The energy at Messeplatz was undeniable the moment I arrived. The first thing that hit me was the sheer scale of Katharina Grosse’s "CHOIR". She completely took over the Messeplatz with this aggressive, beautiful spray of magenta and vibrant colors that covered the ground and the structures. It didn’t feel like I was walking to the fair, it felt like I was walking inside a painting before I even showed my ticket. It set the tone for the whole day : immersive and loud.

I spent most of my time in the Unlimited sector, and honestly, "unlimited" is the only word for it. Walking into the Unlimited sector, it was impossible to miss Yayoi Kusama’s installation (Let’s Go to a Paradise of Glorious Tulips, 2009). This polka-Dot garden was a burst of pure joy, the bright primary colors were a shock to the system. 

​One of my favorites was Da geht sie, die Leseratte one to six, 2025 by artist Cosima von Bonin. At first, I thought they were paintings, but up close, they were actually made of velvet, cotton, and fleece. The subject is Daffy Duck, but not the energetic version we usually see. He looks defeated, melting into the floor, dragging himself along, collapsing in exhaustion represents pure, unfiltered emotion: fatigue, failure, and irony.​ It was funny, but also deeply relatable.

Into the Woods to Lose Our Way, 2025 by artist Hyunsun Jeon : a massive, semicircular structure that looked like a skateboard ramp. But instead of concrete, it was covered in digital-style landscapes. The artist mixed traditional watercolor techniques with pixelated graphics, trees, and geometric shapes. Walking around it felt like being inside a video game glitching into a forest.

Nicola Turner's artwork: Danse Macabre, 2025, this piece was massive and haunting. A towering monster made of horsehair and wool that reached 10 meters up to the ceiling. It looked like a storm cloud or a dark spirit freezing in mid-air, like it was absorbing the energy of the room.

As I stood in front of these towering figures Untitled, 2024–2025 by artist Izumi Kato, thinking they were massive, heavy stones, but the description revealed a fascinating trick: they are actually cast in lightweight aluminum and then hand-painted them to look like primitive, spiritual figures. They reminded me of ancient totems but with a modern twist.

From the massive installations in the Unlimited sector to the intimate ​Galleries sector, The Face in the Wood, 2015-2025 by artist Mark Manders had such a quiet intensity. A pale, clay-like face was squeezed tightly between rough, vertical wooden beams. The materials created a texture that looked both industrial and incredibly fragile. It felt like a memory being crushed  by the crucial reality.

It’s one thing to know Art Basel is 'expensive', but it is another thing entirely to stand inches away from iconic artworks that were hanging on temporary walls like they were standard decorations, raw and exposed. Still can't believe I was there to witness many masterpieces up close, including a $10M+ Jean-Michel Basquiat's artwork Because it Hurts the Lungs (1986), I was staring for a minute to feel the raw energy of this multi-media construction. And then moments later, I was face-to-face with Picasso’s Homme à la pipe assis et amour(1969), with the on-site observation, I suddenly discovered the "hidden image" that I couldn't unsee it... while the yellow part might look like a ruffled shirt of the musketeer, I also saw a blonde woman in a very compromising position, and the curves of the red shapes just look like a women's figure. Considering Picasso was the master of the visual double entendre, and presence of Cupid hovering over the man's shoulder makes sense ​if there is an act of love happening. 

​New York City, one of the most populous cities in the world, shapes global culture in countless ways, from finance and commerce to entertainment, technology, art, and fashion. Visiting in summer was pure joy: endless places to explore, nonstop festivals and events, and the kind of street energy that makes every day feel overbooked in the best way.

​One of the highlights of our trip was the most anticipated annual fashion exhibition: the Costume Institute exhibition at the Metropolitan Museum of Art. The year’s theme "Heavenly Bodies": Fashion and the Catholic Imagination, explored fashion’s long conversation with Catholic devotion, symbolism, and visual tradition. Throughout the galleries, we saw papal vestments on loan from the Vatican, religious artworks, and extraordinary couture spanning from the early twentieth century to contemporary haute couture and ready-to-wear. There were iconic pieces by Gianni Versace and Cristóbal Balenciaga featuring Catholic imagery, alongside creations from some of the world’s most influential fashion houses and designers, including Chanel, Valentino, Yves Saint Laurent, Dolce & Gabbana, Lanvin, Christian Lacroix, and Alexander McQueen.

