摩登女兒國 Ladies Odyssey

安柏Amber

摩登女兒國 Ladies Odyssey——Ladies first,life overseas 这是一个聚焦当代女性海外生活的深度访谈播客。在这里,每一位嘉宾都有她独特的故事:从异乡的探索到事业的重塑,从文化的交汇到心灵的成长。她们带着才华与勇气,在摩登社会中书写属于自己的独立篇章。 无论是艺术家、创业者,还是热爱生活的冒险家,她们的经历都闪烁着不同的光彩。我们希望通过这些女性的视角,展现移居海外女性群体的韧性、自由与力量,同时邀请你一同见证她们如何在异国他乡创造属于自己的现代“镜花缘”。

  1. How Many Steps Does It Take to Get Chosen by Loewe, Lexus, and Homo Faber? Textile Artist Mariadela Araujo Has the Answer

    Jun 24

    How Many Steps Does It Take to Get Chosen by Loewe, Lexus, and Homo Faber? Textile Artist Mariadela Araujo Has the Answer

    Recorded in June 2025 at Il·lacions Gallery, Barcelona. “Sometimes my studio feels like dancing, sometimes like meditation—but the textile is always moving. It is never a static thing.”
— Mariadela Araujo Who Is Mariadela Araujo? Born in Venezuela, shaped by years in Finland, trained in fashion design and costume studies in Rome, and ultimately rooted in Barcelona, Mariadela Araujo has turned her studio into an entire universe of her own. Working on a high-warp loom, she creates pieces that exist somewhere between tapestry and sculpture, between two-dimensional and three-dimensional forms, and between traditional craftsmanship and contemporary installation art. Her work has been recognized by Loewe, commissioned by Lexus, featured in the Homo Faber Guide, and discovered by Saatchi & Saatchi. Yet when asked how all of this happened, her answer is disarmingly simple: “I just kept working. I just kept showing up.” Chosen by Loewe — The Story Behind the Recognition How did Loewe find her? The answer begins at Maison&Objet in Paris. She was exhibiting her work when a designer entered her booth, spent time observing, and then returned with the entire team. Over successive editions of the fair, that initial encounter evolved into a lasting collaboration. “That’s why a good platform matters so much. Sometimes everything starts from standing in the right booth.” Loewe—globally known for the Loewe Foundation Craft Prize—is one of the luxury industry’s strongest advocates for contemporary craftsmanship. What drew them to her work was not decoration, but density:
a material intelligence and tactile depth that cannot be industrially reproduced. Lexus Art Car — A Very Short Timeline Mariadela was recently invited to participate in Lexus’s Art Car project. The concept: translating her textile language onto an automobile—turning a vehicle into a moving textile artwork. “The timeline is very short,” she says. At the time of the interview, she was coordinating production, sourcing materials, and managing logistics under intense time pressure. For her, the real challenge is not creation itself: “It’s trusting your suppliers,” she laughs, “and not letting European holidays destroy your schedule.” Homo Faber — Europe’s Most Selective Craft Guide The Homo Faber Guide, created by the Michelangelo Foundation for Creativity and Craftsmanship, is one of the world’s most prestigious platforms dedicated to exceptional craftsmanship. Artists are selected through a rigorous evaluation process based on “Criteria of Excellence,” reviewed by an international cultural committee. Today, it features more than 2,600 artisans across 45 countries. Mariadela is listed as a Barcelona representative under the category of Textile Creator. Her studio and contact details are included in the platform—but more importantly, inclusion itself functions as international recognition. Il·lacions & Xavier Franquesa — Barcelona’s Great Connector This conversation was recorded at Il·lacions Gallery, founded by Xavier Franquesa. The name comes from the Catalan word for “connections” or “associations.” Il·lacions operates both as a physical space and as a creative network linking designers, makers, architects, and collectors. Franquesa often describes the space as one that generates “new promises and new possibilities.”Rather than a traditional gallerist, Franquesa functions as a design cultural catalyst, connecting Barcelona’s creative ecosystem and redefining design as cultural capital. Il·lacions continuously explores what design can become:
a space where disciplines intersect, where functional and aesthetic boundaries dissolve, and where Barcelona’s creative energy expands. Mariadela’s Material Philosophy — Down to the Last Centimeter Mariadela calculates materials down to the last centimeter. Not out of frugality, but out of respect. “When you truly understand a material, you don’t want to waste it.”

    1h 46m
  2. Emma | 女性一生要來七年月經(不間斷),陪妳這麼久的事——你了解過嗎?

