The company Kate Huang founded, Young Power Art, received the inaugural “Cross-Domain Co-prosperity Award.” This award is part of the first “ESG for Culture Impact Award” established in 2025 by the Taiwan Creative Content Agency (TAICCA). This award recognizes the innovativeness, impact, and sustainability of collaborative models between for-profit enterprises and cultural content producers, with cultural content, social impact, and commercial value at its core.

The award focuses on actions or works that leverage a company’s core business in collaboration with cultural content producers to jointly create ESG impact. The goal is to build an ecosystem where cultural influence drives corporate value, creating unique business models and economic benefits for enterprises. The “ESG for Culture Impact Award” emphasizes collaborative projects across the three dimensions of cultural content, social influence, and commercial value, with comprehensive evaluation determining the top three awardees.

In a list where most winners were large corporations, Young Power Art, a personal enterprise rooted in the art and culture scene, stood out like a dark horse. Standing under the shining spotlight at the awards ceremony, besides being gratified that her long-term efforts had finally been seen, Kate Huang felt the social responsibility she had always carried on her shoulders become even weightier.

Her life experiences have prepared her for this mission of healing through art. On this long journey, she has consistently adhered to her original intention. In an interview with《The Icons》international celebrity magazine, Kate Huang stated, “I want to use art to help people who, like me, have experienced the pains of life and illness. I also hope to enable the public to pay proper attention to this social phenomenon, and smoothly achieve the goal of establishing an Art Medical Foundation in the future.”

This is not a contest about scale, but a question of “whether art can enter the core of public narrative.” In the very first evaluation, Kate Huang and the company she founded, Young Power Art, succeeded. Kate Huang successfully brought art and culture into the core of public discourse, relying on years of diligent effort step by step.

Beyond the surprise of winning, Kate Huang does not view this recognition as a coincidence. During the selection process, she submitted various documentary materials, including media exposure and records of company activities and exhibitions, repeatedly explaining whether Young Power Art’s concept of “cross-domain” was merely conceptual collage or already enacted. Ultimately, she chose to lay all her actions bare: the practical collaboration with physicians, the on-site educational promotion, media coverage records, and connections with a wide range of creators, exhibitions, and public discussions.

Kate Huang also specifically emphasized, “To be understood, you naturally need to put in more effort to prove that you are not just stopping at words.” This is a sense of rhythm cultivated from a long-term position on the margins. She is not impatient for recognition but patiently accumulates traces that can be identified. She understands clearly that for art to enter the institutional purview, it must first learn how to be seen and read.

Kate Huang, Founder of Young Power Art, views this affirmation as an entry ticket. She believes cross-domain collaboration is not just a slogan but a very long road to travel. On this road, there is not only herself, who has recovered, but also many friends who need her and the foundation’s help. From cultural content and educational promotion to psychiatric advocacy and the public voicing of individuals in recovery, Huang’s “sustainability” is not just about environmental protection; it’s about how people can be understood, supported, and enlightened.

Crossing Boundaries: Not Just a Form of Collaboration, but an Inner Path

For Kate Huang, “cross-domain” has never been a strategy, but a worldview. “When most companies discuss the cultural aspect, they emotionally tell their stories. But my original intention has always been centered on rationality and sensibility, and the more I do, the more I find my own direction.”

Art and science, rationality and sensibility – in her understanding, there is no conflict. It was in dialogue with psychiatrist Dr. Su-Ting Hsu that she found herself again. Therefore, she is even more convinced that for individuals diagnosed with schizophrenia, medicine and art are inseparable. Through art, one perceives their body, gradually aligning physical actions with the thoughts in the mind and heart. This journey of aligning body and mind is itself a successful cross-domain attempt. She successfully walked back to her inner path, deep into her long-neglected soul, through medicine and art.

Kate Huang also hopes to promote this method to other patients and the public. Rationality and sensibility are indispensable; they possess essential commonalities fundamentally. They simply handle the same issue in different ways: how people understand themselves and establish relationships with the world. “I have always felt that rationality and sensibility are not opposites. They are actually on the same line.”

It is precisely this unique way of thinking that naturally guided her towards the collaboration between medicine and art. When creation enters the context of psychiatry, patient experience, and social advocacy, art is no longer just a form of expression, but becomes a usable language – one used to understand, connect with, and loosen existing labels.

