Latest news with #Tsui
Yahoo
7 days ago
- Business
- Yahoo
Around 94% of Gen Z workers need help in dressing for the office—and they're experiencing outfit anxiety three times more than their boomer coworkers
Gen Z watched their peers get fired for dressing inappropriately for the office. Now, they're too scared to dress themselves, even reaching out to managers for guidance. The confusion is also causing stress, as the young generation and millennials are almost three times as likely to have outfit anxiety compared to their boomer coworkers. Many are even turning to their boss for fashion advice, but experts tell Fortune they'd be better off silently taking cues by copying their looks. After years of wearing pandemic-era tracksuits and a nice top for Zoom meetings, many employees are in the dark about what's appropriate to wear now that they're back in an office. While all generations are lost, Gen Z is having the hardest time, with many even turning to their managers for styling tips. About 78% of workers are seeking guidance on what to wear at work, according to recent data from workplace solutions company IWG. But the youngest cohort of employees needs the most help, with 94% of Gen Z looking for advice on their work outfits, compared to 84% of millennials, 70% of Gen Xers, and 61% of baby boomers. Much of Gen Z's confusion may chalk up to simply being the newest in the office, with many having started their careers from their couch. 'It's understandable that the generation with the least working experience will have the most questions about what to wear and what is appropriate in the workplace,' Diana Tsui, a stylist and creative consultant partnering with IWG, tells Fortune. 'There has been a fundamental shift in the way in which employees of all generations approach their workwear attire.' But with over half of employees in each generation looking for workplace fashion tips, the changing rules have left many unsure of what's appropriate. The lack of clarity is so bad it's stressing people out—staffers said they experience anxiety about what to wear to the office seven times a month. Gen Z and millennials are nearly three times as likely as baby boomers to worry about dressing properly, so they're turning to their superiors for guidance. About 30% of Gen Z seek guidance from their manager, compared to 14% of Gen X and 10% of boomers. Instead of outright asking their boss what to wear, they could take Tsui's advice of taking silent cues by copying their looks. How Gen Z should dress for the office: take inspiration from higher-ups and show restraint Gen Z has been popularizing new fashion trends at the workplace, like the 'office siren' look: dressing 1990s-corporate while 'pushing the boundaries of what's considered acceptable,' the report notes. It's a twist on power-dressing, but certain elements—like plunging necklines and short skirts—could land them in a meeting with HR. Data shows that already, many Gen Zers have been fired for dressing inappropriately, only adding to their anxiety. Luckily, there are a few surefire ways that Gen Z can avoid the early-morning anxiety of having to pick out an appropriate outfit for the office. 'Workwear is never going back to its suit-and-tie days, although that can be fun to dabble in,' Tsui advises. 'Take a cue from your industry and see how their prevailing dress codes enmesh with your own sensibilities.' Tsui has three major tips for young staffers to stay in line with company dress codes and avoid getting sacked for their outfit: Take inspiration from your superiors: Take a look around the office or check how older coworkers are showing up in Zoom calls. She notes that young workers don't have to copy their higher-ups, but rather get a vibe-check on the dressing environment. Express yourself, with restraint: If it's a more conservative environment, playing with proportions can be a fun way to spice up drab corporate attire. A chunky shoe or eccentric pair of earrings can go a long way in adding flair to an outfit. Don't show too much skin: Wearing clothes that are too small and show too much skin is 'usually still frowned upon,' so try to avoid anything too revealing. Why nobody knows how to dress for work anymore Gen Z isn't the only generation of workers torn on what's acceptable to wear to the office anymore. Experts Fortune has spoken with all contend that the COVID-19 pandemic was a major turning-point for workplace attire. Now, employees are back in the office, and they don't know how to give up their stretchy pants. Tsui says it's on employers to navigate the new world of work attire, and share clear policies with their staffers to avoid any unnecessary stress. 'This shift away from traditional norms toward more flexible policies highlights the need for modern guidance,' she explains. 