    Jun 2

    Emma | 女性一生要來七年月經(不間斷),陪妳這麼久的事——你了解過嗎?

    「你人生中最不能舍棄的關係,是和自己的關係。月經,每個月提醒你一次。」 — Emma,月經褲品牌 Relief 如理 創始人 P.S.這一集,我倆都在瘋狂咳嗽,但是內容太精彩太值得讓很多女性了解,實在捨不得丟。——Amber 她是誰? 英語專業出身,卻憑著一路「撿麵包屑」的直覺進入服裝行業,在 Victoria's Secret 制造商做過產品研發,後來帶著一個關於女性身體與地球的品牌想法,從廣州出發,沙發客轉機多哈、差點在墨西哥被浪捲走,最後落地巴塞羅那,讀了一個研究孤獨問題的設計碩士。 她是 Emma,月經褲品牌 Relief 如理的創始人。如理這個名字來自法語的地貌起伏,音譯過來又像是中文的「如此道理」,由一個法國客戶在聊天中隨口說出——宇宙一直在給她扔麵包屑,她一直在撿。 本集亮點 月經褲是什麼?跟你想的不一樣 先破除一個誤解:月經褲不是吸血海綿縫在褲子裡。Emma 說,月經褲其實是站在「一次性衛生用品」和「功能內衣」中間的一個全新品類——它可以獨立使用,也可以搭配月經杯,兩個加在一起是「好伴侶」。 更顛覆認知的是——你知道女性一個月的月經量大約只有 60 到 120 毫升嗎?不到一瓶小瓶礦泉水。我們之所以覺得「血流不止」,是因為衛生巾裡的高分子樹脂吸收後膨脹,把那一點點量攤開來給你看,讓人有一種「老娘好虛弱」的錯覺。 一次性衛生用品,一個被低估的問題 女性一生來月經的時間加起來約十七年。那些每次用兩三個小時就丟掉的東西,測試標準本來就不高——因為是「一次性」的,所以造價低、標準低,而那個跟你最私密部位長期接觸的東西,很可能比你放在臉上的精華液標準低得多。 Emma 說得很直接:不用扯環保大道理,就說「這個部位是粘膜,你給他什麼,他就吸收什麼」,就夠了。 月經是你的生活晴雨表 Emma 的視角我們很喜歡:與其把月經看成一個阻礙你正常行動的生理現象,不如把它當成每個月一次的「自我審計」——你最近睡好了嗎?吃好了嗎?壓力有沒有管理好? 你的身體每個月都在問你一個問題。問題是,我們平時有沒有在聽。 她和自己結過婚 廣州一家媒體公司,每年 618 辦一場「自婚儀式」——不是跟另一個人,是跟自己。400 個人報名,選出十位,全程白紗,戒指在彼此之間傳遞。Emma 去了,穿的是自己設計的白色網球裙。 她後來形容那一天:是承諾跟自己好好相處,好好愛自己。非必要不結婚,非必要不生孩子。但這一場,她去了。 因為太愛“和自己結婚”的概念,摩登女兒國2025年夏天在上海,還組織了一場“嫁給自己”的聚會,很歡樂! 宇宙的麵包屑路線:廣州 → 巴黎 → 巴塞羅那 第一次出國,一個人去巴黎當伴娘,零期待。