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Maria Rivera New York Runway Model Maria Rivera: From Manila to Manhattan, A Journey of Resilience and Grace An influencer in her own right, Maria Rivera is a fashion model in New York City whose career began in the Philippines. She was born and raised in Sampaloc, Manila, by her grandmother Lola Tule (Lola translates to grandmother). Sampaloc (which translates to Tamarind, as the area once had an abundance of tamarind trees) is a district situated in the northern part of Manila. It is known for its bustling markets with vibrant scenes, much like the vibrant, cheerful, well-dressed, and elegant Maria when she first walked into the café in downtown Manhattan for her interview. She also carries the spirit of Bulacan from her father’s side and Pampanga from her mother’s side. Bulacan is located in the northern part of Manila, a place that played a very important role in Philippine history. It is where the first republic, or Malolos Republic, was declared in 1899, following the Philippines' Declaration of Independence from Spanish colonial rule in 1898. The province of Pampanga, on the other hand, is situated in Central Luzon. It is known as the culinary capital of the Philippines and a major agricultural region producing rice. From her already vivacious life as a city girl in Manila, Maria relocated alone to New York City five years ago, signing with a New York-based modeling agency. She was immediately tested by the stringent demands of the fashion industry, from meeting strict standards for physique to navigating a culture of both success and rejection. Alone in a big city with no one to rely on, Maria found comfort when she met another Filipino model in New York. The two became good friends, planning their highly disciplined eating routines and naturally becoming each other’s support system. “Rejection became our meal,” Maria explains. Going to casting calls made her realize that there are so many beautiful women in New York, raising the question of why she was even there. Models are pushed to be someone the job requires, but not necessarily someone they want to be. Over time, Maria faced her challenges with resilience and grace, a prominent quality of a Filipina. The compliments and attention she received made her timid, yet they also provided her the feeling of validation as a rightful public figure who can positively affect people. New York City indeed is not lacking in beautiful models, but what is remarkable about Maria is that for a young woman, she is dignified. Regardless of the details of her hardships working as a fashion model and the challenges imposed on her self-esteem, she speaks of her experiences maturely rather than defeated. For Maria, beauty is subjective. She reiterated that while some people are naturally suited to be models with their specific physical qualities, she doesn’t believe women have to be a size 2 or 0. It is not realistic. She recalls the time when she was asked to try out for the Victoria's Secret Pink casting. She dedicated months to prepare herself physically to the point of being emaciated. While her thin figure made it easy to wear clothes, it did not make her feel good. Today, Maria feels more beautiful, admitting she is very happy after meeting her supportive fiancé three years ago. As a promising vlogger with a significant following under the name “Mabuhay Maria,” Maria plans to create future vlogs for aspiring models, helping them understand the realities of the modeling industry. Her goal is to become a positive influencer. When asked about her identity as a Filipina, Maria immediately responded, “I am proud,” hence her vlogger name “Mabuhay Maria,” which translates to "live life, Maria." She explains that Filipinos are naturally jolly and accommodating, even to strangers. “Filipinos are very talented but sometimes don’t know it,” she added. They adapt easily to different environments and are fighters by nature. Maria identifies herself as a fighter, quoting Alicia Keys: “If you can make it here, you can make it anywhere.” In her foreseeable future, she sees her vlogging continuing to expand. She wants to use her platform to educate the world that Filipinos are not just nurses, beauty queens, and domestic helpers. She hopes to highlight Filipino successes and move away from clichés. As a fashion model and vlogger, Maria advises young people struggling with self-esteem to “listen and communicate with your family and relatives because your blood is your strongest ally.” She notes that many young people today turn to social media for information, often growing up too fast and being misled. Enjoying youth, living in the moment, and asking for help are also signs of strong character. Maria may not have had the chance to be raised closely by her parents, but being raised by Lola Tule certainly made her an outstanding individual. From a matriarchal upbringing, Maria was already a very grounded person before moving to New York City. When asked if she considers herself a New Yorker, she replied, “I am not a New Yorker, but I do add spice to New York.” Maria carries her success with humility and faces her difficulties with tenacity—a true Filipina indeed. Photo credit: Provided by Maria Rivera Previous Next

Previous Next < Back Michael Cho Elegance in Form: Michael Cho at Amsale Images provided by Michael Cho A gown is more than a garment—it is a masterpiece of art, a wearable image that reflects the person for whom it was created. In each fold of silk, satin, tulle, or lace, and every meticulously placed bead, lies an intimate conversation: a reflection of their life, their character, and a quiet dream waiting to be revealed. It becomes a love letter from the visionary who transforms momentary thoughts into a tangible, breathtaking reality—one that endures, expressing a vision that complements both creator and muse. Michael Cho, Design Director of bridal and evening gowns at the acclaimed New York City fashion house Amsale, is a true visionary in modern couture. His work elevates clothing into meticulously crafted dreams for discerning brides and those attending life’s most formal occasions. To meet and collaborate with him is to enter a realm of refined artistry—where imagination, technique, and intention converge to create garments that leave a lasting impression. THE ARCHITECTURE OF COUTURE An important influence on Cho’s design process is the close relationship between architecture and fashion. “We use different materials,” he explains, “but ultimately we both use texture and shapes to tell our ‘stories.’ Understanding construction to properly execute a design is paramount in both.” He points to the challenge of creating a single seam gown as an example, noting it requires profound technical knowledge of how fabric drapes on the body. “Having the technical knowledge to manipulate fabric and appropriately construct a garment is what really separates the masters from amateurs.” EMOTION AT THE HEART OF DESIGN For Cho, design is rooted in storytelling, particularly through emotion. When facing creative blocks, he returns to the basics, asking himself, “What am I trying to convey?” His ultimate goal is to create work with an emotional core: “Without an emotional core, I find that the story lacks depth and meaning and thereby becomes just another empty ‘pretty’ piece.” The word “incandescent” embodies this approach—moments of gentle glow and enchanting warmth that his work aims to capture and share. Born in Atlanta, Georgia, and raised primarily in New York City, Cho is a Korean American whose family background plays a significant role in his perspective. “My parents are originally from South Korea,” he shares, “and I am the youngest of three children.” His cultural heritage, combined with New York City’s diverse atmosphere, shaped his outlook and artistic sensibility. ROOTS AND INFLUENCES His interest in fashion began early. “I first started experimenting with fashion design as far back as middle school,” he recalls. “I loved to mix and match different clothing items with accessories to make unique looks.” In high school, he explored garment deconstruction, creating “avant-garde” pieces that fueled both inspiration and fun. After graduating from Parsons School of Design with a Bachelor of Fine Arts, majoring in fashion design, Cho entered the industry but soon found the corporate environment limiting. “That moment came when I realized I was no longer on the path I once yearned for,” he reflects. Taking a risk, Cho left to pursue his artistic voice, resulting in his first two personal collections: The Black Iris and The Leucite’s Copse. These works combined couture techniques with fantastical, story-driven design and solidified his future in evening and bridal wear. A COSMOPOLITAN PHILOSOPHY: INSPIRATIONS FROM AROUND THE WORLD Cho’s design philosophy is deeply influenced by the cultural melting pot that is New York City. “There is a freedom here to explore varied facets of numerous cultures,” he explains. This cosmopolitan spirit pairs with the city’s modern elegance in what he calls “modern fantasticism.” Additionally, his admiration for Japanese and Icelandic aesthetics further informs his work. Japanese design is defined by minimalism, precision, and respect for form—traits that echo in Cho’s preference for clean lines and meticulous detail. The Japanese value of monozukuri, or craftsmanship with soul, resonates deeply with his couture philosophy. Meanwhile, Iceland’s raw, ethereal beauty—its volcanic terrain, glassy fjords, and quiet isolation—inspires a kind of emotional clarity. “The sweeping landscapes and quiet remote locations I visited were incredibly moving,” he says. “You could say my time in Iceland was truly ‘incandescent.’” THE MEANING OF THE BRIDAL GOWN Within bridal fashion, Cho challenges common misconceptions. “Many believe all bridal gowns are ‘the same’ or ‘lesser than’ evening gowns because they’re primarily white,” he says. In reality, a bridal gown is never just a garment—it carries profound symbolic weight. Across both Asian and Western cultures, the wedding dress is a vessel for memory and meaning. It does not merely signify the ceremony, but also the years, decisions, and shared experiences that have led a couple to that singular moment. The gown becomes a deeply personal artifact—one that speaks to family, cultural tradition, and the emotional arc of a relationship. Cho emphasizes that designing for such a moment demands precision, respect, and emotional awareness. Because bridal design offers no camouflage in bold color or embellishment, its craftsmanship must be exacting. He encourages brides to slow down, reject the pressure of instant gratification, and honor the significance of the dress by investing in a thoughtfully made, custom-fitted piece that will reflect the depth of their commitment. PERSONAL TOUCHES: HONORING STORIES THROUGH DESIGN Cho’s sensitivity to personal stories is evident in his work. He recalls a client who wanted to honor her late father on her wedding day. “I incorporated a small pocket on the left chest, near the heart, to hold a locket pendant with her father’s picture,” he says. “It allowed her to keep him close to her heart on her special day.” Though technology plays a role in fashion today, Cho approaches it with measured respect. “Technology is just another tool in the toolbox,” he says. “I am still a supporter of analog tools, which may be considered ‘old fashioned’ by some.” He warns against over reliance on technology, as valuable craftsmanship knowledge risks being lost with younger designers depending too much on digital methods. ADVICE FOR ASPIRING DESIGNERS To aspiring designers, Cho offers practical and heartfelt advice: “You are surrounded by a deluge of content and opinions, which can be overwhelming. It’s easy to become burnt out or stray from your vision.” He urges young creatives to focus on their unique voice rather than chasing trends or external pressures. “Keep your ego in check, recognize your weaknesses, and strive to better yourself. Never stop creating and pushing boundaries.” As Cho continues to blend tradition and innovation, structure and softness, his work serves as a quiet but powerful reminder: in an industry often fixated on spectacle, it is the emotional core—the story behind the gown—that truly endures. Michael Cho.jpeg Michael Cho.jpeg Michael Cho.jpeg Michael Cho.jpeg 1/5 Images provided by Michael Cho Previous Next