TAICCA is also aware of her long-term collaboration with Dr. Hsu. For Huang, that is not just publicity, but concrete proof. Cross-domain collaboration is no longer merely a formal alliance, but a question of whether both parties can mutually fulfill each other on this psychosomatic journey, finding a harmonious and self-consistent inner state.

Starting with Children: Returning Creativity to Life

During the interview, Huang mentioned the reality in Taiwan: the government currently does not recognize art therapy, particularly painting therapy, as an official form of treatment. However, because sound therapy used in the field of music can yield measurable data, trust from the government and the public in sound therapy is currently higher.

Acknowledging the difficulties in promoting art therapy in Taiwan, she stated, “Regarding the painting aspect of art therapy, because it cannot be easily quantified, many people might think it is ineffective. Due to this, the government does not recognize that participating in art therapy, having children or patients paint, can produce therapeutic effects. That is a real pity. I believe that through our continuous efforts in this area, we can help the public, government departments, and entrepreneurs recognize the healing power of painting.”

In the context of artistic “sustainability,” Kate Huang has chosen a relatively slow mode of practice. Allowing art to unfold slowly, not pursuing rapid completion. She is not eager to name outcomes, nor does she chase immediately visible results. For her, true sustainability does not lie in how many projects are completed, but in whether things will continue to happen.

“If you only do something once, it will disappear quickly. What truly matters is whether it will continue to leave an impact.” This is also the core question Young Power Art returns to repeatedly in curation, education, and public collaboration: Can art be preserved over time, rather than consumed? And art education promotion is the quietest, yet most resolute, line in her practice.

In the teaching setting, she deliberately avoids replicative techniques, instead guiding children to think, ideate, and organize their own experiences. Here, art is not a final product, but a process that allows for trial and error and exploration. Huang emphasizes, “I do not want children to just copy the teacher. Because when they grow up, no one can paint their life for them.”

Her educational philosophy aims to give children a portable gift, promoting their self-identity through diverse methods, and fostering various concepts of equality in art classes—especially gender equality and gender diversity—encouraging them to explore and understand the essence of people and things, rather than being confined to superficial social labels.

Huang advocates using one’s own creative work as a starting point to further elaborate and extend related elements, spreading them outwards layer by layer like ripples, eventually forming a large circle encompassing many cross-disciplinary collaborative resources. This is how the sustainable narrative of art occurs.

Inner Strength Enhanced by Art Healing

“I think what a cultural entrepreneur needs most is an open mind, because if you do not have an open heart, you cannot embrace all kinds of infinite possibilities.” Besides foreseeing future global trends, Huang talks about: “Human potential is limitless. Cross-field, cross-culture, cross-domain – all kinds of possibilities exist. Art is not just art anymore, culture is not just culture. In the future, it may become even more diverse, embracing even greater inclusivity. We just need to accept that all sorts of seemingly impossible things can happen.”

In her inner world, societal frameworks and disciplinary boundaries have lost their necessity. Embracing the unknown and change in life is the only answer.

Kate Huang further believes that the life experience of creating healing paintings is, in itself, a test of inner vitality. The intricate and painstaking process of painting, along with the path to recovery, which others might find hard to believe, she successfully accomplished. For her, this is a powerful inner self-healing process, a strength and courage needed by society.

Especially for individuals in recovery, being able to finally take such artistic action, no longer confining themselves at home, overcoming internal obstacles, and going out together with other patients, even to institutions like the Legislative Yuan, to tell their stories, “lets people with more political influence understand that we can truly recover.”

Kate Huang feels this is a crucial self-awareness, encouraging patients to bravely step out of their homes. It not only accelerates recovery but also, through the understanding and communication of influential individuals, helps establish correct perceptions in the public eye, reducing societal stigma and negative criticism.

“When you yourself embody this issue, others will follow your lead and also be willing to collaborate across fields.” As someone who has been through it, Kate Huang leads by example, encouraging other patients, and through courageous voicing, channels vital healing resources into this community.

When Art Encounters Institutions, the Real Difficulties Begin

The real challenge often appears when art attempts to enter the institutional framework. Simultaneously an instructor and a person in recovery, Kate Huang stands at the intersection of government, medicine, and culture, witnessing how trust is built and how easily it can be withdrawn. “The hardest part is actually making the system believe you are not just an idealist, but that you can truly deliver.”