她在街上隨便走,走進了一個倒金字塔,才發現是盧浮宮。就這樣看傻了眼——原來世界不是她想的那個樣子。從那一刻起,她說她知道自己想要住在歐洲。 後來創業陷入自我責怪和 orderly depression,在日記裡寫下「我還有一個沒有實現的夢想,是搬到歐洲去住」。那個周末去了一個派對,派對上有個人說下個月要去英國讀書,有人問他學費怎麼辦,他說有獎學金,然後 Emma 問,然後申請,然後進了前 5%,然後沒拿到,然後大哭——然後才發現自己有多希望這件事發生。 墨西哥遇險 這段我們要說,因為她說得太輕描淡寫了,但其實很嚴重。她站在沙灘上玩水,浪大起來,整個人被捲走,撐了好幾分鐘撐不回岸邊,眼看著海岸就在那裡卻就是游不過去。後來有一個人跑來救了她,因為她喊得太大聲了。 回國以後,她胖了十公斤,因為在用吃東西安慰自己。那是 PTSD。她說現在好很多了,但看到大浪還是會退開。 碩士研究主題是「孤獨」 設計學院的碩士選題,Emma 這組研究的是「全球孤獨危機」(Global Loneliness Pandemic)。不是那種「我有點孤單想找人說話」的孤獨,是一個系統性的公共衛生問題——孤獨帶來效率低下、對醫療系統的過度依賴,更極端的後果是完全無法與社會接軌。 最難的地方是:孤獨感很強的人,往往最難被找到。因為他們不是在喊「我很孤獨」,他們是在把自己縮起來,讓別人很難接近。我們現在的社會鼓勵獨立自給自足,說出「我需要人」好像是一種軟弱。 她說的幾件事,很讓人動容 關於媽媽:Emma 的媽媽年輕時是裁縫,挨家挨户借缝紉機辦工作室,80 年代的事。她說媽媽曾經許願,希望女兒「有用不完的衛生巾」——因為那是她那個年代的稀缺物資。結果女兒長大做了月經褲品牌,女兒反而不用衛生巾了。「許願許成功了,只是許歪了。」 關於孤獨:她說孤獨在這個時代被污名化——因為我們的社會鼓勵獨立,說「我需要人」好像是弱點。所以孤獨的人往往隱形,他們看起來很冷漠,其實只是縮起來了。 關於運氣:她在巴塞羅那落地前找到了一個室友,後來才得知那個室友一直在等一個亞洲的人;她搬進去兩個月後室友去鄉下療養,她一個人住了近十個月;而那個房子完全符合她在上海時寫下的夢想清單——預算 350、自己的浴室、大廚房、亮敞的陽台……還有泳池。不是每次都能許願許中,但她的那次,許中了。 本集金句牆 「月經就像一面鏡子,每個月問你一次:你有沒有好好照顧自己?」 「你放在S處裡的東西,那個部位是粘膜,你給他什麼他就吸收什麼。」 「每一個創業階段都有要打的 Boss,我還沒有打到大 Boss,還在打小 Boss。」 「我在日記裡勉強寫下還有一個夢想沒有實現——搬去歐洲住。那個周末就發生了改變一切的對話。」 「一個失明的人突然看到了藍天。去巴黎那次,就是那種感覺。」 「非必要不結婚,非必要不生孩子。但和自己結婚,我去了。」

