
Japanese remakes announced for popular K-Dramas
First up, 'Suspicious Partner', the 2017 legal romance drama starring Ji Chang Wook and Nam Ji Hyun, will premiere its Japanese version on April 29, 2025. The remake, led by Yusei Yagi and Kyoko Saito, will be available to stream on Disney+ in Japan, South Korea, and other parts of Asia.
While the original series only achieved moderate ratings in Korea, it became a global sensation following its release on Netflix. The story centres around a young prosecutor trainee who becomes entangled in a murder case, with her mentor stepping in to defend her. Speaking about the project, Yagi said he was honoured to take on a role made famous by Ji Chang Wook, while Saito promised a version packed with unexpected twists, romance, and suspense.
Meanwhile, the award-winning psychological thriller Beyond Evil will also receive a Japanese adaptation. Originally aired in 2021 and winner of three Baeksang Awards, the gripping drama explores morality and trauma as two detectives hunt for a serial killer linked to a 20-year-old cold case.
The Japanese version of Beyond Evil will air on WOWOW in July 2025, starring Ken Yasuda and Koshi Mizukami. Although the core storyline will remain intact, the adaptation will be tailored to reflect Japanese culture and storytelling styles.
Both remakes highlight the continued influence of Korean dramas in the Japanese market and the broader region, offering fans a chance to experience these beloved stories with a fresh perspective.
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4 days ago
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Sculpting Trees, and Teaching Patience and Focus
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The prospective clients who approach him — whether they found him through his online presence, word of mouth or his 2021 appearance on the HGTV competition show 'Clipped' — tend to give him creative freedom, since they're aware of his distinctive style. It's built on what he calls 'the Gibson method,' which has five approaches: storytelling; sacred geometry, which brings balance and harmony to his sculptures; the Japanese style of pruning called niwaki, opening up a tree to reduce energy and create structure; illusion; and directional trimming. (Like brushing hair, trimming in one direction allows for a smoother look.) All five need to be present for the design to be a Gibson creation. Gibson, 38, started developing his signature method early in his life, though he didn't know it at the time. His mother is a licensed beautician who taught him to cut hair, and his father is a Navy veteran and artist who showed him the fundamentals of art — geometric shapes, proportional faces, 3D images. He started working in the yard early, emulating his father, who took a pair of shears away from him when he was 6 and told him he was too young to handle them. By the next summer, he had practiced enough to prune the hedges himself. When he moved out around 19, Gibson brought those shears with him. He cut grass and hair to make money, often drawing designs on paper beforehand: 'It got me thinking — what if I sketched out a design and put it in the shrubs? Because the shrubs are just like hair.' Topiary became his side hustle as he worked a variety of sales jobs. Eventually, he found people who saw his vision. Their neighbors would catch on and, soon, the whole block did, too. By 2021, that had transformed into a career. That year, he moved down to South Carolina to become the artist in residence at the award-winning Pearl Fryar Topiary Garden in Bishopville, about an hour from Columbia. 'I'd never seen a Black man doing topiary, especially at this scale,' Gibson said, referring to Fryar, now 85. 'He's the GOAT of topiary.' Seeing Fryar work on his whimsical designs helped unlock his own creativity. When Fryar's health declined and he was no longer able to maintain the garden, Gibson lent a hand to help restore it. Gibson thinks that people need plants in their lives, even if they don't become topiary artists. 'It's a stress reliever,' he said. 'It gives you a sense of accomplishment.' After a plant is trimmed, new growth needs time to fill in: The more you shear, the more dense it becomes. A design can take years before coming into true focus. 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In late 2018, a seismic shift took place in footwear — an epochal moment that now feels like a lifetime ago in fashion. Daniel Lee's debut collection for Bottega Veneta broke the mould, introducing shoes that seemed almost revolutionary. Square-toed clunkers — sandals characterised by exaggerated, spatula-like soles that jutted out beneath the foot — and pumps with bulbous, stubby toes made their debut at fashion month. At first glance, they appeared hideous, almost grotesque; their unconventional shapes challenged notions of beauty and tradition. However, within months, these shoes became a culture-shift phenomenon. They appeared on the feet of nearly every celebrity, editor, influencer and luxury insider. Retailers such as Vince Camuto and Shein swiftly produced their own versions — dupes — of the viral Lido sandal, a simple slide with an enormous, blown-up interpretation of Bottega's signature intrecciato woven leather. The designer behind these provocative shoes is Nina Christen, a Swiss shoe designer whose distinct vision played a crucial role. 'It's funny what you can make people wear if you do it the right way,' she reflected. For over a decade, Christen's influence has subtly shaped contemporary shoe design, her work sinking into the industry's subconscious, trickling from luxury houses to streetwear. She has collaborated with Phoebe Philo at Celine, Jonathan Anderson at Loewe, and the Olsen twins at The Row. Last month, Anderson appointed her as the design director of shoes at Christian Dior — an ambitious role and one of the most coveted in fashion today. Yet, Christen continues to pursue her independent vision simultaneously. In 2022, she launched her own brand — Christen — a move born partly from frustration. She explained that her designs for other houses represented her taste, her perspective, 'but they were never 100% myself.' Her opportunity arose when she met Paul Dupuy, an entrepreneur who co-founded Zoi, a health-tech start-up focused on longevity. Christen had designed uniforms for Zoi's staff and clients, and Dupuy was so impressed he offered to help her create her own label. His familiarity with industry insiders, thanks to his mother's fashion background and his network, helped turn her idea into raised $5 million in capital and took charge of logistics, including planning a store in Paris scheduled for 2026. Christen already possessed a comprehensive vision: beyond footwear, she dreamed of perfect Japanese denim jeans, a leather jacket, and fine jewellery — her debut piece being a diamond toe ring. Every detail was mapped out — the packaging, branding, logo and market positioning. Her shoes are produced in Italy by the same factories that serve luxury brands, ensuring impeccable craftsmanship. Price points ranging from $1,100 to $3,650 reflect her commitment to quality and her desire to compete at the highest level. In late June, Christen's Paris studio offered an intimate peek into her universe. The raw cement floor was set with more than 30 of her designs, arranged in a carefully curated grid. Among these, styles from Loewe's spring 2023 runway stood out: cartoonish, fantastical creations — pumps embroidered with deflated white balloons, sandals blooming with hyper-realistic anthuriums, and red rubber pumps resembling Minnie Mouse. Christen was candid: 'You can't wear this for more than two hours. But Jonathan Anderson was very open to ideas that crossed the line between art and fashion.' She has a profound love for the geometry of shapes. 'When I think about toe shapes, it's all about the square, rectangle, circle, oval,' she said. 'What is the degree?' She wore a pair of pure white sandals that left most of her foot exposed, seamlessly bisected by a single strip of leather that ran through the big and second toes — like a strand of floss. The sole was thin, elongated, almost oversized beneath the toes. 'It's about creating things we're not used to yet,' Christen explained. 'When I make something and I don't know if I like it — that's often a good sign.' Her work is driven by experimentation — she strives to redefine norms and challenge perceptions of beauty. She finds inspiration in the mundane, the ugly, even orthopaedic shoes — everyday items that, through her lens, become something more intriguing. Her biggest seller after the first year? A grandpa-style slip-on boot lined with goat shearling. 'Once you wear them,' she says, 'you can't wear anything else.' Her designs highlight the power of the everyday, transforming the familiar into avant-garde statements. — NYT


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