< Back Victor Yadne The Song of the Tundra: The Living Art of Victor Yadne Image Provided by Victor Yadne In the northern silence where wind shapes the earth and light drifts like breath across frozen plains, art finds a voice in bone and antler. From this elemental world emerges Victor Yadne, a sculptor whose hands remember the language of his ancestors. His carvings do not merely depict life on the tundra—they listen to it, translating the quiet pulse of reindeer hooves, the drift of snow, and the echo of human belonging into form. Each piece he creates carries the weight of memory and the grace of movement, revealing a world where creation itself is inseparable from survival and reverence. The tundra is a vast region found mainly in high mountainous areas around the Arctic. It is characterized by permafrost, low shrubs, lakes, rivers, cold winters, and short, cool summers. This biome is home to animals such as reindeer, Arctic hares, Arctic foxes, musk oxen, and wolves, among others. The Arctic and sub-Arctic tundra of northwest Siberia—particularly the Yamal Peninsula and the broader Yamalo-Nenets Autonomous Okrug of Russia—is home to the nomadic Indigenous people known as the Nenets. Their culture is deeply rooted in the herding of large reindeer populations, which provide food, hides, transportation, and materials for their mobile dwellings. Life on the Yamal Tundra Amid the stunning yet unforgiving landscape of the Arctic emerged a brilliant and well-respected sculptor, Victor Yadne. His art speaks the language of his landscape, reflecting both its intricacy and the discipline nature instilled in him. “My upbringing is inseparable from the harsh and beautiful nature of Yamal, from the way of life of my people, the Nenets. I was born in the tundra, in a family of reindeer herders and hunters, and my childhood was spent migrating. We were constantly moving with the reindeer across the vast expanses, and this rhythm, this deep connection with the land and animals, became my first and most important teacher.” From Tundra to International Exhibitions Today, Yadne lives and works in New York, where his practice continues to evolve while maintaining a strong connection to the traditions of his homeland. His work has been presented in several exhibitions internationally. In 2024, one of his exhibitions took place in New Bedford, while simultaneously his work was shown in Zurich and Bern, Switzerland. From October 2025 to February 15, 2026, his work is exhibited at the Queens Museum, and he is currently preparing for an upcoming exhibition at the National Gallery in Ottawa, Canada. A small permanent exhibition of his works is also on view at the Grade Hook Gallery, North Gallery. Victor Yadne is among the few artists who shape reindeer antler and bone into expressive sculptures, drawing directly from ancestral narratives and the realities of tundra life. His practice exists alongside other forms of Nenets continuity: while Yadne carves, his older brother works as a fisherman in a small village, sustaining the community’s enduring relationship with rivers, seasons, and subsistence traditions. “For as long as I can remember, I have been carving figures of animals and people since childhood. I guess it came with me when I was born,” Yadne reflects—positioning his craft not as a learned profession but as an inherited way of seeing and making. Learning Through the Land Unlike in much of the Western world, where immersion in nature is often framed as leisure or escapism, Yadne never understood “being in nature” as a separate activity. “Observing nature wasn’t an activity. It was life itself.” The tundra is his living widescreen—alive with shifting light and sound, a vast moving portrait where every creature’s motion and every gust of wind becomes part of an endless serenade. Hours spent watching animals, studying the stillness of dwarf trees in snow, and learning to read tracks—knowledge passed down by his father and older brother—formed a living language. Even as a child, he took on responsibilities, caring for the reindeer, crafting harnesses, and repairing sleds. Encounter with Ancestral Material “But the most important turning point came when I first saw my uncle’s knife with handle made of mammoth tusk. I was amazed by the sacred material, in which antiquity itself was sleeping, the breath of times when giant-mammoths walked our tundra. It was not just an object, but a relic connecting us with our ancestors,” Yadne reflected. This way of seeing shaped his artistry—a visual and material grammar he translates into bone, allowing sculpture to serve not as representation but as continuation. Ancient stories told by elders around the campfire nurtured the language young Victor would later use as he began to carve his own stories into reindeer antlers. The significance of each highly detailed sculpture lies in its role as a blueprint of the Nenets’ spirit and history, making it a living memory. The themes of Yadne’s sculptures—nature, animals, and the daily life of the Nenets—embody his own spirit and sense of artistic responsibility. Material, Memory, and Meaning Yadne’s work carries deep meaning drawn from his people’s understanding of life—as an unbroken connection between humans, animals, and the natural world. “Mammoth ivory represents a link to the ancient world. It holds the memory of thousands of years and often reflects themes of eternity, nature spirits, ancestors, and the cycles of life,” Yadne explains. In contrast, reindeer antler symbolizes vitality, movement, and harmony with the land. For the Nenets, the reindeer is sacred—a living companion that shares their journey across the tundra. The delicate balance between humans, animals, and landscape in Yadne’s carvings reflects the patience, gratitude, and attentiveness he learned not only from his family but from the tundra itself. “Yamal taught me to be not just an artist, but a storyteller,” he says. Each carving—man, animal, and nature intertwined—echoes the Nenets belief in living respectfully within the circle of life. Modern tools have given Yadne new means of expression, yet his process remains guided by instinct and respect for the material. He doesn’t force a shape but listens to what the ivory or antler suggests. “This combination allows me to create pieces that carry the spirit and traditions of the Nenets people while still speaking to today’s world,” Yadne adds. Shared Artistic Life The depth of Yadne’s work also reflects his close bond with his wife, Inna, whose artistry in beadwork and textiles brings an added layer of meaning to their shared creative life. Her influence and collaboration are evident in many of his sculptures, where their talents meet in quiet harmony. Together, their art becomes a serenade—a gesture of devotion not only to one another but also to their people and the living world that sustains them. In the Arctic tundra of Yamal, Victor Yadne’s sculptures serve as enduring expressions of Nenets identity and the environment that sustains them. His carvings in reindeer antler and mammoth ivory capture the movement of the herds, the patterns of migration, and the stories passed down through generations. Each piece reflects the balance between people, animals, and the land—a relationship central to Nenets life. Yadne’s work functions not only as art but as a living presence among his community, reinforcing the continuous exchange between the tundra and its people. In this shared rhythm, his sculptures become part of the serenade of daily life, a reminder that the land and its people are in constant conversation. Victor Yadne with wife Inna.jpg Victor Yadne with wife Inna.jpg 1/1 Image Provided by Victor Yadne Previous Next

< Back Arman Nurmukhanbetov Echoes of the Great Steppe: Arman Nurmukhanbetov Reflects on his Saka Culture The history of the Saka people, though often overshadowed by the grand narratives of ancient empires and civilizations, tells a compelling story of resilience, innovation, and cultural influence that continues to resonate. As nomadic tribes traversing the vast Eurasian Steppe, the Saka were far more than warriors or herders. They were pivotal agents of cultural and economic exchange, shaping the development of entire regions. While Europeans referred to them as the Scythians, the Saka are known as “Saka” or “Sakha” in Kazakhstan and surrounding areas—terms that reflect their cultural identity distinct from the European designation. Emerging research sheds new light on their origins and cultural impact, pointing to roots in Siberia. This connection is explored in Bruce Bower’s October 8, 2024, Science News article, Ancient Scythians Had Cultural Roots in Siberia . In their October 7, 2024, Antiquity report, archaeologist Gino Caspari and his colleagues analyzed artifacts from the 2,800-year-old Tunnug 1 burial mound in southern Siberia. Among these artifacts were “two bronze belt fittings decorated with stylized animals like those in later Scythian art, horse-riding gear, and metal and bone arrowheads.” These discoveries indicate that mounted Siberians played a critical role in disseminating artistic and burial practices westward across Asia within a relatively short time. The “animal style” motifs found among the Saka’s artistic traditions exemplify their cultural influence. These motifs continue to inspire contemporary Central Asian design, particularly in textiles, jewelry, and architecture. The discoveries at Tunnug 1 also offer striking parallels to Herodotus’s descriptions of Scythian kingly burials, including the use of birch stakes for ceremonial purposes, underscoring the depth and longevity