She talks about the still-fragmented communities of people in recovery, and society’s simplified imagination of mental disorders. What she does is not limited to creation; it involves repeated attempts to build stages, allowing overlooked lives to be seen and heard publicly. She earnestly hopes to use her personal experience as someone in recovery, combined with her artistic background, to transform artworks into channels for outward social communication.

In Kate Huang’s artistic language, “healing” is not about escaping reality, but a gentle yet clear-eyed gaze, an unrestricted open mind. “I hope my works do not weigh people down, but act like a lamp, glowing quietly.” She is not in a rush to define ESG or SDG, but allows viewers, through their observation, to feel for themselves the questions about dignity, connection, and understanding. Here, art does not provide answers, but leaves space.

She views this award as an entry ticket, not a destination. Kate Huang believes: “Resources are just the first step. What is most important is what you do after obtaining resources to change the world.” Looking back on her own path as someone in recovery, Huang deeply understands how difficult every step taken is for this community. She hopes even more to use her own resources and the realization of her ideals to help these people.

Therefore, in the future, she deeply hopes to establish a medical arts foundation, allowing the dialogue between art and medicine to continue. Besides voicing concerns for those in recovery, she also hopes to integrate medicine and art, using the opportunity from receiving the Cross-Domain Co-prosperity Award to consolidate resources in regenerative medicine, benefiting more people:

“I hope to help the public understand that mental illness does not solely rely on medication for recovery. Brain nerves can be continuously developed through training. Combining art and medicine in neural therapy can also achieve excellent results.”

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The post Starting with Being Seen! Kate Huang, Founder of Young Power Art: Let Art Become an Enduring Force of Positive Inspiration first appeared on The Icons.

It’s Hakka floral fabric, once a common sight in many Taiwanese households—draped over tables, covering cabinets, accompanying the lives of elders. For her, it’s not history, nor a symbol, but an extremely familiar, lived-in memory.

“In my memory, Hakka floral fabric is something from my grandmother’s era,” Victoria described in an interview with《The Icons》.

It wasn’t a grand cultural mission, but a simple yet profound feeling that became the starting point of her creative journey. As these fabrics gradually became seen as outdated with the changing times and slowly disappeared from daily life, what Victoria felt wasn’t nostalgia, but a hard-to-ignore sense of regret.

This emotion later found its way into her art and became the core creative principle of Flowerroad.

Giving a Voice to a Forgotten Culture

In Victoria’s work, Hakka floral fabric is never merely a decorative visual element.

She consistently emphasizes that the fabric’s importance lies not in the pattern itself, but in the traces of life and emotional warmth it carries. “For me, Hakka floral fabric is like a forgotten language.” This statement could be seen as the essence of her creative philosophy.

In her artwork, the fabric is juxtaposed with images of women, the land, and emotions, creating a quiet yet weighty narrative. It is no longer just a symbol of the past, but an entity capable of engaging in a contemporary dialogue.

From an external perspective, this creative approach doesn’t “symbolize” culture, but returns it to the realm of feeling. Critics often point out that her work resonates with people precisely because she refuses to simplify tradition into a nostalgic emblem, instead allowing viewers to reconnect with their own memories within the image.

“I don’t want to turn it into a nostalgic symbol; I hope to rediscover its vitality,” Victoria says.

An Artistic Language Where Emotion Comes First

Victoria’s creative method doesn’t start with form; she lets emotion lead the way.

Throughout her creative process, memories of the land, the strength of women’s lives, or subtle yet genuine feelings from daily life enter the picture first, becoming the core of the work. Only after the emotion has found its place does she begin to consider what form can best carry it, rather than letting form dictate the outcome.

“For me, the balance between form and emotion isn’t pre-designed; it’s gradually felt during the creative process.” This attitude infuses Victoria’s work with a constant sense of breathability.

The placement and proportion of the floral fabric in her images are carefully considered, allowing it to be seen without overpowering the composition. For Victoria, the fabric is a language that needs to be placed gently.

As mentioned in many media interviews and external critiques, the white space in Victoria’s work is an invitation to the viewer. When form remains restrained, emotions have the space to flow naturally, allowing the audience to bring their own memories and feelings into the picture, completing the true balance of the work.

Victoria: Bringing Taiwanese Hakka Culture to the International Stage

When it comes to the international stage, Victoria isn’t eager to discuss “exporting” culture.

“What truly transcends cultures isn’t symbols, but emotion.” In her view, women, land, memory, and life experiences are shared across different cultures. The key to international development isn’t being labeled as “exotic,” but finding a way to engage in a dialogue with those who can understand the language of her work.