​New York’s fascination also comes from its cultural and ethnic diversity. Each of the five boroughs carries its own rhythm, shaped by generations of immigrants and a vibrant mix of world influences. For us, one of the most irresistible pleasures was simply eating our way through the city: discovering new flavors, trying “only-in-NYC” snacks, and sampling cuisines that felt like passports on a plate.

​Another unforgettable moment was Macy’s Fourth of July Fireworks. We watched from Gantry Plaza State Park in Long Island City, where we had a panoramic view of Manhattan’s skyline. The park was completely packed hours before the show began, but the fireworks were so powerful and spectacular that the wait instantly felt worth it.

​Despite all the fun and pleasure, the main reason to travel to NYC is to visit AIMEEKU stockist in SoHo - Dreams On Air, ​The boutique was beautifully curated, with vibrant staff and an impressive selection of acclaimed designer brands. Even the location felt symbolic, set on a prime block surrounded by luxury fashion neighbors like Chanel and Balmain.

​Our final day in New York happened to coincide with Manhattanhenge, the rare moment that occurs twice a year when the rising or setting sun aligns perfectly with the city’s street grid, creating a glowing corridor of light through Manhattan’s “brick-and-steel canyons.” It was a cloudy evening, so we didn’t catch the dramatic golden beam we hoped for, but it was still a beautiful, memorable way to close the trip.

​Visiting Millesgården was an eye-opening, mind-blowing experience. Built between 1906 and 1908 on Lidingö, the large island just outside Stockholm, it began as Carl Milles’ private residence and workspace, and has since been transformed into an art museum and sculpture garden.

​Carl Milles (23 June 1875 to 19 September 1955), the Swedish sculptor behind the estate, is known for figures that feel playful and irreverent, often nude, sometimes exaggerated, with an almost cartoon-like boldness, especially when scaled up to monumental size. Among his best-known works are The Meeting of the Waters in St. Louis, the Poseidon statue in Gothenburg, the Gustaf Vasa statue at the Nordic Museum, and the Orpheus group outside the Stockholm Concert Hall.

​The museum unfolds like a small world of its own, with upper, middle, and lower terraces, the studio, gallery, maison, plus a restaurant and gift shop, and each area carries its own atmosphere and rhythm. Chances are you will easily indulge in a wonderful moment at any part of it.

​Millesgården is magical in spring and summer, when the gardens bloom with color, but the winter version has its own power: towering sculptures rising out of white snow, stark and dramatic, as if the whole scene has been carved into silence. And because the museum sits on a cliff on Lidingö, you’re also rewarded with a breathtaking view across the water toward Stockholm, a panorama that makes you pause mid-step just to stare.

​With the multiple winners of world-class tailor competitions such as World Federation of Master Tailors, Gold Needle and Thread International Competition, Taiwanese tailors are well-known for their superb workmanship and detail-oriented skills.

​Early time in Taiwan, education was not affordable for everyone, so many parents instead sent their children to learn occupational skills, therefore, many teenagers travelled to the capital city to learn the profession. Tailoring was one of the most popular in the industry at the time.

Master Chang started his tailoring apprenticeship in Taipei when he was 17 and it has been over than 5 decades to serve as a master tailor. He recalled that when he was a kid, since an iron was not affordable in his family, he always used hot lunch boxes to iron the uniform. When the time he came to Taipei, he knew that tailoring would be a right choice for him to start the career. 

​Unlike most experienced tailors who are not really concerned about updating their designs and sometimes give the impression of old-fashioned, we were lucky to meet Master Chang who is willing to cooperate with us young designers that enables our innovative designs to preserve this precious craftsmanship which is gradually fading in Taiwan due to the shortage of young bloods. The precise attitude and diligent spirit of Taiwanese master tailors are the role models and ideas of AIMEEKU clothing.