of Saka ceremonial practices. The Saka’s legacy extends beyond their artistry. Their contributions to the development of the Silk Road positioned them as architects of cultural and economic exchange, permanently shaping Central Asia’s identity as a historical crossroads. Such enduring influence amplifies the significance of preserving their traditions and sacred heritage. Arman Nurmukhanbetov, a distinguished cultural historian, shamanic practitioner, and passionate advocate for the Great Steppe’s heritage, emphasizes this point: “The people who do not respect their sacred places disappear. Remember to hold your traditions, visit your holy places, and your people will live forever.” His words serve both as a tribute to the Saka’s enduring legacy and as a call to honor and safeguard their sacred traditions for future generations. A Childhood Rooted in History Born in 1970 in Almaty, the capital of modern independent Kazakhstan, Arman Nurmukhanbetov’s early life unfolded during the Soviet era. Reflecting on this period, he states, “My country was then an occupied part of the Russian Empire,” a poignant observation that underscores the political and historical realities of his upbringing in the Kazakh Soviet Socialist Republic. Nurmukhanbetov grew up in a close-knit family with three brothers—one older and two younger—in a household where order, respect for elders, and dedication to education were paramount. His father, a scientist and archaeologist, had a profound influence on his formative years. “Starting in April, as soon as the snow melted, my father went on expeditions, often taking us with him,” Nurmukhanbetov recalls, offering a glimpse into how his early exposure to the steppe’s rich historical and cultural heritage shaped his worldview. Equally influential was his mother, whose resourcefulness in navigating the constraints of limited resources defined much of their family life. “When we were little, she worked in the same kindergarten where we were sent to take care of us there. When we grew up a little and went to school, she got a job in the school cafeteria to feed us lunches,” he shares, illustrating her dedication to their well-being. These childhood experiences, though modest and full of challenges, instilled in Nurmukhanbetov a resilience and a deep appreciation for history and heritage—qualities that would later serve as the foundation for his future endeavors. Educational Struggles, Self-Determination, and Cultural Identity In 1989, Nurmukhanbetov embarked on his academic journey at the Faculty of Journalism at Kazakh State University. However, his aspirations were interrupted by a serious illness, casting a shadow over his education. Reflecting on that period, Nurmukhanbetov recalls, “When I recovered, the economic crisis of the 1990s began. There was no time for studying—I had to feed my younger brothers and work a lot.” Despite these challenges, Nurmukhanbetov's determination remained unshaken. He turned to self-education, immersing himself in subjects that would later define his career. This unwavering pursuit of knowledge earned him respect and success, proving that formal credentials are just one path to achievement. Nurmukhanbetov's struggles mirrored the broader experience of his fellow Kazakhs during a transformative time in history. Following the collapse of the Soviet Union, Kazakhstan emerged as an independent nation, facing economic hardship, social upheaval, and the challenge of forging a new identity. Yet, like a phoenix rising from the ashes, the country demonstrated remarkable resilience and innovation, showcasing the enduring strength of Kazakh culture. Language, too, became a cornerstone of this journey, both for Nurmukhanbetov personally and for Kazakhstan as a whole. Fluent in Kazakh, Russian, and English, Nurmukhanbetov reflects on the difficulties of reclaiming his native language: “Under the Soviet Union, the languages of conquered peoples were eradicated. In Almaty, a city of over a million, there was only one Kazakh school during my childhood.” Rediscovering and mastering the Kazakh language as an adult was not only a deeply personal achievement for Nurmukhanbetov but also a vital act of reconnecting with his heritage—a shared endeavor for many Kazakhs striving to reclaim their cultural identity in a post-Soviet world. Saka Traditions and Nomadic Heritage Though details of Saka history were scarce in his childhood, Nurmukhanbetov fondly recalls a children’s couplet: “I am a Saka, I have an akinak.” This pride in their warlike ancestors, symbolized by the akinak (a short sword), resonates deeply in Kazakh culture, where the ancient warrior spirit of the Saka people continues to be honored. “The knightly traditions of the Great Steppe, rooted in Saka civilization, remain significant today,” he notes, underlining the persistence of warrior values across time. Hospitality, ancestral lineage, and burial customs are enduring elements of this heritage that tie present-day Kazakhs to their forebears. Nurmukhanbetov's reflections explore the unique worldview of nomads. “The nomadic way of life wasn’t forced by natural conditions. It reflected an internal choice—a love for freedom, travel, and an expansive worldview,” he explains, emphasizing that this way of life was a conscious embrace of boundless horizons. In his view, the nomadic lifestyle is not merely a response to external factors, but a profound reflection of the individual’s internal values, a desire for unattachment to a single place, and a deep yearning for freedom. "The only, main problem of the nomadic way of life," he observes, "is the full life in an absolutely wild natural environment, in the palm of the pristine elements. This is not available to everyone." The constant need to move, he notes, can be challenging for some, yet it offers a unique kind of freedom for those who embrace it. He goes on to explain that while a sedentary person might view constant movement as a burden, for a nomad, it is a joyous and liberating experience. "For a sedentary resident, moving is akin to a disaster. For a nomad, it is a joy and a holiday. For a sedentary person, life in nature is eternal discomfort and stress. For a nomad, it is constant pleasure." This contrast, he argues, lies at the heart of the nomadic identity: the freedom to roam, to experience the world, and to live unbound by fixed structures. Nurmukhanbetov further challenges the view that nomadism is a forced adaptation to natural conditions, emphasizing instead that it was, and remains, a choice—a deep-seated value of freedom and exploration. He believes the nomadic way of life is connected, first of all, to an internal choice—a value of being unattached to one place, a desire for the freedom of movement, and a passion for travel and new sensations. Nurmukhanbetov also highlights the Kazakh saying, "He is not rich who has a lot. He is rich who has seen a lot." While a sedentary person might live his whole life in the limited space of a city, the nomad covers thousands of kilometers, encounters many landscapes and cultures, and absorbs languages, faiths, and arts. In this sense, the nomad is far more developed and has a much broader worldview than the sedentary person. This perspective is central to understanding the persistent nature of nomadic traditions, even in the face of modern pressures. "In the 1920s and 1930s, the nomadic way of life faced substantial disruption with the arrival of Soviet collectivization. This was a period when the traditions of the steppe were forcibly interrupted," he states. The collective push for urbanization and permanent settlement marked a significant rupture, yet despite these historical challenges, the core values of warrior pride and nomadic resilience remained ingrained in Kazakh culture. Drawing connections between past and present, Nurmukhanbetov highlights the continued influence of Saka traditions in modern Kazakh life. "If we talk about those aspects that are still relevant today, then this is, firstly, and certainly, the warlike nature of the Kazakhs, who traditionally lead in various kinds of martial arts, for example, boxing or wrestling," he shares. The skills and discipline honed by ancient Saka warriors continue to shape the modern identity of Kazakhs, demonstrating the enduring connection between their historical legacy and contemporary practices. One of the most striking continuities between ancient Saka practices and modern Kazakh culture is the persistence of funeral customs, which still reflect the ancient traditions of honoring the deceased. As noted by Nurmukhanbetov, the Sakas traditionally held lavish funeral ceremonies, arranged memorial rites, and constructed elevated burial mounds for their deceased. "Even today, the Kazakhs, even calling themselves Muslims, still cannot get used to the Islamic tradition of simply burying the deceased, installing a simple stone on his grave and trying to forget about him forever." Instead, the Kazakhs maintain rituals of remembrance that go beyond Islamic norms, with wakes held not only on the day of the funeral but also on the seventh day, the hundredth day, and even one and three years later. Furthermore, the Kazakhs decorate graves in a distinctive manner, building elaborate mausoleums—a practice strictly prohibited in Islam, yet deeply rooted in the Saka tradition of erecting grand burial mounds. These enduring customs reflect a broader cultural refusal to sever ties with ancestors, reaffirming the living presence of lineage and legacy in Kazakh society. Cultural Preservation and Art For over two decades, Nurmukhanbetov has been a tireless advocate for preserving the culture of the Great Steppe. “For a quarter of a century, since 1999, I have been exclusively engaged in promoting the culture of the Great Steppe,” he says, reflecting on his expansive contributions. From writing articles and poetry to organizing events, he has explored every medium to share its richness. One of his most significant efforts is the promotion of the Sakas’ contributions to art, particularly their famous Animal Style. This unique art form, characterized by dynamic depictions of animals in various poses such as running, dancing, or fighting, was crafted from diverse materials like metal, gold, wood, felt, bone, and even amber. The Sakas integrated these vivid representations of animals into every aspect of their lives—decorating yurts, carpets, weapons, dishes, and horses. It is widely believed that the Saka Animal Style influenced the art of neighboring cultures, the Germanic tribes, the Iranians, and the Chinese, showcasing its enduring impact. Beyond visual art,Nurmukhanbetov highlights the importance of the Sakas’ musical heritage. Stringed and plucked instruments, believed to have originated with nomadic peoples, were made from animal bones, sinew, and intestines—materials readily available to cattle breeders. These early instruments not only reflect the ingenuity of the Sakas but also their deep connection to nature and their environment. Recently, Nurmukhanbetov has