    1h 33m
  3. Kavita Parmar | "be good ancestors" , XTANT :Stitching this world with the beauty of EXTANT crafts

    May 15

    Kavita Parmar | "be good ancestors" , XTANT :Stitching this world with the beauty of EXTANT crafts

    Founder of XTANT, guardian of textile crafts, served on the jury of the Loewe Craft Award, keynote speaker for the Cartier Foundation...But these labels that Google or ChatGPT might give you aren't quite enough. Kavita is the kind of person you feel you've known your whole life, the moment you meet her. She says that in Hindi, the words for yesterday and tomorrow are the same – because time in her culture has always been cyclical, not linear. Perhaps that's why she carries a certain timeless ease. She's always on the road, but never in a hurry. She left home at sixteen for London. She wanted to study politics – to find the path between capitalism and communism that no one had yet clearly walked. When she didn't get the scholarship (she laughs: "The dean had no reason to give me a full scholarship just because my father refused to pay my tuition"), she pivoted into fashion. And she never left. She says, once that door opened, it never closed again. For over thirty years since, driven by curiosity, she has traveled through the Miao villages of Guizhou, the alleyways of Hong Kong, the villages of India, the workshops of Nepal – not as a tourist, but as someone who truly wants to understand. She has seen modern production lines in China cleaner than those in Italy. And she has seen a woman weaving in her courtyard, adjusting her rhythm to her daughter's school schedule and the village wedding – she says that is the most human way of working she has ever witnessed. Later, she founded XTANT – a gathering that brings together artists, designers, craftspeople, and thinkers from around the world. Imagine a Burning Man reimagined through textiles and craftsmanship – a utopia born for the fiber arts. This interview was recorded in early 2026, in Madrid, on a sunny afternoon, sitting next to the botanical garden. Kavita brought light. She also brought the story of her nearly thirty-year love story, her deep affection for Chinese culture, her faith in beauty, and a dream she hasn't finished telling yet: to bring XTANT to China.   Golden Quotes * "Capitalism is 'me' before 'we'. Communism is 'we' before 'me'. But 'me' cannot exist without 'we', and 'we' is nothing without 'me'." * "The factory worker might earn more, but there is no connection between what they make and their soul." * "Success should no longer be quantity. Success should be quality." * "Beauty isn't just appearance. Beauty is how you treat each other. It's whether your process is kind to everything it touches." * "The world needs to see China with new eyes. Not the cheap manufacturing China – but the China with a thousand years of living heritage." * "A wise person is someone who plants a tree under whose shade they will never sit." * "XTANT chose me. I didn't choose XTANT. It wanted to happen – it just needed someone stubborn enough to make it happen." Key people and brands mentioned in the interview * XTANT – The non-profit organization founded by Kavita, gathering artists, artisans, and designers from around the world, centered on textiles and craftsmanship, exploring the future of beauty. In 2026, it will be held in a medieval palace in Mallorca. * Wu Yong 無用 – A Chinese designer brand. The founder brought a rural Chinese workshop into the city. Named with a philosophical statement (Useless), expressed through handmade craft. A former First Lady of China has worn her designs publicly. * Angel Chen 陳安琪 – Kavita describes Angel as "a designer with eyes that speak." Introduced by Amber, Angel became the first Chinese designer invited to join the XTANT 2026 Leadership Program. * Minju – Graduate of the Royal Academy of Fine Arts in Antwerp, winner of Netflix's Next in Fashion Season 1. She has her own studio in Hannam-dong, Seoul. Together with Angel, she forms the "Dragon Princess" designer duo.

