go bright with superga

Whenever summer rolls around, we can't help but want to wear lots of colour!  Neons, in particular, are a summer staple around the Electric sekki office--the bright up anything as basic as a classic white tee and denim cut-offs, taking it to a whole new level of chic.  So we were really excited to see Superga's new range of bright neon classic 2750's, just-in at their flagship HarbourCity store.  And what's even cuter is that the styles also come in baby sizes so that mommy and baby can match on a day out at the beach!  The bright neon collection comes in neon pink, bright green and fluorescent yellow.  Which colour is your favourite? 

The Superga bright neon collection is available at the Superga HarbourCity store:

Shop 2607, Level 2, Gateway Arcade, Harbour City, Kowloon

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so much love for sass & bide

sass & bide has been getting a whole lot of love recently from Electric sekki's celebrity friends--and who can blame them, the collection is absolutely stunning!  We weren't surprised to see popular pop singers such as Hong Kong's Charlene Choi at the launch of her new album and Taiwan's Jolin Tsai at a concert of hers in Taipei choosing to wear sass & bide for these important occasions.  We were also excited to see Chinese megastar Zhou Xun wearing sweet but edgy black-and-white sass & bide dress for a media appearance and Hong Kong model-turned-actress Karena Ng in a broderie anglais sass & bide top.  We think all four women look absolutely spectacular.  It's hard for us to pick a favourite!  Who do you think wore sass & bide best?

Zhou Xun <周迅>, Chinese actress and megastar.

Charlene Choi <蔡卓妍>, Hong Kong singer and half of pop-duo, Twins.

Jolin Tsai <蔡依林>, Taiwanese singer.

Karena Ng <吳千語>, Hong Kong model and actress.

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meet the judges: kevin carrigan

As the Global Creative Director of ck Calvin Klein, Calvin Klein Jeans and Calvin Klein, Kevin Carrigan oversees the unified seasonal design aesthetic, direction and product design, including fabrics and colour palettes, for the multiple categories for which he is responsible.  Mr. Carrigan collaborates with Calvin Klein Retail, and men’s wholesale arm of Calvin Klein, to ensure consistency of the design direction, and also consults with licensees on Calvin Klein underwear. He joined the group in 1998 initially as Design Director of cK womenswear. He honed his skills as a designer at MaxMara in Italy as well as Nicole Farhi in London. The multitalented Mr. Carrigan also designed costumes for the film Death Becomes Her and the play Body Without a Head, as well as the uniforms for Jean-Georges Vongerichten’s famed Perry Street restaurant in New York City.

Calvin Klein Global Creative Director, Kevin Carrigan.

As a designer, what does the International Woolmark Prize mean to you? 

This is a fantastic opportunity for any designer to participate in a globally-focused project based on Australian wool and Merino. It has a rich history; there’s been so many designers that have been part of the competition and worked with wool.  At the same time, it’s a challenge because wool is a fabric we all wear, yet we need to constantly re-invent it. We need to push forward with new, young eyes to make a fabric that is relevant to consumers today, versus what it was when Karl Lagerfeld and Yves Saint Laurent did it. Or when Missoni did it in the Seventies. Or when I did a project with MaxMara and the International Wool Secretariat, as The Woolmark Company was called then, when I was at the Royal College of Art. So, it’s an amazing opportunity to work with noble fibres, yet it’s a challenge, too. 

What makes wool an interesting fabric to work with?

Funnily enough, I’ve personally been working on wool-denim development. Denim has had a huge effect on our industry over the last 30 years, and it’s really taken over every aspect of our lives in the last eight to 10 years. For a guy, you can go to a black tie event, put on a tuxedo, but you can still wear jeans. So, the idea of putting denim and denim weaves into wool to become a part of men’s or women’s tailoring is very interesting.

There are many things you can do with wool as a fibre and I think that’s why it’s held its esteem. You can: boil it, felt it, embroider it, knit it lightweight, have heavy weights of it, bond it, put it next to leather, bond it to leather. You can horsehair it, use it in couture, then bring it down to denim. It has a real accessibility.  At the moment, I think there’s a trend away from futuristic fabrics back to the natural, the sensual, something that has a little bit more integrity and honesty. 

ck Calvin Klein's Fall 2013 ad campaign, overseen by Kevin Carrigan.

What have been your impressions of emerging talent from Asia?