shifted his focus toward the development of Kazakh shamanic traditions. “I have left all these activities and fully concentrated on the development of Kazakh shamanic traditions,” he explains. As the founder of one of the first shamanic schools in Kazakhstan and the author of the First Kurultai of Kazakh Shamans in March 2024, Nurmukhanbetov is pioneering efforts to preserve and promote this sacred practice. His method of revealing the shamanic gift has drawn numerous students, and his scientific research, encapsulated in the book Kasiet , marks the first publication dedicated to the sacred magical gift, ensuring that this vital aspect of Kazakh culture continues to thrive in the modern world. Horses and Warrior Culture Horses held a sacred place in Saka life, serving as companions, status symbols, and tools of war. Nurmukhanbetov recounts several traditional practices, such as rider initiation ceremonies for young children and symbolic gestures like cutting a horse’s tail to signify mourning or declare war. He observes that "the Kazakh respect for horses and martial arts has its roots in Saka traditions," and that such practices were deeply embedded in the nomadic way of life. One example is the "rider initiation" ceremony, a universal practice for all nomads. A three-year-old child would be ceremoniously seated on a horse, with special embroidered bags hung on the horse’s croup. The newly initiated rider would then be led through the entire aul (nomadic camp), and residents would offer congratulations, gifts, and treats to the child. Another practice tied to horses was associated with funeral rites. If someone died in the village, the deceased's relatives would cut off the tail of their horse, hang it on a spear, and attach the spear to the wall of the yurt. This "banner of death" served as a visual signal, allowing others to see from a distance which house was in mourning. Similarly, cutting off a horse’s tail during a stay on the territory of another clan or family symbolized a declaration of war on that group. This respect for horses extended to Saka women, who were often active in equestrian culture. As Nurmukhanbetov explains, "The traditional respectful attitude of the Kazakhs towards women is clearly of Saka origin." He points to traditions like bride-groom wrestling and the game of Kyz Kuu, which reflect the empowerment of women in Saka society and their significant role in the warrior culture. The Role of Women Arman Nurmukhanbetov underscores the elevated status of women in Saka society. He explains, “The Saka bride had to fight her groom before marriage—if he lost, he became under her servitude,” illustrating the society’s unique gender dynamics. This legacy persists in modern Kazakh games like Kyz Kuu, where women compete with men in horseback races. If a man fails to catch the woman as she races away from him, she will pursue him. The Saka culture, part of the nomadic societies of the Great Steppe, exhibited a remarkably egalitarian approach to gender roles, particularly in comparison to many other ancient societies. Women in Saka society enjoyed significant status and independence, with archaeological evidence suggesting their participation in military activities and leadership roles. According to Barry Cunliffe in By Steppe, Desert, and Ocean: The Search for the Scythians , "one-fifth of the excavated warrior burials dating from the fifth to fourth centuries are female," challenging the notion that warfare was exclusively a male domain. Historical Figure When asked about an influential Saka figure in history, Nurmukhanbetov highlighted the extraordinary story of Shirak, a humble Saka shepherd who used his wit and bravery to outsmart one of the most powerful empires of his time. Shirak’s tale is one of resourcefulness and sacrifice. When the Persian army threatened his people, he devised a clever plan: he altered his appearance and entered the Persian camp, claiming that the Sakas had harmed him and that he sought vengeance. Shirak persuaded the Persians to trust him and follow him into the desert, where he promised to lead them to the rear of the Saka forces, where their families were hidden. Once they ventured deep into the desert, however, Shirak's deception was revealed, and the Persians, unprepared for the harsh environment, were left stranded. Though Shirak's actions ultimately cost him his life, his strategic brilliance and self-sacrifice are remembered as a powerful example of courage and cleverness, leaving a lasting legacy in the history of the Saka people. Connecting Saka to the World As Nurmukhanbetov explains, the Saka people were not isolated but deeply intertwined with global history. Their military tactics, artistic influences, and even contributions to the Gregorian calendar reveal their far-reaching impact. “The mounted knight, a symbol of medieval Europe, originates from the Great Steppe,” he asserts, tracing the lineage of warriors like the Huns, Sarmatians, Pechenegs, and Avars to Saka traditions. The military techniques and tactics of these nomads, unmatched in their time, contributed directly to the development of the mounted cataphract, a precursor to the European knight. This cultural influence is not only reflected in military strategy but also in intellectual achievements. For instance, Dionysius Exiguus, a Scythian monk, proposed the widely used Gregorian calendar, marking a lasting legacy from the Saka. Moreover, figures like Anacharsis, a Scythian who introduced the anchor to the Greeks, further illustrate the profound impact of these nomadic peoples on ancient civilizations. Even the legendary Greek hero Achilles is believed to have had Scythian origins, with some sources suggesting that his story inspired the creation of Europe’s earliest epic. As Nurmukhanbetov highlights, these examples underscore the dynamic exchange between the nomadic and sedentary worlds, an influence that has long been overlooked but undeniably shaped the course of history. When asked about the historical trade or influence the Saka people may have had on Southeast Asia, Nurmukhanbetov remarked, "Unfortunately, I do not know of a direct connection between the Sakas and Southeast Asia. However, the Sakas certainly influenced China. Which, in turn, influenced the rest of the continent." He further explained that gold processing technologies and stylistic features from the Animal Style of the nomads, which originated in Saka workshops, eventually reached China, demonstrating a ripple effect of Saka influence across regions. Nurmukhanbetov also offered an alternative perspective on the Great Silk Road, suggesting it could be seen differently from the viewpoint of the Sakas. He noted, "Silk went only in one direction, from East to West. From West to East, from the Saka steppes to China, herds of horses went, which were absent in China." This exchange was pivotal in shaping China's cavalry and chariot technologies, which were deeply reliant on nomadic horse culture. Furthermore, he observed that the Sakas' military advancements, such as the development of the double-layered sword, impacted Asian cultures, including the Koreans and Japanese. "The characteristic features of its attachment to the warrior's torso were directly borrowed by the Koreans, and then by the Japanese, from the Sarmatians," he added. These influences, he concluded, might have even extended to the more southern regions of Asia, but further research is needed to explore these phenomena in depth. Advice for the Next Generation Arman Nurmukhanbetov’s message to young people is clear: “Know your heritage. Study it, preserve it, and adapt it for the modern world.” His own life’s work is a testament to this philosophy—an unwavering commitment to celebrating and preserving the culture of the Great Steppe. Reflecting on the importance of heritage, he emphasizes, "If you want to know yourself, get to know your ancestors. If you want to imagine your future, get to know the past. If you want to love your people, get to know the culture of the Steppe." These words go beyond a mere call to honor history; they urge the creation of a future that intertwines modernity with the wisdom of the past—a future where the Saka legacy continues to thrive. In a world where some may believe the past is irrelevant, Nurmukhanbetov challenges this view by asserting, “We come from something. We are descendants of someone. We think like someone in the past. We are like one of our ancestors. We move like them, we think like them. In fact, we are them. We are only a link in an endless chain of succession. Not the first and not the last.” For him, the legacy of the Saka is more than just history—it is an intrinsic part of identity. He believes that to understand who we are, we must look to our roots, for “if we do not know anything about this, if we do not think about it, then we will not be complete.” Through the continued exploration of Saka culture, both academically and in everyday life, Kazakhstan’s younger generations will keep the flame of their ancestors alive, ensuring that the Saka story is not a forgotten echo but a vibrant part of the global cultural tapestry. In this way, Nurmukhanbetov's vision calls for a dynamic blend of tradition and progress, a future that honors the past while shaping the world of tomorrow. Conclusion: The Saka People's Unparalleled Contribution In reflecting on the rich legacy of the Saka people, Arman Nurmukhanbetov emphasizes the timeless relevance of their traditions—an enduring proof of resilience, cultural exchange, and adaptability. His own journey of rediscovery and dedication to preserving the culture of the Great Steppe stands as an inspiring example for future generations. As Nurmukhanbetov urges, understanding and embracing the past is not just an act of remembrance but a foundation for shaping a future where heritage and modernity coexist harmoniously. The Saka people, with their unparalleled contributions to art, society, and history, remain an indelible part of Kazakhstan's identity and the world's cultural fabric. Their legacy, from the sacred bond with the land to the empowering role of women and the martial prowess of warriors, continues to inspire and inform the present. Much like the ancient traditions uncovered through recent archaeological findings, the Saka's impact on history and culture cannot be overlooked. By honoring this heritage, future generations can ensure that the echoes of the Great Steppe resonate for years to come, uniting the lessons of the past with the possibilities of tomorrow. 1/4 Images provided by: Arman Nurmukhanbetov, Gold by FGJ Previous Next

