We Create Internationals is an award-winning creative agency specializing in all things events related. At We Create, we interject a spark of magic in all we do. The perfect equilibrium between bold imagination that tugs on emotions and rational practicality where every detail is meticulously considered, we sweat the small stuff.
With our background in both the design and art industry, we build the bridge between the art world and commercial setting, tackling corporate events with art-tainted lens, hence creating long lasting and impactful experiences through the environments we create.
At We Create Internationals we do everything events and visuals related from the initial processes of conceptualizing an idea to execution & production. We are a team from all backgrounds and cultures, but with one common trait; we are fuelled by passion of creative storytelling and driven to tell the most compelling story, resulting in a one of a kind immersive experience. Our diverse background gives us unique perspectives as we draw influences from theatre, product, graphic and fashion design.
Vivian is a visual designer who has worked on exceptional stage & performance productions internationally to much market applause. Since her graduation of from Theatre Design at Central Saint Martins, she has launched her career for working on over 50 large-scale theatre sets and commercial events internationally. Her main aim is to bring imagination to life and using different techniques and technology as enhancements to her story telling.
Alex graduated from Kingston University with a background in Product & Furniture design. She started her career working in advertising agencies around the world. She has organized and coordinated an array of events for international and luxury brands, with a focus on the details and interactive touch points within each event. Her main aim is exploring design experiences that are based in interactions and creating lasting impressions and evoking emotions in everyday life.
Vivian is a visual designer who has worked on exceptional stage & performance productions internationally to much market applause. Since her graduation of from Theatre Design at Central Saint Martins, she has launched her career for working on over 50 large-scale theatre sets and commercial events internationally. Her main aim is to bring imagination to life and using different techniques and technology as enhancements to her story telling.
Alex graduated from Kingston University with a background in Product & Furniture design. She started her career working in advertising agencies around the world. She has organized and coordinated an array of events for international and luxury brands, with a focus on the details and interactive touch points within each event. Her main aim is exploring design experiences that are based in interactions and creating lasting impressions and evoking emotions in everyday life.
We were in charge for the dance performance and costume design & production for Wynn’s annual Chinese New Year float parade. The theme of the parade was gastronomy, so for the costumes, our concept was lively exuberant chefs with colours that related to Wynn branding. To be more coherent with the float design, we incorporated floral details on the costume, shoes and neckerchief. The dance choreography was dynamic with cooking movements incorporate in the choreography. The dancers also had shimmering cooking equipment props that were integrated within their dance moves.
A play exploring topics on physics, matter and psychology, through using different story telling methods and visual effects to interact with the stage. The audience can interpret the stage according to their understanding of the play and of the subject.
The circular bar at centre stage is to represent clock and time, but from different interpretations, can be seen as the milky way, Möbius band or particles following a pathway. Which is the true beauty and essence of this stage design.
This stage was awarded Merit at DFA Design for Asia Awards 2019; Asia’s Most Influential Design Award of 2019.
A play that depicts a tale of a transgender man and the lies he fabricated and the social pressure he receives from modern day society.
The design concept of the large fish tank at the centre stage, comes from the idea that we very rarely care about the gender of a fish and at first glance will not be able to tell whether the fish is male or female, similar to a transgender person. Hence when the audience first enters the theatre, they see the main actor in a tank, similar to a fish being observed. On either sides of the stage there are distortion mirrors, where the audience can see their faces distorted, to represent that what is seen is not necessary the reality, but it is all due to our perceptions and values of things.
The play tells the story of how no one really knows what the value of life is. As the two protagonist lovers in Lungs discuss this topic, and try to reach a conclusion on how to raise a child, contemplating how to bring a positive impact to their surrounding society and environment, however they never reached a conclusion.
The stage is clean and bare allowing actors to tell the story through body language and dialogue. With just a single installation hung above them, allowing audiences to use their own imagination to interpret the stage. The plastic material of the installation echoes the environmental issues brought up in the play, yet at the same time symbolises life, which is the main discussion topic in the story. The cloud like installation hints that it is a fetus developing within the placenta, and through light reflecting and refracting on the white stage, it creates rhythms that emulate breathing.
The play tells a story about a momentary economic downturn in Hong Kong. Where a lower-class family surrender to their relatives and temporarily stay in their garage. Determined to work hard and climb out of the predicament, the family desperately covers up the truth for a better new life, however leading to unexpected accidents happening one after another. The screenplay was awarded winner of the Best Screenplay Award in 2002 Hong Kong Script Writing Competition.
For the first time, Route Arts Association tried to combine sign language, body movement and drama together, with the aim to provide a platform for communication between sign language audiences and those who do not understand sign language.