It’s been really interesting to be a part of this and to see the regional designers from Japan, Korea, Hong Kong and China. I’ve been coming to China for 20 years, it’s one of Calvin Klein’s number one markets, and we have offices here. 

When the judging panel looked at the candidates, it wasn’t just about their success regionally. The question was, “Can they make it globally?” Like a Calvin, a Donna, and a Ralph of their day. Like a Marc Jacobs, a Michael Kors, and the new generation of Altuzarra, Jason Wu, Alex Wang. These young designers want to be on the international platform, like Rei Kawakubo did in the Eighties or Yohji Yamamoto - strong designers that have a voice.   Some of the candidates we saw already have successful businesses within the region. The question is where can they go next? Can they sell and be recognised internationally, represent the region and Woolmark, and do it successfully? I think everyone wants that to happen. All of us around the world sell so much fashion in Asia, we need to also support the growing talent here to then sell around the world, too.

Calvin Klein Global Creative Director, Kevin Carrigan.

How important is the IWP to emerging designers and to the fashion industry in general?

I think they’re very important. You get feedback from your peers, which I don’t think you’d normally get. I was talking to Angelica Cheung about going forward with the regional prize for Asia. I don’t want to just say, “You’re the winner.” It shouldn’t be about just the prize giving. What’s next for them? How we can teach them and help them grow? I don’t think they have a lot of people they can talk to. Now, they can call me or send me an email. That’s what’s great about the BFC and the CFDA. Calvin never had that when he was launching. That infrastructure is really important. We need youth, talent, new houses to break through, fresh eyes that are relevant and useful. 

See more from the Woolmark Prize here.

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meet the judges: bartley ingram

As the head of art and visual for luxury retail emporium, JOYCE, Bartley Ingram oversees the creative direction for all of their stores stores, as well as their two art galleries (in Paris and Beijing), from its Hong Kong headquarters, regularly collaborating with artists, photographers and designers to create one-of-a-kind exhibitions and displays.  Mr. Ingram arrived in New York in 1992 to work for Barneys New York; it was there that he met Mrs. Joyce Ma, who convinced him to move to Hong Kong to work for JOYCE in 2001.  He has also lived in London from 2002 to 2005, working for De Beers LV on the opening of their flagship store on Bond Street.  He moved back to Hong Kong to work with Lane Crawford for the opening of their flagship store in ifc, before returning to JOYCE in 2008.  With this vast experience in both fashion retail and gallery curation, Bartley Ingram was a natural choice to be a part of this year's Woolmark Prize Asia judging panel.

Each judge on the panel has unique industry experience.  What perspective did you bring to the competition?

Some of the judges are more on the design side, some are more on the production side, some are more on the editorial side, but I’m looking at it from the perspective of a retail environment.  The designers are Asian and JOYCE is based in Asia, but the stores have an international perspective.  We look at it from a point of view of, “Would a girl in New York wear that?  Would a girl in Paris wear that?”

So how did you answer those questions after seeing the collections presented for the IWP?

I think a Hong Kong girl would wear almost anything we saw because it’s such a metropolitan, cosmopolitan city and people adopt to fashion trends very quickly here.  Many presented modern, new ideas.  The ways they worked with wool were incredible:  everything from knits to laser cuts to felting to hand-painting on wool.  I appreciate the fact that they all took this challenge to work with a material that they might not normally use, and I think that they all pulled it off.  They all came up with innovative ways that were still true to their aesthetic.  We asked a few of the contestants, “Would this be part of your normal collection?”  They immediately said, "Yes."

As a judge, what do you look for in a potential winner?

I look for something I haven’t seen, and I saw a lot of that.  I learned about the way each designer thinks.  All the contestants had to do a mood board and then a final collection.  Sometimes, the two didn’t match, but what was interesting was that they all had completely different points of view.  It was exciting, but it made it more difficult to judge.  In general, I looked for simplicity, elegance, modernity, use of the material that I had not seen before. 

What opportunities do the International Woolmark Prize and similar fashion awards around the world create for young designers?

The financial reward means that they can experiment and do more new things, but what’s really great about this prize is that it comes with a certain cache and makes it easier for them to go into the market.  The emerging talent we saw are already established as designers, doing collections and selling in a few stores.  They already show in Paris and in Tokyo, but it’s much easier when a buyer comes to the showroom and the designer has a sign that distinguishes them as the Woolmark Prize winner.  It gives you prestige and puts you on a different trajectory.