< Back James Ramsey Building a Future through Symbiotic Opposition: James Ramsey's Lowline and the Harmony of Urban Nature Architecture thrives with symbiotic opposition, and New York City exemplifies this dynamic contrast, balancing innovation with preservation, and nature with urbanity. As the city that never sleeps, it continuously evolves to confront challenges such as urban density, climate change, and sustainability, all while maintaining its historical and cultural identity. At the forefront of this evolution is James Ramsey, an architect, inventor, and founder of RAAD Studio. His visionary Lowline project—an underground park currently in development—reimagines the potential of subterranean spaces and addresses urban sustainability in unprecedented ways. Vision and Innovative Approach Unlike other urban projects that merely adapt existing frameworks, Ramsey's approach is distinctly innovative. He perceives the Lowline not just as a park but as an urban archaeology initiative that invites exploration and discovery. This perspective sets Ramsey apart from his contemporaries, as he integrates elements of history and technology to create a space that fosters community engagement and environmental awareness. His work resonates with global urban innovation trends yet remains unique in its execution and philosophy. The Lowline stands as a reflection of his commitment to transforming neglected spaces into vibrant public realms, challenging the status quo of urban design and inspiring future generations of architects to think beyond conventional boundaries. Born in New York City to Korean and American parents, James Ramsey, a Yale University alumnus and avid origami enthusiast, recalls his first profound architectural experience during his youth while visiting relatives in France. "A little 12-year-old me walked into a cathedral, and I was just blown away by the power of that space," Ramsey shared. Immersing himself in the intricacies of Gothic architecture, he became fascinated by how structures built with heavy stone, adorned with extravagant buttresses and columns, could evoke a sense of lightness. "It just gave me such a profound shift in perspective—that is something I brought with me for years," he added. Journey Through NASA Ramsey began his NASA career at the remarkable age of 19, taking on a pivotal role in the Pluto Fast Flyby project and contributing to the development of the Cassini mission to study Saturn, which successfully launched in 1997. Reflecting on the trust placed in him, he remarked, "It is kind of startling to me that they would give so much responsibility to someone so inexperienced and young." Despite his youth, Ramsey's brilliance was evident as he developed an infrared spectrometer for the Pluto Fast Flyby mission. "A spectrometer which allows you to see through a piece of optics at the surface of Pluto," he explained. This technology aimed to analyze the planet's surface by identifying its substances and elements. While the Pluto Fast Flyby mission was ultimately shelved, its concept was later revived with newer technology as part of the successful New Horizons spacecraft, which launched in 2006 and reached Pluto in 2015. Reflecting on his early career at NASA, Ramsey remarked, "Combining engineering with craft to create a design effect is something that has pervaded my understanding of architecture," a philosophy that underscores his innovative approach to design. The Lowline Project As the visionary behind the Lowline, James Ramsey has developed innovative "remote skylight" technology that demonstrates how forgotten subterranean spaces can be transformed into vibrant, sustainable environments. This groundbreaking system channels natural sunlight underground to address the loss of above-ground green spaces. It captures sunlight via a rooftop collector, amplifies it with parabolic concentrators, and directs it through fiber optic cables into the underground park. The 2015 Lowline Lab prototype validated the technology's success, enabling over 100 plant species, including edible varieties, to thrive in an underground ecosystem. At its core, the project aims to revitalize the historic Williamsburg Bridge Trolley Terminal—a 60,000-square-foot space abandoned since 1948. Ramsey's vision extends beyond New York City. During the 2017 Seoul Biennale of Architecture and Urbanism, he presented his solo art installation, Invasive Regeneration , which brought light into a dark, abandoned space, demonstrating the emotional resonance of his technology. Reflecting on the experience, Ramsey shared, "It was one of my favorite things that we've ever built." This installation not only underscored the profound relationship between light and space but also stood as a powerful metaphor: bringing light into darkness is not just a physical transformation but a declaration of optimism, a reminder that even in the bleakest moments, renewal and hope can emerge. Highlighting his extensive work in Korea, he noted, "I ended up having a lot of professional connections to Korea and a lot of reasons to travel there for work. And it ended up for me being something that allowed me to reclaim my heritage and connect with it." During these visits, he also cherished the time spent with his late grandmother, describing his connection with her as a profoundly meaningful experience that deepened his ties to his heritage. Invasive Regeneration poetically illustrated Ramsey's unwavering belief in illuminating the darkest corners of urban landscapes, literally and metaphorically, echoing the profound impact he experienced as a child when first stepping into a Gothic cathedral in France, where the interplay of light and space left an indelible mark on his architectural sensibilities. Facing Challenges Despite significant fundraising challenges—"We are in a place where there is a pretty significant fundraising hurdle"—Ramsey remains steadfast in his vision. His persistence in directing light into forgotten spaces reflects a deep-seated grit and belief in the power of innovation to overcome seemingly insurmountable obstacles. Situated in a diverse, immigrant-rich neighborhood on Manhattan's Lower East Side, the Lowline underscores the complexities of urban revitalization, blending innovation with cultural preservation. The Lowline's potential extends beyond mere aesthetics, promising to reshape community interactions and improve mental health by providing much-needed green space in dense urban environments while also addressing issues of environmental justice in underserved neighborhoods. As cities worldwide grapple with increasing population density and diminishing green spaces, projects like the Lowline represent a crucial step towards sustainable urban design, aligning with broader global efforts to create livable cities for the future. The Importance of Craftsmanship While discussing ancient structural innovations in countries like China, Japan, and India, James Ramsey highlighted the enduring importance of craftsmanship in architecture. "There is such a heavy emphasis on craftsmanship—touching material, shaping it, and understanding how it fits together has been a focus of the work that we do in my studio," Ramsey explained. This reflection is particularly relevant today, as many contemporary architectural practices prioritize cost efficiency over the true value of craftsmanship, often favoring mass production over thoughtful design. Ramsey emphasized that understanding localized materials—and how they are thoughtfully assembled—is critical to creating sustainable, durable structures. This approach not only honors the cultural and environmental context but also fosters innovation rooted in tradition. Japan, in particular, holds personal and professional significance for Ramsey; his parents lived there briefly during his infancy, and he has since returned to study its architecture and landscape design. These visits allowed him to immerse himself in traditional wood joinery and engineering techniques, which maximize the potential of native materials by prioritizing how they interlock and function together. Such methods produce structures resilient to extreme climates while embodying timeless craftsmanship. Conclusion: Meaning and Reconnection By reflecting on these traditional practices, Ramsey underscores the importance of reintroducing careful material understanding and assembly into modern architectural practices, ensuring that innovation does not come at the expense of durability or cultural integrity. Reminiscent of Louis Kahn's famous words, "We are born of light. The seasons are felt through light. We only know the world as it is evoked by light," Ramsey's work embodies a philosophy where light not only sustains life but also transforms neglected spaces into symbols of connection and renewal. Amidst the challenges of urban change, Ramsey's design principles and vision offer a path to making a dynamic city like New York more defined, resilient, and attuned to the deeper needs for meaning and reconnection in a rapidly evolving world. 1/3 Images provided by: James Ramsey Previous Next

Previous Next < Back Elizabeth Clenci Harmony Within and Without: Filipino Heritage and the Pursuit of Holistic Health Images provided by Elizabeth Clenci In traditional Asian thought, health is more than the absence of disease—it’s a harmonious interplay of body, mind, spirit, environment, and social relationships. From Chinese and Indian philosophies to Filipino and Vietnamese practices, this holistic view values proactive care, daily practices, and balance as essential to life’s vitality. Illness is not an isolated event to be treated reactively, but a sign of imbalance in the ecosystem of our lives. By nurturing harmony—within oneself and with the world—one creates a foundation for resilience and growth. In contrast, Western approaches often treat symptoms in isolation, missing the interconnectedness that Asian traditions hold sacred. ROOTS OF RESILIENCE Elizabeth Clenci’s path reflects this integrative perspective. Born in Australia to a Filipina mother and Romanian father, Clenci was grounded in the rich traditions of her maternal roots—traditions where health security is seen as a communal, daily practice of balance. Her mother, from Cebu and Mindanao—regions celebrated for their dynamic cultures—imparted these values early on. Cebu, with its famed lechon and the vibrant Sinulog Festival, pulses with life-affirming traditions, while Mindanao’s rich musical heritage, including the kulintang and other gongs, taught her the power of rhythm and connection. Growing up in predominantly white Australia, Clenci felt these cultural practices as an anchor. She remembered being one of only two Asian students in her primary school, yet always finding comfort in her family’s daily rituals—sharing meals, honoring elders, and gathering to celebrate music and community. Her mother instilled a respect for family and elders, a principle she carries forward. “Respect for everyone is at the heart of Filipino culture,” Clenci noted, recognizing how this mirrors the reverence Indigenous communities in Australia hold for their own elders. PAGEANTRY AS A PLATFORM FOR PURPOSE This grounding in holistic well-being naturally wove itself into Clenci’s pursuits. As a child, she would watch the Binibining Pilipinas pageant on television with her grandmother, dreaming out loud, “I will be there one day.” In 2011, she fulfilled this promise, stepping onto the Binibining Pilipinas