    1h 25m
  4. 陳安琪Angel Chen | 天為卷,織夢萬年,飛去“西”天XTANT再取真經

    Apr 29

    陳安琪Angel Chen | 天為卷,織夢萬年,飛去“西”天XTANT再取真經

    當代最具國際辨識度的中國新銳設計師之一——陳安琪 Angel Chen 幾乎是不需要介紹的一個名字,以東方文化為核心語言,融合民族工藝、遊牧經驗與當代時裝體系,建立出一種兼具文化深度與全球時尚語境的設計方法⋯⋯可又永遠讓人覺得沒介紹夠。從聖馬丁畢業的天才設計師,是遊牧行者、雪怪媽媽,也是 Amber「異父異母的親妹妹」。 她身上有太多的光環:BoF 500全球時尚最具影響力人物,Forbes China 30 Under 30,和Adidas、H&M、Canada Goose諸多品牌合作,愛她的A-list藝人數不勝數,Rihanna,Lady Gaga, Dua Lipa, 舒淇,李宇春,王嘉爾⋯⋯是連結「流行文化 × 高級時裝」的重要橋樑。 風頭正勁,她突然隱遁三年,很多人都困惑:安琪呢? 一直到她帶著游牧的「真經」歸來。與近年歐洲被頂禮膜拜的時尚影像創作者之一Szilveszter Makó(海盜爺與ZARA官宣聯姻的照片,就由他掌鏡)為安琪拍攝的一組大片,震撼人心:介於傳統與當代、柔軟與力量、個體與文化之間的牽扯與羈絆。 這一期訪談錄製於2025年夏天,上海。當時的Angel和Amber,都還不知道,一年後Amber將舉薦Angel作為中國設計師的唯一代表,飛來西班牙馬略卡,參加國際手工藝與當代設計年度盛會XTANT2026年的Leadership program。在XTANT,安琪的「游牧實踐、非遺合作、文化敘事」將被放入全球語境。從安第斯山脈、喜馬拉雅到地中海,XTANT 建立的是一種「去中心化」的文化流通方式——不是巴黎或米蘭定義世界,而是讓每一個地方都有發聲權。 需要再錄一集,講述安琪即將迎來的XTANT體驗。 ————————————————   遊牧不是逃跑,是去取真經 從第一次跟著媽媽去貴州黔東南雷山苗寨散心,到後來帶著兩輛車七八個人、再到最後三個人開著一台「坦克300」鑽進川西——Angel 的游牧不是 gap year,是她重建自我座標系的整個過程。她說抑鬱的那幾年,是游牧把她撈回來的。 「孫悟空去西天取經。取到了——我的真經不是一本書,是這三年的游牧經歷。」 像貴州苗寨的老奶奶在零度裡染布、川西德格麥宿六千人的村子裡兩千多人都會織布畫唐卡、尼泊尔一個用報紙糊袋子的自閉症青年工坊……還有一隻從廢棄牦牛毛邊角料裡誕生的小雪怪,名叫Yekki。   十萬米新生:碎片縫合計劃--「讓廢棄的布成為行走的藝術。」 Angel 在尼泊尔見到一家羊绒工坊——包裝袋是店家請自閉症青年用報紙親手糊的;另一家 Benny Handcraft 雇用的全是沒有工作的女性,她們在路上撿報紙、雜誌、舊輪胎,做成手工小物。 安琪的庫存面料屯了整整十年、足足十萬米,遊牧時 Angel 決定:「十萬新生」啟動計畫。把壓箱底的布料寄去貴州和藏區,讓當地織娘重新織布,再做成小包、桌墊、旅行枕、零錢袋……每一塊都是獨一無二的共創。Angel 說她這個系列想做的事,其實是:「地球是碎片,人與人之間是碎片,我們的心靈也是碎片。我想把它們縫合起來。」   Yekki的誕生--雪怪宇宙 靈感源自喜馬拉雅的「雪怪腳印」。在青海,Angel 想象出一個從丟棄在角落的羊毛邊角料裡誕生的小雪怪精靈。名字怎麼來的?藏族婦女在工坊裡第一次看見它,輕輕把它捧在手心,然後——打了個噴嚏:YE-KKI.於是就有了Yekki。 Yekki行動的方式是「團成一團從雪山滾下來」,忍痛能力極強,受傷了就抹一點牛糞繼續走,喜歡吃高原雪蓮蜜,本質上是個表面高冷、實則社恐的性格。遇到陌生人會偽裝成雪堆,但尾巴忍不住跟著節奏拍。 Angel 已經在給它寫完整的角色小傳、設計包裝、打玩偶樣品,目標是:拍一部動畫片。「這個角色我是當作我的孩子在寫的。」   本集金句牆 ·       「消失這件事,在江湖的傳言都是我。東方不敗是不是?」 ·       「做完那場秀之後,外婆拿著她織的那塊布說:這個來自中國。全場狂鼓掌——那一刻我覺得做設計師,值了。」 ·       「我不是要做一個有多牛的設計師,是中國本身的文化、工藝和故事,它是頂天立地的。我只是在用我的方式把它呈現出來。」 ·       「自我懷疑的時候,我不是懷疑一個 idea——我是想要放棄人生了,那是不一樣的級別。」 ·       「遊牧完回來,不管遇到什麼困,我都想著接下來還有多少地方要去。就滿心期待著。」     訪談中提及關鍵人物: 西貝 & 宮八 — 一位川藏姑娘,一位青藏歌手,YouTube 過億點閱的《Fly》就是他唱的,Angel 在尼泊爾都能聽見。 林霞女士 & 台繡博物館 — 台州非遺台繡傳承人,作品放在任何歐洲當代美術館都不違和。 Minju設計師 — 安特衛普皇家藝術學院畢業,Netflix Next in Fashion第一季冠軍,和Angel一起以Dragon Princess組合出現,深受寵愛。溫柔、有才、養了兩隻胖貓,在韓國漢南洞有她自己的一方天地。