A playwright by Andrew Sutherland which brings together the story of a trio of gay men in the seedy gay and lesbian club Asgard, the script discusses issues such as coping with HIV, attitudes towards promiscuity, parental and societal acceptance, unity in the gay community, whether homosexuality is genetic and the possibility of raising a child.
The Complete Work of William Shakespeare was part of the 27th Macao Art Festival and was created by the British theatre company Reduced Shakespeare Company more than 20 years ago. The whole play rewrites Shakespeare’s 37 masterpieces such as Hamlet, Romeo and Juliet in a humorous and ironic manner, and aims to introduce all Shakespeare’s works to the audience. This performance is the world ’s first Chinese version of the play and was recreated with a script that is relatable to Macao and its local elements, to create resonance with the audience.
A play drawn from real events, inspired by chaos theory and the Christian covenant, the truths hidden in our dreams, and the fear of answerless questions.
The main lighting source for Planter’s Island are three lamp post that acts as the essential light as well as part of the set element. We experimented with sodium light for the lamp trying to catch the different imagery the script wants to portray. One of the special effect it gives out is the desaturation of all colours. Once the lamp is turned on, all the colour from the scene would turn into sepia tone, blocking out all other colours, giving a “sick”, unhealthy”, “surreal” tone to everyone on set.
Seemingly simple, the stage constitute of a large white cloth at the back of the stage as background, with another long white cloth draped from the upper right side of the stage extending to the left side of the stage. Through precise lighting changes, the cloths are dyed with an array of different colours throughout the performance.
The performance is based on Hiroaki Umeda’s dance system called “Kinetic Force”, which is by understanding two kinetic principles – balance, which becomes the basis of movements, and tension & release, which generates all the movements. The dancers do not attempt to generate a pose or pause by defying and controlling the gravity, but rather strives to develop a flow with the surrounding environment. “Double Kill” explores eight dancers understanding and representation of their “Kinetic Force”.
The play was part of the ongoing experimental theatre fest Bok Festival. The director’s main aim is to take audiences through an “emotional journey” and develop new reflections on love. It tells the story of a female couple who decided to go to the Netherlands and get married, but found the psychological aftermath way beyond what they could bear. It’s a story about their affection, their relationship, their haunting past, and their deepest pain and fear inside.
During a monologue scene, the stage descends showing many masks, as if its the world judging him.
The side stage suddenly collapses at a scene when a character witnesses a shocking scene. Creating a visceral reaction for the audience too.
Set in America in the 2000s, the play tells a story of a married man whose lives crumble when he falls in love with a goat, the play focuses on the limits of an ostensibly liberal society. Shades of blue with brass accents are the main base of the set to create an interesting contrast between the set of a calm all American contemporary household with the absurdity of the plot.
Subtle details and elements were added throughout the set to mirror plot line and allowing the audience reflect on the deeper morals discussions of the story
For the International Youth Dance and Music Festival we designed a total of 9 stages and backdrops across various sites in Macao for a total of 26 groups of local and world wide youth performers to showcase their talent, with the biggest stage at Macao Forum for the Youth Dance Festival Closing Ceremony. The themes of all the stages were to encourage youths to strive high and reach their goals, so for the closing ceremony we designed a massive pair of wings spanning 11m wide each on either side, symbolising how the stage is their platform to spread their wings.
Raw Talent is a platform we created for aspiring art and design students; featuring selected works from 8 different universities across London to showcase their work ranging from ceramics to painting, fashion to film, to be showcased to a wider audience. A platform to allow aspiring young creative talents to showcase their hidden abilities to not only the general public but also respected members of the Art and Design industry, in hopes to uncover the next gem in the industry.
Raw talent was held 3 consecutive years through the format of a 3-day exhibition, with the exhibition held during the daytime and an exciting glamorous fashion showcase during the evenings. Each year We Create received over 300 applications across eight different universities across London, and carefully selected around 70 of the best selection to be showcased.
We were in charge for the dance performance and costume design & production for Tak Chun Group’s annual Chinese New Year float parade.
The design of the float was sleek and hi-tech, so for the costume our theme was futuristic psychedelic, creating hoodies with duo chromatic fabric. To match with the curvature of the float, we incorporated curves in the costumes, enhancing the space-age effect. The dance choreography was voguing to trance music, tying the whole concept of ultramodern sci-fi together.
For the festive season we created Santa’s Grotto within the bank, creating a cozy indoor ambience that is both warming and welcoming. The large TV wall was transformed to become a window, where we created an animation showcasing festive snowy outdoor scenery. To add an element of interaction, there were two bikes, which when ridden would respectively light up the Christmas tree and the lighting of a signage pole. As we observed long waiting queues, with parents bringing their children to the bank, we want an area where children could feel comfortable in, and strengthen the positioning where BNU wanted to be own as the bank that cared for families in Macao.