Therefore, Victoria’s vision for international reach is more like a natural expansion. Through exhibitions, curatorial collaborations, and cross-cultural exchanges, she allows her work to be placed in different cultural contexts, rather than being deliberately packaged for export.

In her plans for the next three to five years, she proposes a “one country per year” creative direction. Starting with Taiwan and Italy, she aims to understand another culture’s life experiences, allowing the two cultures to naturally meet in her work. Next could be the UK, then India. This isn’t about collage, but a process of first understanding, then integrating, and finally reinterpreting.

From an observer’s standpoint, this international strategy prioritizes depth over speed. Where the work travels and whether it is understood depends on whether the emotion it carries is trusted.

“As long as it remains rooted in Taiwan, it can naturally extend outward,” Victoria concludes.

Guardianship, Companionship, and Cultural Sustainability

When Victoria talks about “guardianship,” her tone becomes particularly soft.

For her, guardianship isn’t about confrontation or declaration, but a form of sustained companionship. In a rapidly changing world, choosing to look back, to remember where one comes from, is a choice in itself.

Victoria doesn’t try to speak for the land; she lets it be seen and felt within her art. The imagery of women, floral fabric, and the land forms a dialogue between her and this place.

From the perspective of SDGs and ESG, this creative practice corresponds to cultural sustainability and the continuation of social values. It’s not about preserving culture as a static artifact, but allowing it to continue breathing and being understood in contemporary life.

“As long as these memories can still be felt, they haven’t truly left.” This statement might be the deepest belief underlying Victoria’s creations.

A Path Not Rushing to Be Understood

Reflecting on this path of art and cultural preservation, Victoria admits that the biggest challenge is not rushing to be understood.

Continuing to move forward without immediate response or applause requires constant self-affirmation. But it is precisely through this process that she understands more clearly why she creates.

The real reward isn’t in the number of works completed, but when someone pauses before a painting, feels a familiar yet unfamiliar emotion, and rediscovers the value of their culture.

If asked to summarize the mark Flowerroad hopes to leave on the world, Victoria’s answer is quiet yet firm:

“Not just the artwork, but a warmth that helps people remember where they came from.”

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The post Flowerroad Founder Victoria: Starting with a Piece of Hakka Floral Fabric, Bringing Taiwanese Memories to the World first appeared on The Icons.

As large law firms in Europe and the US capture high-value markets through licensing and litigation, and Southeast Asia emerges as a new battleground due to manufacturing base relocations, if Asian enterprises still view patents as a cost center, it’s tantamount to voluntarily forfeiting competitiveness on the international stage. The real gap never lies in the technology itself, but in “whether IP can be transformed into capital.”

Therefore, Miir Chen, founder of FZ Patent & Trademark Ltd., proposes a groundbreaking perspective for Asia. She isn’t talking about “how to file patents,” but redefining “what patents can do for a company.” In an interview with《The Icons》, she pointed out a core industry blind spot: “Patents are never just about protection. The truly advanced use is making them a source of cash flow, a chip for valuation, and even an engine for a company’s turnaround.”

This isn’t merely a conceptual shift; it’s a practical strategy already validated with FZ’s clients. Unlike most IP consultants who only handle application processes or legal issues, FZ treats IP as a system of assets to be operated. It can integrate with finance to become the basis for bank credit; link with supply chains to determine the priority of multinational deployment; combine with capital markets to enhance corporate valuation and investor confidence; and even tie into international negotiations, serving as the most powerful bargaining chip when entering unfamiliar markets.

This “from protection to operation” mindset positions FZ as a strategic partner capable of helping startups overtake on the curves, and makes multinational corporations see FZ as a key player that truly understands business logic and international realities when seeking Asia-focused advisors.

“When you treat patents as capital, you seize the initiative. When you treat them merely as a cost, you are forever at the mercy of the market.”

The Value of IP Begins with Business, Not Law

Everyone knows the importance of intellectual property, but few truly understand how to wield it. Most IP advisors remain at the basic level of filing, maintenance, and protection, leading companies to spend money on patents without generating revenue or establishing dominance.

While working as a patent analyst, Chen realized that companies don’t undervalue IP; they simply don’t know IP can be more ambitious. If patents are only used to document technology, they merely preserve the past. Only by involving IP in operations, financing, and multinational strategy can the future be built. She was determined to move patents from the legal realm into business models and cash flow, turning IP into a growth engine for companies.