stage in Manila. Although she carried with her the sadness of her grandmother’s passing the year before, her presence was a tribute to the woman who first sparked her dream. HONORING ANCESTRY THROUGH ARTISTRY At the pageant, Clenci wore a national costume designed by Jearson Demavivas, earning the Best in National Costume award. Even in her earliest pageant appearance, she understood that pageantry was not merely a showcase of beauty, but a stage for embodying values—confidence, kindness, and cultural pride. Six years later, Clenci returned stronger and more rooted in these values. She earned the title of 2nd Runner-Up at Miss Grand International 2017, wearing a T’boli-inspired gown by Demavivas—an exquisite creation that paid homage to the T’boli tribe. The ensemble featured the T’nalak fabric and the hegelung, a native T’boli guitar, both symbols of her rich cultural heritage and love for music. Intricate beadwork and cultural motifs adorned the gown, offering a modern interpretation of a T’boli princess and reinforces Clenci’s commitment to honoring her roots on the global stage. ADVOCACY FOR PEACE AND PERSONAL AGENCY “People think peace is only a governmental issue, but it begins within us,” she asserted. Her appointment that same year as a peace ambassador by the Office of the Presidential Adviser on the Peace Process (OPAPP) emphasized her belief in personal agency. Education, she said, is the key—empowering individuals to shape healthier, more harmonious communities. MUSIC AS A METAPHOR FOR LIFE This philosophy of synergy also threads through her work as a musician. Having studied contemporary and improvisational music in Sydney, alongside classical training at the University of Santo Tomas in the Philippines, Clenci’s music is as diverse as her heritage. She draws from the pulsating beat of the Tinikling—where dancers nimbly weave between clashing bamboo poles—as a metaphor for Filipino resilience. “Music is a whole ecosystem,” she said. “The steady beat is life’s forward momentum. Just as music never stops, neither does the Filipino spirit of Tiyaga—perseverance.” HEALING FROM WITHIN For Clenci, health became deeply personal when she faced a severe case of eczema in 2014—a condition that tested her physically and mentally for over a year. “It was painful, and it felt like it was written on my face. It was hard to see beyond that,” she shared. Yet, drawing from the Asian principle of proactive care, she approached her recovery holistically: educating herself, rethinking her lifestyle, and seeking balance in her mind and environment. Transforming her pain into purpose, she became a detoxification specialist and health advocate, grounding her advocacy in lived experience. “I have been through a lot since I was young, suffering emotionally and physically,” she said. “But it was not in vain. To be able to help others is worth it.” SHARING WISDOM AND MINDFUL LIVING On her social media platforms, Clenci shares insights on mindful living—encouraging others to eat well, hydrate, and honor their bodies as sacred vessels. She sees health not as a quick fix, but as an ongoing dialogue between self, environment, and society. To those navigating their own challenges, she offers this advice: “Being able to embrace your vulnerability is your greatest strength. Sometimes the person who is less qualified is the person who is most qualified to speak. At the end of the day, all we want is to be vulnerable, be yourself, and be able to connect with others.” Her story affirms the timeless wisdom of Asian traditions: that true well-being is found in the balance of all things—body and mind, family and community, spirit and environment. In this harmony, Elizabeth Clenci continues to live—and to inspire—a life of health, purpose, and service. As she says, “Life is bigger than you, and life is about service.” INCANDESCENCE THROUGH ADVERSITY Yet, beyond balance alone, there is something luminous in the way Clenci has lived her life—a quality best captured by the word incandescent. Not merely glowing, but burning with a fierce inner light born of struggle, clarity, and compassion. To be incandescent is to shine not despite hardship, but because of it. Clenci’s journey—through cultural duality, physical pain, and emotional endurance—has lit a path for others, transforming personal challenge into radiant purpose. Elizabeth Clenci.jpeg Elizabeth Clenci.jpg Elizabeth Clenci.jpeg Elizabeth Clenci.jpeg 1/4 Images provided by Elizabeth Clenci Previous Next

Previous Next < Back Taylor Yasui A Multi-talented Cellist and Entrepreneur Harmonizing Music, Real Estate, and Culture Images provided by Taylor Yasui Taylor Tamotsu Kainoa Yasui is a dynamic entrepreneur and artist whose multifaceted career bridges music, real estate, and property management—rooted in the vibrant pulse of New York City yet deeply inspired by his diverse heritage and Hawaiian upbringing. With Japanese, Native Hawaiian, Okinawan, and Norwegian roots, Yasui embodies a rare blend of cultural richness and professional versatility. ROOTS IN HAWAII: A FOUNDATION OF CULTURE AND VALUES Born and raised in Honolulu, Hawai‘i, Yasui attended Kamehameha Schools Kapālama, a private institution founded by Princess Bernice Pauahi Bishop to educate Native Hawaiian youth. This heritage-infused education instilled in him core Hawaiian values that continue to shape his grounded approach to both life and business. Princess Bernice Pauahi Bishop (1831–1884), the great-granddaughter of King Kamehameha I, was the last royal descendant of the Kamehameha dynasty. A highly educated and visionary aliʻi (chiefess), she foresaw the socioeconomic challenges facing Native Hawaiians during the 19th century due to colonization, disease, and cultural displacement. In her will, she dedicated her vast land holdings—over 375,000 acres—to create Kamehameha Schools, with the goal of providing high-quality education to Hawaiian children. Today, her legacy lives on through the Bishop Estate (now Kamehameha Schools), one of the largest private charitable trusts in the U.S., which reinvests its revenues into educational and cultural programs. Yasui’s connection to Hawaiian culture also ties closely to real estate, as the Bishop Estate remains one of the largest landowners in Hawai‘i—channeling revenue back into Native Hawaiian education, including the school he attended. “Real estate has always been a part of my life,” he reflects. A PASSION FOR MUSIC: FROM FAMILY LEGACY TO MEANINGFUL MOMENTS Though Yasui’s formal music training began at age 12 under the guidance of Lifen Anthony, music was quietly embedded in his family history. His grandfather’s brother, Byron K. Yasui, is a distinguished American musician, composer, educator, and performer based in Hawai‘i. While many musically inclined children start lessons as early as age three, Yasui’s path to music was more organic. “My family encouraged me, but not in an aggressive way,” he shares. There was no pressure—just support and space to discover it on his own terms. A turning point came when his grandmother, Yukiye Yogi, also known as Maude, gifted him his first cello. “She wasn’t musical, but she really enjoyed it,” he recalls with a smile. That simple gift sparked a deep connection with the instrument, one that would grow into a lifelong passion. Two years ago, when Maude entered hospice care, Yasui chose to be by her side almost daily. “There was no way I couldn’t be there,” he says. He played for her often during those final days. “It was a really meaningful way to contribute—in the way that I could—in this last chapter of her life.” During high school, Yasui had the opportunity to spend four to six consecutive weeks in Japan each summer for three years, receiving intensive music training. His teacher there was the brother of his cello teacher in Hawai‘i, and although the instructor was Chinese, he was based in Japan and deeply respected in the region. “It was very intense,” Yasui recalls. “We practiced repertoire of music individually and as an ensemble.” A unique part of that training focused on musical inflections and timing—nuances that help make the sound feel more fluid and natural. These subtle techniques, often overlooked in early training, greatly expanded Yasui’s musical expressiveness. By 2009, his dedication to the cello earned him a soloist spot with the Honolulu Symphony after winning its youth concerto competition. He further honed his craft at prestigious summer programs like Meadowmount School of Music, Chautauqua Institution, and the Rome Chamber Music Festival. Yasui went on to earn a B.A. in Cello Performance from the highly selective Robert McDuffie Center for Strings at Mercer University, which admits only six cellists per year. “I am one of the six,” he proudly notes. He followed that with an M.A. in Music Business from New York University, studying under renowned cellists Julie Albers and Hans Jørgen Jensen. His artistic sensibilities were further sharpened through work at Opus 3 Artists, a premier artist management firm representing legends like Yo-Yo Ma and Patti LuPone. BALANCING MULTIPLE HATS: ENTREPRENEUR, REALTOR, AND MUSICIAN Yasui’s entrepreneurial spirit emerged early. As a teenager, he and his friends played string quartets on the streets of Waikīkī, earning around $80 an hour and booking wedding gigs—an early education in marketing, performance, and client service. Today, he channels that same initiative into three interconnected ventures: a real estate sales and rentals business affiliated with Compass, a property management firm he co-owns called Strata Property Management LLC, and a musician contracting service. Each business reflects a different side of his expertise and passion, and he manages to balance them with careful attention and creative flexibility. “Wearing a bunch of hats and constantly shifting gears,” he explains, “One minute I’m marketing to find new clients, the next I’m working with a seller to plan the best strategy to sell their house. Sometimes it’s not just about price, but timing or unique situations—like a death in the family or a divorce. You have to be empathetic.” His real estate practice focuses primarily on residential properties in Manhattan, with additional work in Brooklyn, Queens, and the Bronx. “I don’t do Staten Island,” he quips, “but usually whatever’s close to Manhattan.” On the property management side, he and his team cater to landlords—many of them overseas or based in Asia—who rely on Yasui for hands-on tenant relations and building maintenance. HARMONIZING MUSIC AND REAL ESTATE IN NEW YORK Yasui continues to balance his real estate business with his musical identity. He performs regularly at weddings and corporate events and collaborates with Hawaiian artists like Keali'i Reichel and Ho'okena, keeping strong ties to both his craft and his cultural roots. “The cello is like a different voice—it’s my voice,” Yasui explains. “I’m not a great singer, but through the instrument, I communicate feelings and ideas that words sometimes can’t express.” To him, music is not