'As companies adapt to hybrid models and multi-generational teams, employees are increasingly seeking clarity on how to balance self-expression with professionalism in evolving work environments.' With four generations in the office—Gen Z, millennials, Gen X, and baby boomers—it's natural that there's going to be huge divides in terms of style. But HR experts agree that a few shifts are here to stay for everyone: sneakers are in, ties and heels are largely out, and you still probably shouldn't wear shorts. Sometimes, casual and comfortable styles can blur the lines of what's proper for the office—but Tsui says if styled properly, employees can make it work. Young staffers can also better curb their outfit stress by adopting a 'work uniform.' Gen Z and millennials already lead the way in having a standard style, with 59% having a uniform, compared to 53% of baby boomers, the IWG report notes. It's a trend among younger generations that gives them a sense of control over their careers—and takes away the concern of picking out a new outfit everyday that may or may not be appropriate for the job. This story was originally featured on Solve the daily Crossword
HKFP
22-07-2025
- HKFP
Ex-Cathay employee charged in human smuggling bribery case after 15 years on the run
A former Cathay Pacific employee has been charged by Hong Kong's anti-corruption watchdog over a 2009 human smuggling case after fleeing the city for 15 years. The airline's former customer service officer, Tsui Ying-kit, 44, appeared at West Kowloon Magistrates' Court on Tuesday, facing four counts of 'conspiracy for an agent to accept advantages' after returning to the city the day before. The Independent Commission Against Corruption (ICAC) said on Tuesday that Tsui was initially arrested in 2009 for allegedly accepting bribes in exchange for issuing boarding passes to travellers organised by a human smuggling syndicate. A warrant was later issued for his arrest after he jumped bail. He was taken into custody upon his arrival in Hong Kong on Monday. Tsui is accused of conspiring with members of the syndicate, along with two other Cathay ground crew members, to ensure that smuggled individuals could board their flights, the ICAC said. They also allegedly provided the syndicate with information about the travellers' boarding status and security details from Cathay's internal system. According to the ICAC, Tsui received between HK$1,000 and HK$2,000 for each traveller. Two members of the syndicate and two former Cathay employees pleaded guilty and were sentenced to jail, ranging from 14 to 20 months, in February 2011. On Tuesday, Magistrate Edward Wong ordered Tsui to remain in custody until his next court appearance on September 30. Under the Prevention of Bribery Ordinance, anyone convicted of accepting advantages as an agent faces a maximum fine of HK$500,000 and up to seven years' imprisonment.
RTHK
22-07-2025
- Health
- RTHK
HK, Macau & Guangdong in joint anti-mosquito campaign
HK, Macau & Guangdong in joint anti-mosquito campaign The Centre for Health Protection said it will take appropriate preventive and control measures to prevent the spread of Chikungunya fever in Hong Kong. File photo: RTHK The Centre for Health Protection (CHP) on Tuesday said it is working closely with health authorities in Macau and Guangdong to fight the spread of Chikungunya fever. According to the World Health Organization, more than 220,000 cases had been recorded in 14 countries and regions, including about 80 fatal ones, as of early June. The Foshan Municipal Health Bureau announced that, as of last Sunday, there had been 2,285 confirmed cases there. Most cases were found in Shunde District. All cases were mild. The controller of the CHP, Edwin Tsui, said the SAR stayed informed with the latest development of the mosquito-borne disease in Guangdong province. Macau, meanwhile, recorded its first case of Chikungunya fever on Friday. It was classified as an imported case. 'Although no confirmed Chikungunya fever cases have been recorded in Hong Kong so far this year, higher temperatures and rainfall in summer are expected to aggravate mosquito infestation in Hong Kong. Additionally, people travel more frequently during the summer holidays, including to regions where mosquito-borne diseases are endemic," Tsui said. 'Consequently, there is an increased risk of imported cases and local transmission of mosquito-borne diseases, such as Chikungunya fever and dengue fever. Members of the public are advised to take protection measures against mosquitoes, whether they're here or travelling outside of Hong Kong." Tsui said inspections have been stepped up at border control points to ensure good environmental hygiene, and temperature checks are conducted for inbound travellers. Travellers with fever will be referred to hospitals when necessary. The CHP will also provide the latest disease information and health advice to the tourism sector and airlines. The centre has issued a letter to all doctors and hospitals in Hong Kong to provide them with the latest epidemiological information. Doctors are urged to watch out for Chikungunya fever-related symptoms among people who return to Hong Kong from outbound travel, and to report cases to the Department of Health. An interdepartmental steering committee will hold a meeting on Wednesday to review the latest situation and anti-mosquito work of various departments.