    1h 35m
  5. “On the Shoulders of Giants”: Honoring the Forgotten but Exceptional Ladies — Interview with Barcelona Bridal Fashion Week Director Albasari Caro

    Apr 15

    “On the Shoulders of Giants”: Honoring the Forgotten but Exceptional Ladies — Interview with Barcelona Bridal Fashion Week Director Albasari Caro

    “A wedding dress is not just a dress. It is armor you choose for yourself at a crossroads in life.” In this episode, we are not talking about fairy-tale weddings, but about the real women behind weddings. Welcome to Ladies Odyssey. Join us as we stand on the shoulders of giants, and look at the women who have never been seen. A wedding dress is more than white tulle—it is a profound conversation between a woman and herself, her body, money, and family. In this episode, recorded in Barcelona, we sit down with Albasari Caro, the Director of Barcelona Bridal Fashion Week, to explore how she is building a platform where women can be seen, respected, and empowered. Albasari has personally accompanied more than 2,000 brides in their search for the perfect wedding dress. She says: “Even the most beautiful brides are full of anxiety about their bodies. I have never met a woman who says: ‘Look how beautiful I am.’” She describes the act of choosing a wedding dress as a “triangle relationship” between self, career, and family. This is exactly the question Ladies Odyssey is deeply interested in: How do women reclaim their voice under pressure? Albasari is Cuban-American, raised in Miami, but has lived in Barcelona for over 20 years. She once helped Mango open 25 stores in China and even studied Chinese at Peking University. She says: “It all started with food, and then I fell in love with the city, the culture, and the language.” Her story is a living example of how a woman navigates globalization—finding her own rhythm and standing firmly within it. This year marks the 10th anniversary of Barcelona Bridal Fashion Week. Albasari and her team have chosen a powerful theme: “On the Shoulders of Giants.” The campaign visual features the iconic Barcelona chair, which carries a dual symbolism. It was originally designed for the 1929 International Exposition in Barcelona, where it was used to receive the King and Queen of Spain. The chair later became globally iconic, credited to modernist pioneer Ludwig Mies van der Rohe. Yet for decades, its co-creator—Lilly Reich—was largely erased from history. Only in recent years has design scholarship begun to restore her rightful place in modern design history. Albasari explains: “We want to honor the invisible women—the seamstresses, artisans, shop assistants, wives of designers. They built this industry, yet were never seen. We also want to honor all the exceptional women who were forgotten.” This is not a romantic slogan, but a restorative movement in women’s history, aiming to bring long-invisible women back into visibility and give them their rightful place in contemporary discourse. “We are all representatives of brides. Buyers are their spokespersons.”“There is no formula that lasts forever—you must constantly evolve.”“I am a woman. I can get married at any age, as long as I am ready.”Women preparing for marriage who feel anxious about choosing a wedding dressAnyone interested in gender dynamics behind the fashion industryProfessionals curious about differences between Chinese and global bridal marketsListeners who love real stories of women asserting themselves in their careersAnyone who has ever stood in front of a mirror and asked: “Am I enough?”What you will hear in this episode:👰‍♀️ The psychological battlefield behind the wedding dressFrom Miami to Barcelona: a global fashion map of a womanBarcelona Bridal Fashion Week 2026 Special Project: Women standing on the shoulders of giants💬 Albasari’s golden quotes (must-listen moments)🎯 Who is this episode for?

    1h 1m
  6. From Tesla to Leading Cadillac into F1 — How Farah Forged Her Own Empire in the Shark Tank of the Automotive World

    Apr 1

    From Tesla to Leading Cadillac into F1 — How Farah Forged Her Own Empire in the Shark Tank of the Automotive World

    And Elon Musk’s Spontaneously Challenged her, She Aced It! Her résumé glitters, but our friendship began in a place far from a private facebook community — Host a Sister, a ladies-only group born from the spirit of couchsurfing. I was heading to Paris Couture Week for work and thought: why stay in a hotel when I could trade comfort for adventure, just like I did over a decade ago? That’s how Farah “picked me up” and brought me home. From the moment we saw each other’s photos, we both felt the gears of destiny beginning to turn… Farah is French-Algerian. From a foreign language graduate to selling coffee machines, diving into a motorcycle startup, crossing the globe with Tesla, and now holding a key role at Cadillac — she has been charting her own territory all along. “The level of IQ per square meter at Tesla is pretty intense. ”Farah told me. During a meeting with Elon Musk, the real-life Iron Man threw her a challenge: “No budget, no government support, no outside help — how do we increase sales immediately?” Farah looked at the test-drive cars sitting idle in the parking lot and replied: “Open the door to everyone. Let them drive all over the city. It costs nothing.” Her answer was implemented on the spot. From then on, Tesla’s test-drive cars were no longer static displays — they became mobile brand ambassadors across the city, helping Tesla make its mark in Australia. In the male-dominated automotive industry, Farah learned early on: “I represent a lot of things that are not really ingrained in the automotive world.” Age, gender, background — each could be a source of prejudice. But she chose to turn these experiences into fuel, not obstacles. Once, at a high-end event she was hosting, a man — unaware that she was the one in charge — publicly humiliated her with a vile remark about paying the bill with her body. Farah didn’t tolerate it. She simply said: “There’s no space for that kind of aggression in my world.” The man was expelled from the event. Six months later, she heard his company had gone bankrupt. She said: “I do not need to accept his apology. My decision is not gonna change… He probably got what he deserved in the end.” Her love story reads like a movie. Two people who met in Lyon fifteen years ago, drifted apart across continents, and were reunited through Raya — the “celebrity dating app” or “the Soho House of dating,” an exclusive, members-only platform known for its high privacy and strict vetting process. She laughs: “We were reunited by the power of Raya.” She treasures, too, the friendships that have carried her through everything. She describes female friendship as “the gift that keeps on giving.” I shared how a close friend once flew across the country with a little suitcase packed with glitter, champagne, and face masks — “That beats a cocktail bar any night,” Farah agrees. Farah doesn’t believe in random encounters. Every meeting has meaning. “The universe finds a way to reward you, usually pretty quickly.” Farah — her name in Arabic means “joy” and “happiness.” Her birthday falls on International Day of Happiness. She says: “Part of happiness is a choice. I try to find joy in everyday.”