just art—it’s service, memory, and emotional connection. His experience playing for Maud during her final days reinforced that music could be a quiet act of care, not just performance. His business partnership reflects this same harmony. “I’m detail-oriented and good at systems; my business partner sees the big-picture and he is patient with clients. Together, we’re yin and yang.” BEYOND CAREER: A LIFE OF COMMUNITY, LIGHT, AND INTENTION Yasui lives in Hell’s Kitchen with his husband. Outside of work, he enjoys cooking, fitness, and travel—from Brooklyn to Bangkok—and he remains actively involved with Native Hawaiian and LGBTQIA+ organizations. His approach to life blends creativity, compassion, and cultural responsibility, but it also incorporates a deeper internal language—one that he has come to define in a single, powerful word: incandescent. DEFINING INCANDESCENT To Yasui, incandescent means something radiating from within. “We often associate it with temperature—emitting light—but for me, it’s also about energy,” he explains. “It’s the energy you’re getting from others or bringing from yourself that lights up how you go about your work.” He reflects on this concept during weekly check-ins with his mother, who still lives in Hawai‘i. “When she asks how I’m doing from one to ten, I usually say 8.5 or higher—even if I’m having a hard day or feeling low on energy. That word helped me understand the grace I need to give myself on those days.” But incandescence, to Yasui, is not just personal—it’s collective. “In a concert, one light bulb can’t light up the whole stage. It takes many. And if one dims, others brighten. We lift each other.” Rooted, Whole, and Moving with a Purpose Taylor Yasui reflects the quiet strength and steady presence of the moli bird—a powerful symbol in Hawaiian culture. Known for traveling vast distances with grace and returning home with precision, the moli mirrors Yasui’s ability to move between different worlds with focus and care. He’s not just a cellist or a real estate agent—he’s a whole, not a sum of parts. Whether balancing music and business or blending heritage with ambition, he approaches each role with clarity and purpose. It’s not volume that defines him, but the weight of presence and the depth of follow-through. Taylor Yasui.png Taylor Yasui.jpeg Taylor Yasui.png 1/2 Images provided by Taylor Yasui Previous Next

Jeremy Hu Luxury Real Estate Agent Trust: The Key to Jeremy Hu’s Success in NYC’s Luxury Real Estate In many Asian societies, trust is the bedrock of personal and business relationships, fostering long-term connections, collective harmony, and respect. Jeremy Hu, a standout luxury realtor in New York City, personifies this value. “Trust is number one in any industry, in any deal-making,” Jeremy asserts. Jeremy’s multicultural background has significantly shaped his career. Born in Taiwan, he moved to Singapore at 14, then attended a boarding school in England. He graduated from Central St. Martins College of Arts and Design in London, focusing on advertising and graphic design. During his time in London, Jeremy’s modeling career took off after being discovered for a Pepsi TV commercial. He appeared in numerous TV commercials, print ads, music videos, and runway shows, including modeling women’s clothing for Alexander McQueen. “I had an absolutely exhilarating time, feeling inspired by the incredible people I met, the stunning places I explored, and the unforgettable, vibrant parties I attended. It was a truly uplifting and memorable experience,” Jeremy recalls. Modeling women’s wear on the runway was a unique experience for Jeremy. “I was confused,” he admits about being asked to wear a dress. His slender figure and long hair made him ideal for the role. Unlike today’s generation, which has more outlets for expressing diverse gender identities, Jeremy felt more constrained by traditional expectations. “I think that’s great,” he says of the younger generation’s freedom. Despite societal constraints, Jeremy grew up feeling authentically himself, nurtured by loving parents and a talent for socializing. A summer visit to New York City during his time in London marked a turning point for Jeremy. “The moment I arrived, I knew this is my home,” he recalls. Despite his parents’ preference for him to return to Taiwan, Jeremy was determined to move to NYC. After graduating from college, he was eager to start his professional life in the big city. Although working in London was challenging for a foreign graduate, the opportunities in NYC suited his educational background perfectly. Jeremy’s early career in New York began with an internship at an advertising company representing brands like Calvin Klein. This led to a work visa sponsorship. Simultaneously, he helped establish a new fashion store in the Lower East Side, making the neighborhood trendy. “I didn’t sleep much having two jobs, but the excitement kept me going,” Jeremy recalls. Jeremy's keen creative eye, artistic background, and extensive training allowed him to excel in his early career endeavors. He thrived in the advertising industry for many years, utilizing his experiences and connections from his time in London and his modeling profession. Moreover, he successfully operated his own art gallery as a dealer before making a transition into real estate. Today, Jeremy is synonymous with luxury real estate in NYC. His personable nature, practical mindset, and positive approach—key characteristics of his Asian background—have earned him the trust of his clients. He is a founding member of LEVEN Real Estate, where he and his team of experienced agents focus on the ultra-luxury market while catering to a wide range of clients. His dedication and hard work have resulted in several record-breaking deals. The diverse team at his company, fluent in over 17 languages, has successfully served clients from more than 51 countries. Fluent in Mandarin and deeply understanding Asian societies and business practices, Jeremy has carved out a niche by expanding his services to potential Asian clients. Many of his clients are parents of foreign students attending NYC universities, finding it more suitable to buy than rent. Jeremy returns to Taiwan annually, maintaining his cultural roots and personal connections. One memorable real estate experience stands out to Jeremy. “Whatever you think, we are fine. We trust you, we listen to you,” a high-profile client once told him. This trust motivates Jeremy to deliver his work with ease and professionalism. When asked about challenges in his field, Jeremy responds, “I don’t see any challenge as a challenge because I will try to look at the brighter side. It is not something I would even consider dwelling on.” For him, focusing on solutions rather than problems is key. Describing the NYC luxury real estate market as vibrant and highly desirable, Jeremy notes, “The city boasts an incredible lifestyle with world-class entertainment, dining, education, and being the financial capital of the world. The whole package itself is enticing.” Despite his success in the complex world of luxury real estate and a hectic NYC lifestyle, Jeremy remains warm and grounded, truly loving what he does. His morning meditation routine provides balance, and he enjoys spending time with friends in the city. “Everything I do is very much tied to the business. I do not have much distinction between personal and professional life.” Jeremy’s lifestyle and outlook are exceptional, finding harmony between loving what he does and using his calm nature to set his own standards in dealing with people in such a demanding city. Reflecting on his journey and offering insights for the younger generation, Jeremy’s advice is clear: “Dream big. Have the biggest ambition possible because the journey to get there requires the same time and energy as a smaller goal. If you aim high, you can achieve anything below that easily. When there’s no choice, you need to act as if your life depends on it. That gives you the urgency and motivation to succeed.” Photo credit: Provided by Jeremy Hu Previous Next

Dayat Sutisno Indonesia Dayat Sutisno.jpg Dayat Sutisno.jpg 1/1 Photo credit: Dayat Sutisno His photography captures profound stories in a single frame, making words almost unnecessary. Dayat Sutisno is an Indonesian photographer known for capturing compelling images that often reflect the rich cultural and natural landscapes of Indonesia. His work typically emphasizes the vibrant life, traditions, and scenic beauty of the country, bringing to light aspects of Indonesian society and environment that might otherwise go unnoticed. Sutisno's photography is noted for its vivid use of color and composition, which creates a powerful visual narrative. Previous Next

Dayat Sutisno Indonesia Dayat Sutisno.jpg Dayat Sutisno.jpg 1/1 Photo credit: Dayat Sutisno His photography captures profound stories in a single frame, making words almost unnecessary. Dayat Sutisno is an Indonesian photographer known for capturing compelling images that often reflect the rich cultural and natural landscapes of Indonesia. His work typically emphasizes the vibrant life, traditions, and scenic beauty of the country, bringing to light aspects of Indonesian society and environment that might otherwise go unnoticed. Sutisno's photography is noted for its vivid use of color and composition, which creates a powerful visual narrative. Previous Next