Sydney Morning Herald
15-07-2025
- Entertainment
- Sydney Morning Herald
Grief, art and a royal wedding: How one garment contains years of history
In Michiko Tsui's childhood home there was a room dedicated purely to embroidery. It was there that her mother, Fumiko Saito would create worlds, one kimono at a time. Michiko would help – holding the silk thread as her mother worked, and giving her massages as her fingers and shoulders cramped up. Embroidery began as a hobby for Saito. As for many young women growing up in Kyoto in the first half of the 20th century, the art form was taught as part of a good education. When Saito's husband died while their three children were young, however, she refined her skills and turned her art into a career. Now, Saito's work is on display in the National Gallery of Victoria as part of Kimono, an exhibition showcasing the history and evolution of the iconic garment. The work required great patience and was painstakingly exact, Tsui, who migrated to Melbourne in 1981, recalls. Her mother's career spanned three decades. One of the most public recognitions of Tsui's skills came in 1958 when she was tasked with embroidering the engagement kimono for the then future Crown Princess Michiko. At that time Kyoto was renowned for textiles and the Imperial family would have looked at the work of artisans working there, choosing the best. Saito later made a wedding kimono for her daughters to wear when they married. Featuring 20 vibrant orange and white cranes – a traditional wedding motif that symbolises longevity and happiness – the stunning garment took more than three months to make. While her two older sisters happily wore it, Tsui bucked the trend, opting instead for a modern version made from red silk. She and her sisters have donated the wedding kimono to the NGV and are thrilled it is being displayed, honouring their mother. 'I'm very happy … more people can see her exquisite handmade embroidery,' Tsui says, adding that the intricate sewing was hard work. According to curator Wayne Crothers, senior curator of Asian Art at the NGV, the kimono is a thing of great beauty. It also acts as something of a time capsule, he says, tracing the evolution of Japanese society from the 17th century to today. The garment illustrates 'changing fashion, cultural icons, class structure and ingenuity of creativity with materials and techniques'. 'It is a very impactful exhibition – we all love beautiful objects and in that instinctual sense, it's a really nice experience,' he says. 'It's not just a textiles exhibition … it's a historical journey from the Edo period, which is when it was what everyone wore... to current day, high-end kimono fashion.' More than 70 stunning pieces are on display, including seven dating back to the 1600s and 1700s when they were worn by the samurai and merchant classes. But kimonos were not the exclusive domain of the wealthy; even the very poor wore kimono, sometimes creating them from scraps of material. One of these is part of the show, made in the Meiji period (1868–1912), from more than 100 pieces stitched together. It is one of the most popular designs featured, says Crothers. Known as boro or rag kimono, ' Boro textiles are the creations of unknown craftspeople who never intended for them to be viewed as things of beauty,' as noted in the show. 'However, in a contemporary context they have a collage-like quality, their spontaneous designs imbued with a life and spirituality of their own.' There are sleepwear kimonos, undergarments (a bit like a kimono-shaped petticoat) to wear beneath some of the more ornate designs, and insights into etiquette - short-sleeved kimono are generally worn by married women, long-sleeved are designed for young women, for example. The obi, or belts worn with kimono, are an art in themselves, tied in different ways according to who is wearing them and the occasion on which they are worn. Accessories such as wedding sandals and other examples of the shoes worn with kimonos, head pieces (some crafted from turtle shells), handbags, fans and more are part of the show. The attention to detail underlines the Japanese commitment to all elements of design. Loading Kimono also provides insights into various artistic practices, including wood printing and dying techniques – particularly shibori, a manual dyeing technique that creates patterns on fabric by binding, folding, stitching or clamping it, with its distinctive blues. Japanese culture had a big impact on the West during the late 19th and 20th centuries, a period known in art history as Japonisme. Artists including Van Gogh and Monet created works referencing ideas and works found in Japanese art. It wasn't just art – early 20th century Western fashion was inspired by the kimono's design and silhouette. Several examples reference this in the show, including a Liberty & Co coat, an evening coat by Parisian couturier Callot Soeurs, and a day coat by Parisian couturier Paul Poiret. Japanese influences would come to the fore again from the 1980s onwards, as shown in more recent garments by John Galliano, Alexander McQueen, Givenchy, Zambesi and Rudi Gernreich. Sydney-based fashion designer Akira Isogawa drew heavily on the kimono as an influence, as his work shown attests; there are also two vibrant ensembles by the late Issey Miyake. Pieces by contemporary Japanese designers Robe Japonica, Modern Antenna and Y&SONS are also on display, as is some of the latest in Harajuku street fashion and cute 'kawaii' styles. Designer Hiroko Takahashi's creations reflect contemporary takes on the garment. She uses black and white fabric and models her work in a powerful, feisty stance, rejecting traditional imagery and gendered colours. Crothers says there's a resurgence of interest in the traditional garment in Japan: young people are rediscovering kimonos and appreciating it as a key part of their heritage. 'They want to wear something that expresses their personality and not the kimono that their [parents and grandparents] wore,' he says. 'They want to own it for themselves.'