We think of Paris, Milan, London and New York as the centres of fashion.  What part does Asia now play in the industry?

It’s very interesting to me that all the great talent I saw is Asian.  I feel like saying to them, “Where have you been?” I think this is a really good time for anyone in Asia who wants to get into design, because around the world everyone is looking for an Asian brand.  I cannot tell you how many times people have asked me to help them find a Chinese designer.  They’re out there, it’s just hard to find them, and that’s what makes the prizes like these so valuable. 

Are Asian designers in any way different from their counterparts in Europe or the US?

This year, the winner from Asia will go on to compete in the international competition.  That proves to me that Asian designers are being taken seriously.  I think there is a different aesthetic, especially among the Japanese and South Korean designers we saw.  Their work is so methodical, so meticulous, and I couldn’t believe the detail in the construction of the garments, even the inner linings were amazing. The Asian sensibility is so much more thoughtful than anything else’s.  You usually see edgy or pretty design, and I didn’t see either, which I was quite happy about.  I saw really well-constructed, cutting edge, very modern garments, and that is Asia.

See more from the Woolmark Prize here.

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meet the judges: simon lock

Simon Lock is an international fashion expert with specific experiene in the growth and development of fashion weeks, award programs and festivals across the world. In 1995, Mr Lock launched Australian Fashion Week, the first fashion week in the southern hemisphere to be recognised on the international fashion week circuit.   Australian Fashion Week has since expanded into a world-class fashion event attracting thousands of fashion industry insiders from all over the world and has recently become backed by Mercedes-Benz, who is also the flagship sponsor of New York Fashion Week.  He was Managing Director of Fashion for Asia Pacific with New York-based International Management Group, before launching his own strategic consulting services business, and now works closely with the International Woolmark Prize each year, scouring the world for new design talent to embrace and support.

Why are awards like the International Woolworth Prize (IWP) important?

The International Woolworth Prize really stands on its own. There is not another global emerging designer programme of this type. Certainly, there are many fashion designer competitions which tend to be territory-based, but the International Woolmark Prize is in fact global, encompassing: North America, Europe, the Middle East, Asia and Australia, and it will hopefully expand to embrace the entire world.   Here in Asia, we really stepped up the game. Last year only encompassed China. This year we’ve expanded to Hong Kong, Japan and Korea. It’s opened up a greater depth of talent in the region, the caliber of the design has been really great, and it’s given Asia the a greater opportunity to knock out the competition and take the international prize.

How does the IWP create new opportunities for the up-and-coming designers? 

What’s great about it is the fact that over the past six months, there have been about 50 designers involved in the programme, so 10 nominees from each of the five regions. They’ve been taken on a journey to the final and along the way, they got a lot of help, support, and advice.  The 10 designers who we’ve nominated in Asia have had the opportunity to speak and work with people like Kevin Carrigan of Calvin Klein, Angelica Cheung of Vogue China, Bartley Ingram from Joyce. They’re now connected to these people.  The process, the journey has been rewarding already for those 50 or so who were nominated. 

For the winner, the cash prize is fantastic, but I think ultimately it’s the journey that becomes important, the relationships, and what they learn. Five people will be taken to Milan Fashion Week to be judged, and the one who wins there will receive an enormous amount of money. More importantly, they’ll receive an enormous amount of wholesale orders from some of the leading buyers from around the world. That’s more valuable than anything else. 

What does it mean for a designer to be associated with the Woolmark logo?

It has a point of difference. Wool is a natural, luxury fibre. Consumers are understanding more and more that it has a premium value at the point of sale, and that adds value to any designer’s name and garment. It’s not a synthetic or a technical fabric; It’s beautiful to touch, feel and wear. 

How have you found young designers work with wool?

I’m amazed at the technology and innovation that’s driven the development of wool fibre over the years. It was once regarded as a scratchy wool jumper. So, to see these beautiful, fine, cool summer-weight fabrics, or to see the way it can knitted, woven, incorporated or laminated, it’s quite incredible. The thing that I’m finding most exciting is that young designers are saying, “We’re not going to look backwards, we’re going to look forwards,” and that’s adding a new dimension to the Woolmark brand. 

Europe has historically been the global fashion centre. What role does Asia now play?