“I don’t just want to teach companies how to protect themselves. I want to teach them how to use IP to attack, to dominate the market.” She demonstrates with practical cases that patents are not a defensive line, but leverage for capital and a passport for international expansion. Consequently, FZ positions itself as an IP operations hub, connecting technology on one end and capital on the other. Starting from business models to design strategies, they make patents a core tool for paving the way and securing positions.

“We look at a patent not for what it says, but for where it can take the company.” FZ doesn’t ask if something can be patented; they ask if it can be monetized, if it can establish dominance. Many companies discover post-collaboration that their patents are far more valuable than imagined; they just lacked the means to unlock that value. When IP is seen as a strategic starting point rather than a legal accessory, it gains the power to change the game, transforming companies from defenders into market leaders.

Patents Understood by Banks Can Ignite the Capital Engine

In Taiwan, most companies remain unfamiliar with “patent financing,” instinctively believing banks won’t accept intangible patents as collateral. But in reality, financial institutions have established intangible asset valuation mechanisms. The issue isn’t that banks won’t do it; it’s that companies haven’t structured their patents into “bankable assets.”

Chen observed that most companies think of filing after R&D and consider monetization much later. However, banks assess not documents, but future revenue streams and market exclusivity. Therefore, FZ gets involved from the outset in business model and strategy planning, even reverse-engineering patent architectures based on credit standards to make IP directly align with banking logic.

“Banks don’t want certificates; they want to know if you can hold your market.” She emphasizes that a patent in a single country carries high risk, but a “layout across three or more countries” combined with product launches and supply chain positioning can demonstrate a company’s market control, directly boosting credit approval success. She once assisted a startup in restructuring its IP strategy even before obtaining patents, preparing market data and profit models to create an “IP roadmap.” The result was that the company secured bank funding before mass production, and its valuation even doubled. The founder later remarked, “I thought patents were something to handle after R&D. The truly smart approach is to use patents to pave the way before the strategy even begins.”

These cases are not exceptions but FZ’s standard operating procedure. When patents are restructured as operable assets, a company’s position in financing, valuation, and negotiations naturally rises, and capital access becomes more proactive. Chen stresses that FZ’s role is never just to help companies save costs, but to make IP truly generate revenue. When patents can enter the financial system, the function of IP transcends legal processes and directly influences corporate governance, strategic planning, and high-level decision-making.

Patents Must Follow the Industry Chain to Capture the Next Battlefield

Over the past two decades, patents in Asia were almost synonymous with “filing in China,” due to the high concentration of manufacturing and supply chains there. However, as global supply chains reconfigure and manufacturing bases relocate, the question for patent strategy is no longer “where is the R&D done,” but “where will future production and sales be, and who will become the competitor?”

Chen proposes a crucial concept: “Where the factory is, the patent should be.” The exclusive right of a patent inherently restricts manufacturing and sales, so a single-country strategy cannot truly block competition. Patents are no longer static assets but strategic weapons that must “move with the industry chain.” The recent rise in patent filings across Southeast Asian nations isn’t due to a sudden surge in R&D capability, but stems from strategic needs driven by supply chain shifts. For multinational corporations, patent protection has become a prerequisite for investment confidence when choosing factory locations.

Recognizing this shift, FZ assists companies in transitioning from “single-point filings” to “regional portfolio strategies,” designing patent matrices that combine manufacturing locations, sales markets, and competitive landscapes. For instance, for a company aiming to expand into Southeast Asia, FZ conducted a reverse analysis of the supply chain, identifying the real risk upstream. They then strategically secured key nodes first, successfully creating an “invisible barrier.”

“Many companies think patents are defensive tools, but truly exceptional companies use patents to secure positions.” Chen emphasizes that Southeast Asia’s rise isn’t about replacing China, but forming a “multi-core market.” To grasp the future, companies must simultaneously understand the structures and rhythms of these markets, placing patents in the right locations at the right time. What FZ designs for companies is an “IP strategy timeline,” turning patents into movable, adjustable strategic tools.

Using Data to See the Future, Using IP to Reshape Decisions

When planning multinational expansion, companies most often ask: “Which market should I enter first?” Many rely on instinct, but the real method to improve success rates is to “use data to project the future.” However, most companies look only at economic data like GDP, overlooking the most revealing indicator of competitive structure—patent activity.