    1h 28m
  7. Jiaping|西班牙參戰MasterChef 的首位華人,一登場像龍捲風襲來,又忙又“懶”又理性的可愛女人?

    Mar 25

    Jiaping|西班牙參戰MasterChef 的首位華人,一登場像龍捲風襲來,又忙又“懶”又理性的可愛女人?

    小紅書:@ Jiaping和她的西班牙 @安柏就是安柏呐 IG:@jiapingspain @amber_hodi “Jiaping一登場,就好比龍捲風襲來。”這是我和新朋友介紹她的開場白。然後幾分鐘後她們會點頭如搗蒜。 很難用單一職業去理解她。很多人第一次看到她,會先被她的外放能量吸引——她能主持、能表達、能控場,也很適合站在鏡頭前,但只要你跟她多聊一點,就會發現她真正的核心能力從來不是「被看見」,而是「讓兩個原本互相看不見的世界彼此看見」。她來西班牙已經十六、七年,最初當然也是再典型不過的留學生路徑:讀語言、念 master、想著未來去哪裡工作。但人生的轉折往往不是劇烈發生,而是慢慢偏移——她沒有回去,反而留在西班牙,從最早的文化交流、雙邊商務合作,一路走到品牌營銷與市場策略,最後長成一個能同時理解中國語境與西班牙社會邏輯的人。她形容自己那段時間像在做「文化翻譯」——不是語言翻譯,而是把消費習慣、審美系統、價值觀與商業節奏翻譯給彼此聽,而這種能力,後來成為她整個職業生涯最重要的底層資產。 她在奢侈品品牌體系的那段歷練,是她成長速度最快、也最痛苦的一段。外人看奢侈品產業總帶著光環濾鏡,但她講的全是壓力:高標準、快節奏、全球協作,以及你必須在極短時間內補齊品牌歷史、文化脈絡與市場判斷力的能力。她剛進去時其實非常掙扎,甚至懷疑過自己能不能撐下來,但也正是在那個高壓環境裡,她第一次真正理解「文化不是包裝,而是策略本身」——一個品牌要進入另一個市場,從來不只是賣產品,而是要被文化理解。多年後,公司送給她一枚六角白星碎鑽戒指作為肯定,她每天都戴著,那不是炫耀性的飾品,而是一個職業里程碑的象徵:提醒她曾經怎麼在壓力裡完成自我鍛造,也提醒她自己為什麼能站在今天這個位置。 離開品牌體系之後,她沒有把節奏放慢,反而把舞台拉得更大。她開始進入電視與內容領域,主持節目、製作文化專題、經營播客,用更大眾的方式去講中國文化與在地生活。鏡頭前的她節奏感很好,能量外放、反應敏捷,很容易讓人以為她天生適合媒體,但她自己其實講得很誠實——那只是她的一部分。私底下的她會追劇、健身,也會拖延,甚至會因為時間管理焦慮,她不避諱這些反差,反而覺得這才是立體的人。她後來訓練自己一種「當下行動力」——事情一來就做,不讓想像中的壓力累積,因為她發現真正消耗人的不是工作量,而是拖延帶來的心理重量,這套方法論讓她在多線並行的工作狀態裡依然能保持鬆弛。 她做了一個很多人沒預料到的選擇——去參加料理競技節目Master Chef,而且是以唯一中國參賽者的身份出現。她不是職業廚師,但她非常清楚那個位置的象徵意義:你端出去的不只是菜,而是整個文化的第一印象。她為此在家密集練習,從口味調整到擺盤敘事都反覆打磨,她說那段時間像重新當學生。節目播出後,很多觀眾第一次意識到中餐的豐富性與當代性,而不是停留在刻板印象裡,這讓她很有成就感——因為她一直相信,味覺其實是最溫柔、也最沒有防備的文化入口。同一時期,她也持續參與華人社群與在地文化活動,從春節慶典到文化推廣,她很擅長用幽默化解距離,例如在馬德里春節活動上向市長「討紅包」,最後真的讓對方體驗這個習俗,媒體大量報導,那一刻文化不再是被講解,而是被參與。 我們後半段聊到的,是更個人的人生選擇。她分享自己 34 歲時冷凍卵子的決定,不是因為恐慌,而是想為未來保留主動權;她也談到一段曾走到鑽戒承諾的關係,真正戴上那枚一克拉戒指時,她感到的不是幸福,而是壓力,那讓她意識到自己真正要的從來不是物質象徵,而是能共同成長、彼此理解的關係。現在的她,把更多精力放在創業與投資項目上,特別是亞洲美食與文化餐飲的跨國合作,從品牌、內容到實體空間同時推進。聊完整期你會發現,Jiaping 最迷人的地方從來不是她做過多少事,而是她怎麼把不同文化、不同身份、不同人生階段編織成同一條敘事線——她既不被單一標籤定義,也不需要在兩種文化之間二選一,而是在中間長出自己的坐標,然後把那條路,走給後來的人看。