I think Asia and Asian consumers have always looked to international brands for the status quo. So, there hasn’t been much respect for homegrown designers, apart from in Japan with Yohji Yamamoto, Comme des Garcons, and a few others. But I think we’re about to see a huge interest in Asian designers. It’s as a result, quite frankly, of the Asian heritage designers who are now making their mark about the world. Alexander Wang, Jason Wu, and Philip Lim weren’t necessarily born in Asia, but they are Asian and I think that’s sparked the attention of the fashion world. They’re creating a new generational pathway for Asian designers. I’d like to think that some of the designers we’re identifying with the International Woolmark Prize can follow in their footsteps. 

See more from the Woolmark Prize here.

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meet the judges: angelica cheung

Angelica Cheung has been editorial director of Vogue China since she launched it in 2005.  She has used the pages of Vogue China to bring the Chinese fashion industry to international prominence and has provided a vibrant platform for local fashion talent.  Therefore, she was a natural fit to be on the judging panel of this year's Woolmark Prize Asia, alongside International Woolmark Prize 2012 winner Christian Wijnants, global head of creative for Calvin Klein Kevin Carrigan and JOYCE's Bartley Ingram.  The ever glamourous and ever gracious Angelica had a lot of interesting things to say about the Woolmark Prize, the use of wool and, of course, fashion in Asia.

Vogue China Editor-in-Chief, Angelica Cheung.

What is the significance of the International Woolmark Prize for designers and for the industry in general?

Because of Woolmark’s heritage and its commitment to discovering new designers, this is a very important award.  All the designers know it; People who study fashion know about this prize, and that attracts talent. Woolmark obviously has a responsibility to promote wool as a raw material, but they also encourage the designers to treat wool in modern, innovative ways.  

Is it all about being the winner? 

Ultimately, only one person wins the right to participate in the international competition, but the process is very important for all the participants.  With Woolmark and Vogue as a partner, we try to provide a lot of the training, a lab and the material sources.  Therefore, even the participants who do not win have an experience that they otherwise would not have had.  I feel that’s actually much more meaningful than being the winner.

What do you look for when judging the candidates of the IWP?

What I’m looking for is the total package.  We had a very good judging panel this year; each judge really had the experience and the eye to evaluate the nominees.  It can be quite hard.  In some candidates, you see really beautifully made, good quality clothes.  And then you have to ask yourself, “Does the world really need another one like that?”  Then you might see some really interesting ideas, but they’re not well executed.

Vogue China, July 2013 cover.

Which qualities in particular make up the winning total package? 

First, the designer really has to respect wool.  We want to see good ideas for how to use this material. 

Secondly, you need to be able to imagine people wearing the clothes because we want the winner to be successful as a brand, not just as an artist.  We can only give you the prize once.  After that, you have to generate your own money to sustain your business, which means you have to sell your clothes. 

Third, on the basis that the clothes will sell, you need to add a little twist.  Everybody knows MaxMara sells, but if you do a “MaxMara” why would anybody go to you - a nobody - instead of something that already exists?  So I look for something that will give people that reason to go to a young designer. 

Fourthly, I feel I need to look at the person’s communication skills.  In today’s business, it’s very important that the designer knows how to sell himself or herself.  They can't just get the message across with good design, they also must be very good with people.  You get a feeling for whether the person would be good with the media, with partners.  In order to run a successful business, you need to be able to work with people.  

  

The fifth element to me is the quality.  Along with the ideas, the commercial side, all that, the person needs to have an innate sense of quality, which I find lacking in young designers sometimes.  At the end of the day, if the clothes look good but the buyer buys it then finds a seam rubs uncomfortably or a button drops off after a few days [it’s a problem].  You cannot sustain success if you don’t have good quality. 

Vogue China's Angelica Cheung with Woolmark Prize Asia winners from Hong Kong, ffiXXed.

See more from the Woolmark Prize here.

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meet the judges: christian wijnants

In 2012, the charming and talented Christian Wijnants not only won the European regional finals of the Woolmark Prize, but also went on to wow the judges at the global final, winning the coveted International Woolmark Prize.  His winning IWP entry started with the idea of exploring a single piece of yarn's full potential; Wijnants employed the shibori technique and created a unique shape which moulded wool around the body, as a sculptor might mould clay around a figure.  Wijnants has been showing at Paris Fashion Week for over 18 seasons and is stocked in over 60 stores around the world--if there's anyone who knows a thing or two about the talents needed to make it as an emerging designer, it's this guy!  Which is why he was the perfect choice to be a part of this year's Woolmark Prize Asia judging panel, alongside Vogue China's Angelica Cheung, global head of creative for Calvin Klein Kevin Carrigan and JOYCE's Bartley Ingram.

