Garden, Hung Hom, Kowloon
Dates and Time: Oct. 17 and 18, 2026, 8 PM
Ticket Price: HK$480 and HK$380
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