    1h 43m
  8. JUNO HOUSE — The Playground for Modern Ladies, and Natalie’s Glamorous and Strategic Pivot

    Mar 11

    JUNO HOUSE — The Playground for Modern Ladies, and Natalie’s Glamorous and Strategic Pivot

    Just now, the creator and founder of Juno House, Natalie, together with her co-founder Liana, announced on LinkedIn that today marks an important milestone: “My first exit ✨ Today marks a milestone: my first exit ✨” They are publicly saying goodbye and have sold Juno House, stepping into the next chapter of their careers. Natalie said: For founders who have built a company and completed their first exit, you know it is a journey that is both exhilarating and full of uncertainty — much like entrepreneurship itself. As creators and founders, we follow our vision and intuition, trusting the path even when we cannot fully see the whole picture… but for me, Juno House was never just a business. This conversation in the podcast took place at the end of 2025. At that time, Natalie was already aware that changes were coming, and I sensed it too. Out of her instinct as a seasoned media professional, she asked when the episode would be released. I couldn’t give her an exact answer, because I hoped to create a better opportunity — one worthy of celebrating the inspiration and change she brought to modern women. I’m glad we had that conversation. In just one hour, the two of us sparked what felt like hundreds of ideas, crackling and bursting one after another. Later, we even went on a double date together — but it left us wanting more. Another round is clearly needed. More ideas are waiting to be developed and brought into reality. This is a glamorous pivot — Natalie’s “goodbye.” And I know there will be an even more breathtaking return! —————————————————————— The following article was written nearly a year ago. Reading it now feels almost like another lifetime. —————————————————————— The first time I was invited to JUNO was for a meeting with a lady — a media relations expert active across Europe and the Middle East. I’m very grateful for her introduction. The soft lighting and the graceful curves of the architecture instantly captivated me. As someone who cares deeply about the beauty of a workspace, I fell in love immediately. Juno, the queen of the gods in Roman mythology — the protector of women and guardian of marriage and life’s cycles, symbolizing wisdom, dignity, and strength. Juno Blossom is more than a celebration; it is a tribute to the inner evolution of every woman and to the powerful bonds women build with one another. Natalie is an extraordinary lady. Earlier in her career, she worked on Barack Obama’s campaign team, handling global media relations. When she later moved to Barcelona to raise her children, she realized that there was no space where she could truly balance career, motherhood, and — just as importantly — care for herself. Just as Juno held a central role in ancient Roman rituals for women, Juno House provides modern women with a place to celebrate the “rituals” of both life and career — whether launching a business, transitioning professionally, raising children, or exploring one’s inner self. Juno House transforms this powerful energy into a space for professional growth, meaningful networks, and self-realization. Juno House is not just a sanctuary; it is also a stage — a vibrant playground for modern international women. Juno represents more than a goddess; she symbolizes recognition among women, mutual support, and collective growth. Juno House brings this mythic power into contemporary urban life. Let me make a wish here: one day Juno House will become our own women’s version of Soho House — a gathering place wherever we go. Not only in Barcelona, but also in Paris, London, New York, Hong Kong, Singapore, Shanghai, and beyond. Seeds are planted now, waiting for the day they bloom.

    1h 11m

About

摩登女兒國 Ladies Odyssey——Ladies first,life overseas 这是一个聚焦当代女性海外生活的深度访谈播客。在这里,每一位嘉宾都有她独特的故事:从异乡的探索到事业的重塑,从文化的交汇到心灵的成长。她们带着才华与勇气,在摩登社会中书写属于自己的独立篇章。 无论是艺术家、创业者,还是热爱生活的冒险家,她们的经历都闪烁着不同的光彩。我们希望通过这些女性的视角,展现移居海外女性群体的韧性、自由与力量,同时邀请你一同见证她们如何在异国他乡创造属于自己的现代“镜花缘”。