The Age
15-07-2025
- Entertainment
- The Age
Grief, art and a royal wedding: How one garment contains years of history
In Michiko Tsui's childhood home there was a room dedicated purely to embroidery. It was there that her mother, Fumiko Saito would create worlds, one kimono at a time. Michiko would help – holding the silk thread as her mother worked, and giving her massages as her fingers and shoulders cramped up. Embroidery began as a hobby for Saito. As for many young women growing up in Kyoto in the first half of the 20th century, the art form was taught as part of a good education. When Saito's husband died while their three children were young, however, she refined her skills and turned her art into a career. Now, Saito's work is on display in the National Gallery of Victoria as part of Kimono, an exhibition showcasing the history and evolution of the iconic garment. The work required great patience and was painstakingly exact, Tsui, who migrated to Melbourne in 1981, recalls. Her mother's career spanned three decades. One of the most public recognitions of Tsui's skills came in 1958 when she was tasked with embroidering the engagement kimono for the then future Crown Princess Michiko. At that time Kyoto was renowned for textiles and the Imperial family would have looked at the work of artisans working there, choosing the best. Saito later made a wedding kimono for her daughters to wear when they married. Featuring 20 vibrant orange and white cranes – a traditional wedding motif that symbolises longevity and happiness – the stunning garment took more than three months to make. While her two older sisters happily wore it, Tsui bucked the trend, opting instead for a modern version made from red silk. She and her sisters have donated the wedding kimono to the NGV and are thrilled it is being displayed, honouring their mother. 'I'm very happy … more people can see her exquisite handmade embroidery,' Tsui says, adding that the intricate sewing was hard work. According to curator Wayne Crothers, senior curator of Asian Art at the NGV, the kimono is a thing of great beauty. It also acts as something of a time capsule, he says, tracing the evolution of Japanese society from the 17th century to today. The garment illustrates 'changing fashion, cultural icons, class structure and ingenuity of creativity with materials and techniques'. 'It is a very impactful exhibition – we all love beautiful objects and in that instinctual sense, it's a really nice experience,' he says. 'It's not just a textiles exhibition … it's a historical journey from the Edo period, which is when it was what everyone wore... to current day, high-end kimono fashion.' More than 70 stunning pieces are on display, including seven dating back to the 1600s and 1700s when they were worn by the samurai and merchant classes. But kimonos were not the exclusive domain of the wealthy; even the very poor wore kimono, sometimes creating them from scraps of material. One of these is part of the show, made in the Meiji period (1868–1912), from more than 100 pieces stitched together. It is one of the most popular designs featured, says Crothers. Known as boro or rag kimono, ' Boro textiles are the creations of unknown craftspeople who never intended for them to be viewed as things of beauty,' as noted in the show. 'However, in a contemporary context they have a collage-like quality, their spontaneous designs imbued with a life and spirituality of their own.' There are sleepwear kimonos, undergarments (a bit like a kimono-shaped petticoat) to wear beneath some of the more ornate designs, and insights into etiquette - short-sleeved kimono are generally worn by married women, long-sleeved are designed for young women, for example. The obi, or belts worn with kimono, are an art in themselves, tied in different ways according to who is wearing them and the occasion on which they are worn. Accessories such as wedding sandals and other examples of the shoes worn with kimonos, head pieces (some crafted from turtle shells), handbags, fans and more are part of the show. The attention to detail underlines the Japanese commitment to all elements of design. Loading Kimono also provides insights into various artistic practices, including wood printing and dying techniques – particularly shibori, a manual dyeing technique that creates patterns on fabric by binding, folding, stitching or clamping it, with its distinctive blues. Japanese culture had a big impact on the West during the late 19th and 20th centuries, a period known in art history as Japonisme. Artists including Van Gogh and Monet created works referencing ideas and works found in Japanese art. It wasn't just art – early 20th century Western fashion was inspired by the kimono's design and silhouette. Several examples reference this in the show, including a Liberty & Co coat, an evening coat by Parisian couturier Callot Soeurs, and a day coat by Parisian couturier Paul Poiret. Japanese influences would come to the fore again from the 1980s onwards, as shown in more recent garments by John Galliano, Alexander McQueen, Givenchy, Zambesi and Rudi Gernreich. Sydney-based fashion designer Akira Isogawa drew heavily on the kimono as an influence, as his work shown attests; there are also two vibrant ensembles by the late Issey Miyake. Pieces by contemporary Japanese designers Robe Japonica, Modern Antenna and Y&SONS are also on display, as is some of the latest in Harajuku street fashion and cute 'kawaii' styles. Designer Hiroko Takahashi's creations reflect contemporary takes on the garment. She uses black and white fabric and models her work in a powerful, feisty stance, rejecting traditional imagery and gendered colours. Crothers says there's a resurgence of interest in the traditional garment in Japan: young people are rediscovering kimonos and appreciating it as a key part of their heritage. 'They want to wear something that expresses their personality and not the kimono that their [parents and grandparents] wore,' he says. 'They want to own it for themselves.'
