The Quiet Collective: Vánson Xu on Guangzhou and the Beauty of Quiet Moments

16 hours ago

3 min read

old money jewelry is a jewellery editorial photographed by Vánson Xu and Patrick Hsu with model Vesta, makeup by Selina and assistants Liu and Double, published as one of the twenty editorials in MALVIE MAIN ISSUE 72, the 190-page, perfect-bound November 2026 main issue of MALVIE Magazine. The team is a small creative collective based in Guangzhou.

MALVIE MAIN ISSUE 72 open at the first pages of The Quiet Collective: Vánson Xu on Guangzhou and the Beauty of Quiet Moments, beside the printed cover

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Vánson Xu: the interview

Sepia portrait of a model with long dark hair, hands clasped at her chest showing her rings

Every team has its own story of how it came together. Who are the people behind your work, and what does each of you bring that the others could not do alone?

We are a loosely‑knit collective of creators based in Guangzhou, brought together by our shared passion for creation. Each of us fulfils our respective roles, with myself chiefly in charge of overall coordination, and we grow through mutual learning.

Take us back to the beginning of this editorial. What was the first idea or feeling you wanted to capture, and how did it change as the shoot came to life?

At first I was tryna capture some simple and quiet feelings, cuz I’m obsessed with quiet styles, and according to my personality, I’m also a quiet person, so most of my photos will look quiet. Usually I won’t ask models to do too much moves, I’ll just capture them through their natural movements, those unexpected moments are the main thing for me to show, so most of the shooting is coming out in a freestyle way.

Working as a small team means everyone wears many hats. How do you share creative decisions on set, and what happens when you see a picture differently?

For every photoshoot, we produce mood boards and select reference images that align with our vision. Pre‑shoot collection and organisation of creative inspirations are indispensable to ensure the efficient delivery of finished outputs.

You work in a very competitive industry in China. What does it take to keep your own voice when there is so much pressure to follow what is popular?

In my view, capital is instrumental. It can resolve most practical issues and lend greater brilliance to creative works. Even so, the creative intellect of artists can never be replaced.

Is there a part of Chinese culture, place or everyday life that finds its way into your images, even when the viewer might not notice it at first?

Sadly, I can’t say yes. My focus for this shoot was entirely on the visual aesthetics rather than cultural narratives. While someone looking in from the outside might spot subtle cultural nuances in the background or atmosphere, I didn't consciously use any Chinese elements in my framing.

When people look at your work a few years from now, what would you like them to feel, and where do you hope this team will be by then?

For my part, I hope our works will one day be projected on the big screen. I also wish that when we look back at our present‑day creations, tangible progress can be perceived. It is my aspiration that years from now, every member of our cohort will thrive and shine within this industry.