  

What impact does an award like the International Wool Prize have on participating designers?

It’s very important for a young designer’s career.  It’s a very good opportunity to show your work to a very wide audience: journalists, buyers, people in general.  I’ve done a couple of competitions, but this is definitely the one that brought me the most visibility, new customers and new buyers coming in to buy the collection.  It’s great to have this event to help designers express themselves – it’s very important. 

What does it mean to have the Woolmark logo associated with your brand?

It’s a symbol of a quality that is timeless and has longevity.  You want to associate your brand with this type of trademark, a sign that the brand is on a certain level.  That’s what I also enjoy about Woolmark.  Almost everyone can afford to have a Merino sweater, so it’s also luxury, but a very affordable, accessible luxury.  It’s not just promoting a brand.  There’s something noble in a natural fibre that the Earth is producing, that has heritage.

We often hear about cashmere, silk and innovative new fabrications, but what is so special about wool?

What nature has created is good for many reasons, like the natural elasticity and comfort in wool.  There is the fact that it keeps you warm in winter, and then in the summer it keeps the body temperature at a certain level.  There are also many ways to use the fibre in contemporary interpretations.  It can be mould around the body in very sensual, feminine ways.  You have so many variations and options, I would almost say there is no reason to invent new ones, but of course people always like to change and to try other thinks.  Thanks to the IWP, it’s great to see what else can be done with wool and to educate younger generations to respect nature, to see what our planet has to offer. You can do so much with wool, you don’t have many boundaries.

How did you use wool in your winning design?

I wanted to bring homage to that fibre, and to try to show that you can really bring excitement, freshness and novelty to a garment with just one yarn.  So I challenged myself by using just one yarn, knitting and hand-dyeing most of the collection by hand.  I find it very interesting that you can do so much with even raw, untreated wool, and that’s why I also enjoyed seeing how this year’s candidates interpreted it.

As one of the judges for the 2013 prize, what did you look for amongst the nominees?

There is the emotional impact, when you just feel it’s right.  Of course, the whole idea of the IWP is to choose an ambassador who is going to use and promote wool in new and innovative ways.  So creativity and innovation are important to show how young people can bring a new perspective on this fibre.

What do you think of young Asian fashion designers?

I’ve been to Asia many times before, but this was my first experience looking at Asian designers.  It was very interesting because I sometimes think that, in Europe, we don’t accord as much importance any more to traditions or to our own culture.  While here, I saw a few collections still had that touch.  I find it’s a very noble thing to do, to reflect your roots and your history, but to still try to interpret it in a new way.  

See more from the Woolmark Prize here.

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superga ambassador: matt solomon in italy

When racing wunderkid and Superga brand ambassador Matt Solomon headed to Italy earlier this month to compete, we had a feeling it would be a successful endeavor.  After all, Superga is an Italian company with a rich heritage in the country and with the brand backing Matt at the races, we had a feeling that great things would come!  And, we were right!  Superga brand ambassador Matt Solomon took the fastest time on the track and we couldn't be more proud!  Matt continues to tour Europe this summer and we can't wait to hear about his next successful turn on the track.  Keep it up, Matt!

See more from Matt Solomon here.

See more from Superga here.

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woolmark prize asia finalist: ffiXXed

The Woolmark Prize Asia finals were held earlier this week on Tuesday evening at the W Hotel, where hopeful designers from all over Asia - including Hong Kong, China, Japan and Korea - competed head-to-head with each other to become the winner of the Woolmark Prize Asia and the receive the opportunity to compete at the International Woolmark Prize later this year.  The Asian designers (Alani, Tache and Post December from Korea, Yun Linn, Sankuanz and Chuyan from China, ffiXXed and PLOTZ from Hong Kong, matohu and motonari ono from Japan) created a range of gorgeous pieces for the judges and we believe they must have had a hard time deliberating who they would pick for the winner!  This year's judges included Vogue China's Angelica Cheung, Calvin Klein head of creative Kevin Carrigan, JOYCE's Bartley Ingram and 2012 International Woolmark Prize winner Christian Wijnants.  Ultimately, it was Hong Kong design duo, ffiXXed, who won--much to the joy and excitement of the home crowd.  Congratulations, Fiona and Kain, on a job well done!  We can't wait to see your full capsule collection to debut later this year in Milan.

