Dim and tawny light lit the room with candles flaring ornamentally, making the atmosphere more leisurely. There was no main overhead light in this house, only exotic or vintage desk lamps, decorative lanterns and different shapes of candles.
It was a nearly forty-year-old apartment. The outer wall’s dusty tiles were falling and it was very hard to recognize the tile’s original color. Though it seemed like the place was no longer suitable for living, the owner, Pinn Wang, transferred the house into his studio. In the living room there was a wooden-rounded green table with two chairs, which Pinn had purchased in Spain. On the wall was a Hittite-styled bronze ornament with a mirror in the middle. The sofa smelled like it had been used for years, with a Bohemian pattern cushion placed alongside the wall. A small traditional TV was on the other side of the room, with DVDs from Wong Kar-Wai and Hou Hsiao-Hsien scattered on a small side table.
In Pinn’s main workroom, the wall was painted in cream color and there were many original manuscripts posted. In the corner was a sewing machine with some imported fabrics. And there was a dining table in the middle of this room, which was not only being used as a designer’s work bench but also served as a dining table when guests came. The floor was tiled with wooden plank and was waxed to give it a nice gloss, because according to Pinn, when bare feet touched the satiny and warm floor, it inspired him most.
There was another room Pinn used as a film studio, where he shot his collections. And a third room was acute-triangle-shaped, so it merely served as a warehouse, which stored Pinn’s clothes and shooting props.
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