< Back Michel & Amazonka Unveiling Mongolian Elegance: The Journey of Michel and Amazonka Choigaalaa Ulaanbaatar stands as a profound symbol of Mongolia’s resilience and cultural adaptability, where ancient traditions blend seamlessly with modern urban life. As the nation’s bustling heart and home to nearly half of its population, Ulaanbaatar’s cultural richness enhances its pivotal role in preserving and celebrating Mongolia’s heritage, showcased through its eclectic architecture, sacred religious sites, and vibrant cultural institutions. The city’s harmonious fusion of traditional nomadic influences with contemporary lifestyles paints a dynamic picture of cultural adaptation, offering a deep and insightful glimpse into the enduring spirit and identity of Mongolia. In the heart of Ulaanbaatar, a unique fashion narrative unfolds through the creativity and dedication of designer sisters Michel and Amazonka Choigaalaa. Their fashion company, 'Michel Amazonka LLC,' established in 2015, stands as a beacon of Mongolian tradition seamlessly woven into contemporary design. ROOTED IN TRADITION, BLOSSOMING IN FASHION Michel and Amazonka's fashion journey began in 2013 when they first showcased their collection, “Unique,” at the Ulaanbaatar Fashion Week. This initial foray into the fashion world laid the foundation for their brand. Both sisters are graduates of “Urlakh Erdem,” a prestigious Mongolian university specializing in fashion design. Starting with a modest 40 sqm workshop and just five employees, their vision and perseverance have seen the company expand to a 621 sqm factory, a 200 sqm warehouse, and a team of 51 full-time employees. Today, 'Michel Amazonka' operates two stores in the bustling center of Ulaanbaatar, reflecting their growth and success. INSPIRATION FROM ANCESTRAL MONKS The Choigaalaa sisters' designs are deeply influenced by their rich heritage. Both their paternal and maternal grandparents were Buddhist monks, wearing traditional robes adorned with intricate ethnic embellishments. "Our mother's father was a monk at his young age. Our father's father was a monk at his late age. They used traditional clothes and furniture with ethnic embellishments," the sisters explained. "We still have some of the clothes that are more than 100 years old. The color variations, patterns, and silhouette are unique to our culture and its people, making us distinctive from other nations." This profound legacy of craftsmanship and design is a cornerstone of Michel and Amazonka's fashion philosophy. A MOTHER’S EMBROIDERY: CRAFTING A LEGACY Their mother's passion for embroidery has profoundly shaped Michel and Amazonka's design ethos. Although a doctor by profession, their mother turned to sewing leather products after losing her job in the 1990's. "Our mother is a doctor, but her hobby was to embroider and knit different home items and clothes," they recall. "After the 1990's democratic revolution, both our parents were laid off from their respective jobs, and we had to come up with ways to meet the ends. My mom used to sew leather products to sell, and we kids had to collect leather scraps from the shoe factory garbage area to supply the raw material." Her meticulous, handmade embroideries, featuring original designs, are a testament to creativity and resilience. "Every embroidery she made is 100% handmade. She came up with the designs herself and skillfully finished them," they share. This heritage is reflected in their work, where embroidered elements frequently embellish their creations. "We use a lot of embroidered elements in our designs because it is something we are familiar with growing up." CHERISHED MEMORIES, ENDURING INFLUENCE Childhood memories of their mother’s embroidery, creating beautiful pillows, throws, and table decor, remain a source of inspiration. "When we were young, she made our home beautiful with embroidered pillows, throws, and table decors," they reminisce. "We often saw her doing embroidery while our dad went to Russia to buy stuff to sell in Mongolia. That is how we overcame Mongolia’s political, economic, and social transformation. It was a small family enterprise which inspired us to run a family business. Michel Amazonka is a 100% family-owned company." DESIGNS FOR EXTREME CLIMATES Mongolia's extreme climate, ranging from scorching summers to frigid winters, has shaped the nation's clothing culture for millennia. 'Michel Amazonka's' designs reflect this heritage, producing garments suited to these conditions. "As known widely, our climate is considered extreme, fluctuating between very hot to very cold. For thousands of years, our clothing culture has adapted to the local climate," they explained. "Therefore, we produce clothes suitable for the climate. For example, we produce cashmere products that are more in demand from October to May, while light clothes like dresses and streetwear lines are popular during warmer seasons. But the most popular designs all year round is the Mongolian deel and its modern versions." While traditionally made from silk, modern iterations of the deel incorporate non-silk materials to suit seasonal needs. This balance of tradition and innovation is a hallmark of 'Michel Amazonka’s' design philosophy. REVITALIZING MONGOLIAN HERITAGE The sisters are committed to modernizing Mongolian clothing while preserving its roots. Traditional elements such as embroidery, appliqué, and pins are seamlessly integrated into contemporary designs. "We always tried to modernize Mongolian clothing to make them more suitable with today’s fashion trend but we do not forget our roots," they said. "From our design, you can see traditional elements in forms of embroidery, applique, and pins. It is hard to say we produce traditional deel in its ancient form. Because we often change the silhouette to make it suitable for modern activities such as receptions, ceremonies, parties, business meetings, video clips, and advertisement. The recent Olympic uniform is a modernized version of Mongolian Deel." URBAN INSPIRATIONS AND GLOBAL APPEAL Ulaanbaatar, with its rapid development and diverse events, is a constant source of inspiration. "Mongolia is developing and we have different kinds of events happening in Ulaanbaatar," they noted. "These events require different dress codes and Mongolians are choosing to wear Mongolian clothes more and more. Therefore designers are accommodating this demand with modern versions." Their designs appeal to both local and international audiences by merging traditional deel-making techniques with European tailoring. "Deel has its own techniques to make and we added a new touch to it with European tailoring techniques. So the designs became slimmer, minimal, body shaping, and modern," they said. "We have expat customers who wish to wear traditional clothes for local diplomatic and casual events. We call it Deel Dress and it is popular." CULTURAL MISUNDERSTANDINGS AND CREATIVE BREAKTHROUGHS Cultural misunderstandings can sometimes lead to unexpected creative breakthroughs. "We would say the Paris 2024 Olympic uniform for Team Mongolia is making a big buzz abroad," they remarked. "Even though the world is not familiar with our clothes, they attracted many people around the world. We received many requests to buy the uniform." Locally, the reception was mixed. "Mongolian audience expressed that this uniform was too fancy and had too many ethnic elements. Some expressed that we should have made more modern athleisure outfits. This was unexpected." INCORPORATING THE NOMADIC LIFESTYLE Looking ahead, Michel and Amazonka aspire to incorporate Mongolia’s nomadic lifestyle into their fashion work. "This is something we would like to incorporate into our work in the future with proper research," they said. "During celebrations like Naadam, Tsagaan Sar, and family gatherings, Mongolians wear their finest deels and travel many kilometers to meet and greet their relatives and friends. Maybe this is the traveling fashion of Mongolians. In this sense, we custom make deels for our customers." OVERCOMING MATERIAL CHALLENGES Sourcing materials and producing clothing in Mongolia poses significant challenges. The lack of local fabric factories means that most materials are imported from China, Korea, and other countries. Despite these hurdles, Michel and Amazonka have successfully leveraged local resources like cashmere to create unique, high-quality garments that honor their heritage while appealing to contemporary tastes. "In Mongolia, we do not have big or small fabric factories that meet our demand," they explained. "However, we can find cashmere and wool threads and create some experimental fabrics with them. Other materials are all imported from China, Korea, and other countries. We have to travel abroad several times a year to choose fabrics for our designs." A LEGACY WOVEN INTO THE GLOBAL FABRIC Michel and Amazonka’s journey from a modest workshop to the global fashion stage is a testament to the profound influence of their mother’s meticulous embroidery and the rich legacy of their monastic grandparents. Their designs are not merely fashion statements but woven narratives of resilience, creativity, and cultural pride. By drawing deeply from their heritage and infusing it with modern aesthetics, they have created a unique brand that resonates worldwide. The sisters stand as ambassadors of Mongolian culture, embodying the spirit of their ancestors and the innovative vigor of contemporary Mongolia, as they continue to bring their rich, traditional artistry to the global spotlight. Their mother’s legacy is the thread that runs through every garment they create, a symbol of the unwavering strength and artistic brilliance that has shaped their journey. Her dedication to craftsmanship and ability to transform adversity into beauty have profoundly influenced Michel and Amazonka. This maternal inspiration is evident in their intricate designs and the deep respect they hold for their cultural roots. As they weave Mongolia’s rich heritage into the fabric of global fashion, Michel and Amazonka honor their mother’s enduring legacy, ensuring that the spirit of their ancestors continues to shine brightly on the world stage. 1/5 Images provided by: Michel & Amazonka Previous Next

Biligt Enkhtaivan Biligt, Enkhtaivan, 'Father sky Mother Earth', fragment, linocut print on paper, 2025.jpg Biligt, Us, 154.4x253.8cm, linocut prints collage, 2023.jpg Biligt Enkhtavian.jpeg Biligt, Enkhtaivan, 'Father sky Mother Earth', fragment, linocut print on paper, 2025.jpg 1/4 Images provided by Biligt Enkhtaivan ARTIST STATEMENT My work explores existential questions—life, death, time, truth—through a personal visual language rooted in printmaking and mixed media. I developed a unique technique that blends traditional printmaking with other materials, allowing me to express complex inner emotions and impressions. Deeply inspired by Mongolian philosophy and our reverence for the Eternal Blue Sky, my art reflects a worldview in which all beings—humans, animals, nature—are part of one interconnected universe. Through my work, I aim to remind us of our place as guests on this earth, and the importance of living in harmony with nature. BIOGRAPHY Biligt Enkhtaivan (b. 1988, Ulaanbaatar, Mongolia) is a multidisciplinary Mongolian artist and architect whose work explores identity, nature, and human connection through printmaking and contemporary visual media. She began her formal art education studying printmaking at the Arts and Culture University of Mongolia (2005–2006), and later graduated as an architectural designer from the Central Academy of Fine Arts in Beijing, China (2007–2013). Biligt has presented numerous solo exhibitions both in Mongolia and internationally, including Eternal Blue Sky (2024, Thinking Box Gallery, Gwangju, Korea), Steppe Full of People (2023, Khan Gallery, Ulaanbaatar), Humanoid (2022, Arts Council of Mongolia, Ulaanbaatar), A story of us (2019, Union of Mongolian Artists exhibition hall, Ulaanbaatar) and Children of Eden (2019, Mongolian National Art Gallery). Her work has been showcased in major group exhibitions such as the Ulaanbaatar Biennale (2025), Nord Art in Germany (2024), ARA International Contemporary Art Festival (2024, Mongolia) and Art week-2023 (Ulaanbaatar, Mongolia). A recipient of multiple awards, Biligt was awarded “Best Artwork” at the 2024 ARA Festival and Best Printmaking Artwork at the 2024 Independence Exhibition in Ulaanbaatar. Her work has been featured across exhibitions and art events in Mongolia, South Korea, Japan, China, Taiwan, Thailand, Vietnam, Italy, Germany, and the United States, contributing to a growing international presence. Previous Next