Christopher Lee: “There’s this energy & mix of cultures that’s unlike anywhere else”
Hong Kong is a market that’s tuned into pop culture trends and is experimental, design-led and fast-moving. Campaign Brief Asia spoke with Christopher Lee, ECD at Publicis Groupe Hong Kong, about some of its most acclaimed recent work.
Over the past 12 months, Publicis Groupe Hong Kong has created a flurry of campaigns that all play in the realm of art, film and pop culture. Last year, it scored 26 recognitions at the Kam Fan Awards, while two recent campaigns were shortlisted at the ADC Awards: ‘State Theatre Reborn’ and ‘Shan Shiu Indexes’.
Christopher Lee told Campaign Brief Asia about Hong Kong’s fast-paced creative scene, and what he’s been up to since stepping into the role as ECD last November.
So much of your work at Publicis Groupe Hong Kong plays in the cultural realm, or taps into pop culture in very beautiful, authentic ways. Why do you think this is?
Hong Kong is such a vibrant place. Everywhere you go, there’s this energy and mix of cultures that’s unlike anywhere else. We’re just trying to hold a mirror up to this authentic side of Hong Kong in the most original and unexpected ways we can.
Can you tell us about ‘State Theatre Reborn’, which was shortlisted at the ADC Awards. It was a six-week experience celebrating Hong Kong’s film industry: how did it come about?
Lots of places in Hong Kong have immense historical and cultural value, but being a Hong Konger myself, I could see that culture has been cast aside for rapid urbanisation. Hong Kong’s youth are turning their attention to disposable pop culture, and many people are convinced that our local identity will disappear.
A perfect example is Hong Kong’s State Theatre – once a global stage for entertainment and the birthplace of cultural identity, it had fallen into disrepair. The theatre is now being restored by New World Development, Hong Kong’s largest developer, which has always played an active role in bringing culture closer to the community. We decided to work closely with New World to revive Hong Kong’s cultural pride by bringing the past and the future together: for tradition to survive, the younger generation would have to care about it.
You collaborated with neon light sign makers, calligraphers and poster artists, and reinstated 3,000 historic artefacts to bring this experience to life. What was the most rewarding part of this project?
The most rewarding part was having the opportunity to work with different cultural experts, artists and talents in Hong Kong. We started by working with historical experts who helped ensure complete authenticity for the rebuild of the State Theatre. Local architects, interior designers, and theatre prop masters all joined the team. It was amazing seeing the last craft masters in Hong Kong sharing their craft and expertise for the rebuilding project (the grandmaster of Hong Kong cinema posters had to unretire to help)! All of this during the pandemic – where we had to ensure the highest standards of sanitation and safety for everyone involved.
How was it received?
I loved how, within a week, the immersive experience was already overbooked. People of all ages, from regular joes to the biggest influencers, celebrities, and politicians came. One of the ‘Kings of Cantopop’ even took up calligraphy after visiting State Theatre Reborn.
But what stuck out the most was when I took my dad. Once he stepped foot in the State Theatre, it was like he was reminded of all the stories that he experienced here. He just couldn’t stop talking (haha).
‘Shan Shiu Indexes’ for HSBC is also shortlisted at the ADC Awards – it’s an artwork that syncs to the Hang Seng Index. What was the brief, and why did you land on art as the solution?
The brief was, “We have digital screens at our new Wealth Centre, what can we do?” When I first heard it, my eyes lit up . This is an opportunity for HSBC to show how modern it is, but also built on centuries of wisdom. We wanted to create a statement to show the new affluent that HSBC is not the ‘156-year-old’ bank that they thought it was.
VIEW THE HSBC SHAN SHUI INDEXES CASE FILM (previously called ‘Art of Progress’)
‘Shan Shiu Indexes’ is such a beautiful blend of tradition and modernity, which seems to sum up Hong Kong. How does living in Hong Kong inspire you as a creative?
Hong Kong is my home. It never stops. Yes, sometimes it might be overwhelming, but you can’t help but smile knowing that everyone here, who has a passion for creativity, is trying their hardest. It gives you the motivation to keep going. What’s nice is – it’s such a small city – a few phone calls away puts you in touch with different people to create new things with.
You also worked with a virtual influencer named Noonoouri last year. What was the most surprising thing you learned about the rise of virtual influencers?
It’s surprising how real their personalities are. It’s not easy to build a virtual influencer from scratch and to keep its popularity for such a long time. They seamlessly create entertainment with their posts, which we should take note of.
You joined Saatchi Hong Kong in March 2020, and stepped into the ECD role at Publicis Groupe Hong Kong in November last year. How is it going so far?
Local experiences, great craft, data-driven ideas. Easier said than done. With this new role, I have to keep pushing the work that we create, but at the same time, I am certain that we have the right people to do so. The teams here are unrelenting. I’m excited.
I have put on weight though. Need to find more time to head down to the basketball court next to our office for some pickup games.
Publicis Hong Kong scored 26 recognitions at last year’s Kam Fan Awards. What’s driving this success?
As cliché as it sounds, it’s our “never give up” mentality. There are a lot of opportunities in Hong Kong, but we have to keep pushing and not settle. We have to remember to not get caught up by the craziness and to walk away for a bit – just to get some breathing space and headspace to look at new ways of creating experiences – especially in Hong Kong where everything can be a sensorial, immersive experience. But of course, easier said than done.
Can you recommend any artists, designers, venues, films or fashion labels that will give others a sense of what makes Hong Kong such a vibrant creative market right now?
If you come to Hong Kong, check out K11, the city’s most impressive art mall – it’s a museum of art, but with retail therapy.
Check out Henry Chu, founder of pill & pillow, and his eclectic digital art.
Anais Mak is a firm fixture of Hong Kong’s home-grown fashion talent. I had the great opportunity to capture her in a film before, and have been admiring her work from afar ever since.