Each side of the float features 4 different sceneries to showcase different household festivities that happen during Chinese New Year. They are showcased in traditional Chinese paper cut art style, to create a contrast between modern and traditional
The design inspiration of the float is a prosperous city, with the idea that a loving family is the origin of happiness, with the intentions to send a loving and warm blessing to the people of Macao. The side view showcases buildings within the city, with the highlight being the windows, which displays the happy and peaceful scenarios happening inside family households during the festive season of Chinese New Year.
The scenarios are linked with the different project developments of Parry Group, such as real estate, food & beverage, travel and entertainment, to strengthen the idea of Parry Group’s aim to bring happiness to the families of Macao.
The back of the float is to resemble the skyline of a city, with the overview of the float being contemporary and innovative, incorporating modern architectures and blissful everyday scenarios to reinforce the idea that the secret to a happy life is a happy family.
In celebration for Macao’s 20th anniversary handover to China, a photography exhibition along with a series of ceremonial events were held in Hengqin for a duration of a week. We were in charge of the photography exhibition, including design, production and curation of the exhibition.
As the exhibition showcased a mix of old and new photos of Macao, we wanted to create a time tunnel, to set the scene and mood before people saw the photographs.
For 114th Annual Dinner, we had a photo shoot with a member of staff from each department, as we wanted to highlight that it is the people that make up the success of the bank
For 116th Annual Dinner, we wanted to focus on how the bank is evolving to be more technological, and shine a spot light on the bank’s advancement
Staff interacting interacting with the installation, playing find the matching pair game, with the winners able to keep special framed photos as souvenirs
We have been creating the stage designs for Macao BNU’s annual stage gala dinner for four consecutive years, every year we want to add different touches of interaction to bring the guests together.
For the celebration of the milestone 115th Annual Anniversary, BNU wanted to create a fun and memorable night for the 600 guests to showcase how far the bank has come and celebrate all these, hence we designed a fun interactive wall where guests could flip to uncover fun surprises behind each section of four different panels, with different themes for each panel. Including one games panel, a past photo panel, a present photo panel and a signing panel. The framed photos were then removed at the end of the night acting as souvenirs for guests to take home.
For a special private event, we created a 3D concentric knot out of traditional Chinese cloth, to symbolise an eternal union.
We created an international dance competition for university students across the world from participants from UK, Hong Kong, Thailand, Taiwan and Macao. The dance competition was sponsored and held in Cubic Macao to a crowd of over 500 people, who then all celebrated and partied once the winning campions were crowned.
A Fragrant Dream is Macao’s first original chamber opera, it tells a quasi-fictional story about the main character’s trip to Macao in the 19th year of the Wanli (1591). The play mainly tells a story between time travel as well as explore topics of love and dream.
Someone in “Outlaws of the Marsh”is a story omitted by the original version of Outlaws of the Marsh, this drama narrates the story of two unfamiliar characters in the original novel and their history with witty and interesting language, to bring together this “comedic journey”. The drama addresses down-to-earth issues through satire, and subverts the stereotypes of heroes in Outlaws of the Marsh, removing their sacredness: after all, heroes are humans.
For the 9th Anniversary, the theme was stairs, as number 9 in Chinese symbolises long lasting eternity, so we wanted to represent forever upwards journey for Guodu.
The 8th anniversary carnival themed stage
We have been creating the stage designs for Guodu’s annual stage gala dinner along with event management for three consecutive years. For the 8th annual gala dinner of Guodu Property, the idea was to highlight this lucky number in Chinese tradition and add an element of fun by creating a dramatic carnival theme to the stage. To fit in with the job nature of the client, the central ‘8’ is surrounded by buildings at worm’s eye view, tying in the property element to the main stage.
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The play tells a story of fictional history of a martial arts family, the story encourages the audience to face the unknown fear within them, and work hard to discover ones true self. It also tells a story about fatherly love and the preciousness of friendship, bringing out a sense of warmth in a hilarious plot. All the tracks in the play are tailor-made original local score music, accompanied with local live band performance.
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The performance is a modern dance interpretation of the traditional Chinese folk dance and cultural heritage “Drunken Dragon”, which is local to Macao’s fishing industry. During these traditional folk dances there will be a leader in front, holding the “eye of the dragon”.
For the stage, we wanted to showcase elements and symbolism from the dance, with the stage being a symbolisation of the “eye of the dragon”, as the guiding light for thedancers to interact on.
The curved shape was inspired by a photograph by Andreas Feininger of Gorilla ribs taken in 1951, we wanted to incorporate the rib cage shape within the stage to symbolise the rib cage of the dragon. Many audiences also interrupt the stage as the barrels used to ferment alcohol, relating to the whole theme of “Drunken Dragon”.