A runway with a view at the W Hotel WET Deck.

Front row seats to the show.

2012's International Woolmark Prize winner, Christian Wijnants, being interviewed by Fashion One TV.

Winners of the 2013 Woolmark Prize Asia, Hong Kong design duo ffiXXed, with Vogue China's Angelica Cheung.

ffiXXed's winning design, which featured a wool jacquard texture which was felted on the underside.  ffiXXed were inspired by the idea of using blankets as a theme for their piece and spent countless hours with wool experts in factories in China learning all the different properties of wool and how to use it in an interesting way.

See more from the Woolmark Prize here.

See more from ffiXXed here.

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style jam: lauren engel

Photographer Lauren Engel has a keen eye for what's cool on the streets.  Unlike many photographers working in Hong Kong, she's not obsessed with the luxury sector and all of its logo-branded merchandise.  Instead, she's keen on photographing cool, urban pieces in cool, urban locations.  Now, that's our kind of girl!  For our first Style Jam with a photographer, Lauren Engel shot Rachel Hammett in a wardrobe of Minkpink, Stylestalker, One Teaspoon, House of Holland and Superga in a series of colourful settings around Hong Kong.  Her undone, spontaneous approach to photography, coupled with her eye for colour and attitude are what made this Style Jam so unique.  We can't wait to see what else this talented young photographer comes up with next!  She's definitely one to watch!

Minkpink top, Minkpink pants, House of Holland sunnies and Superga x Giles Deacon sneakers.

Minkpink dress, Superga x House of Holland sneakers.

Minkpink dress.

One teaspoon top, Stylestalker pants, Superga sneakers.

Stylestalker top, Minkpink dress.

See more from Lauren Engel here.

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best bet: a flawless experience at flawless

If you're in the market for a facial or a massage, then look no further than Flawless.  The experience that we had at Flawless was, well, as the name suggests, no less than flawless!  The experience begins when you are greeted at the front desk to a gorgeously designed space.  It's comfortable and clean, without feeling too sterile and has warm, inviting touches such as plush leather arm chairs, quirky cushions and walls full of interesting modern art.  You are then offered what is perhaps the world's most delicious water you will ever drink, flavoured with a concoction of citrus fruits and mint leaves.  It sounds simple, but they do it flawlessly (what else would you expect)!  You are then lead through what we now like to affectionately call the "Doorway to Heaven", otherwise known as the bright pink accent door that reveals a series of incredibly comfortable back rooms in which your facial and/or massage will take place.  Finally, you are treated to the most relaxing and rejuvenating experience of your life, at the hands of an expert team of ladies who are not only excellent at what they do, but are incredibly nice and lovely personalities, too.  Flawless is perhaps the only urban spa in Hong Kong that gets the service side of things right; in fact, they really are right on the money.  In a town where so many things are service-focused, there are still so many establishments that fall completely short in the customer service area, but that's where Flawless excels.  The service in itself is enough to make you want to keep coming back but, of course, all the other elements such as the interior design and the quality of the treatments that you will be getting are worth raving about, too.  This is definitely our new favourite place when we need some pampering.  Overall, a truly flawless experience at Flawless!

Flawless offers facial, massage, manicure/pedicure and make-up services.

Water of the gods!  This concoction seems simple, but Flawless does it perfectly!

The "Doorway to Heaven"--Flawless' pink accent door that leads to a series of incredibly comfortable back treatment rooms.

The interior of the treatment rooms is spacious, clean and designed with lots of consideration.  We have never felt so comfortable at a spa!

Interesting modern artwork is sprinkled throughout Flawless.  This was in the bathroom, believe it or not!

Flawless is the exclusive distributor of Medik8 in Hong Kong and many of their facials feature their products, which you can also purchase after your treatment.

There is a lovely, serene outdoor patio area with comfortable sofas and make-shift lily ponds that is perfect for lounging around in and soaking in some sun rays after your treatment.

An interesting work of graffiti commissioned by Flawless on one of their exterior walls.

At Flawless, impeccable service and quality treatments are as simple for them as black and white!  A truly flawless experience a Flawless!

See more from Flawless, learn more about their treatments and book an appointment here!

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