Chen’s unique strength lies in her ability to read both economic and IP languages simultaneously. She integrates GDP, industry structure, policy trends, and patent activity for analysis, deducing the future convergence points of the most promising technologies and markets. “Are you looking at the market of today, or the market three years from now?” she often asks companies.

Chen once advised a company not to rush into a seemingly high-potential large market, as the patent landscape in that sector was already dominated by giants. Instead, she pointed out that a smaller country was at a growth inflection point, with rising market demand and room in the patent landscape. The company heeded her advice, establishing a foothold there first before using it as a springboard into the larger market, ultimately achieving a dominant position amid competition. This is especially crucial for startups needing to find market gaps.

“The market isn’t seen; it’s projected.” Chen notes that GDP reflects economic phenomena, while patents reveal technological trends. Combining both allows one to predict “where money will flow, where competition will begin.” IP is a navigation system for companies in unknown markets. Those who can interpret it don’t just see immediate opportunities, but who will be positioned to set the rules three to five years down the line.

From Passive Defense to Ecosystem Leadership: Forging New IP Rules for Asia

Most Asian companies are not behind Europe and the US in technological innovation, but lag at least a decade in IP utilization. Many have technology but lack an IP strategy, failing to turn achievements into assets. Others file numerous patents without a business model, ending up as sunk costs. “The real pity isn’t lacking technology, but having technology that doesn’t translate into advantage.”

Chen points out that to elevate competitiveness, IP must shift from a “legal mindset” to a “strategic mindset,” expanding from the corporate level to the industrial and regional levels. She believes Asia has advantages in language and geography; by establishing collaboration mechanisms, a “Regional IP Alliance” can be formed for joint strategy and licensing, transforming Asia from a manufacturing base into a source of innovation.

In this process, FZ acts not just as a consultant, but as an “ecosystem enabler.” They help companies build IP architectures, connect upstream and downstream players, and integrate multinational resources, making IP the common language of the industry chain.

Discussing FZ’s development direction, Chen’s tone is calm and clear. The outside world often measures a consultancy’s success by scale, but in her understanding, the true goal was never about “how big,” but “how deep.” She envisions IP becoming a fundamental management framework for companies, much like financial statements; making intangible assets quantifiable, operable, and truly comprehensible to investors and the market. Only then can Asian companies compete on the global stage with strength, not just cost.

Therefore, this November, she is launching two courses directly teaching how to use IP for overtaking and patent financing. This isn’t just instruction; it’s the starting point for industry transformation. Chen doesn’t see herself as a lecturer, but as a “guide,” hoping companies will understand trends, wield IP, and build their own capital systems.
“I don’t want companies to just value patents. I want them to see with their own eyes that what truly determines fate isn’t the technology itself, but who knows how to use IP to design markets, master capital, and change the rules of the game. Those who master IP will truly master the future.”

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At the awards ceremony, senior executives of multinational corporations, industry leaders, entrepreneurs from start-ups and SMEs, renewable energy experts, sustainability advocates, and organisations committed to education, healthcare and social innovation all gathered under one roof. From technology and manufacturing to healthcare, retail and cultural brands, a diverse range of business models and perspectives intersected, presenting a forward-looking vision of how Asian enterprises are responding to global transformation.

The significance of this event lies not only in the remarkable achievements of the finalists and winners but also in the international influence of its organiser. As one of the most prominent platforms bridging Taiwan and the United Kingdom, BCCTaipei works closely with government-level partners, including the British Office Taipei. This partnership ensures that the judging criteria for the Better Business Awards are grounded in international governance standards and global sustainability trends. For participating companies, being shortlisted or winning at this event is not only an honour but also a symbol of international recognition.

In an interview with《The Icons》, Vicki Wu, Executive Director of BCCTaipei, emphasised that the Better Business Awards have never been a competition but a profound dialogue about corporate values. Through this initiative, she hopes companies will reconsider their place in the world and adopt a perspective that goes beyond revenue and scale.

“We are not only seeking successful companies,” Wu said, “but also standing alongside those committed to doing the right thing.”

A Connecting Point Between Taiwan and the International Community

To understand why the Better Business Awards hold such strong credibility and international influence in Taiwan, one must first recognise the unique positioning of the British Chamber of Commerce in Taipei (BCCTaipei). Unlike many chambers that primarily serve commercial or member-driven interests, BCCTaipei functions as a non-governmental organisation while maintaining a close partnership with the British Office Taipei. This balance of neutrality and access to global resources makes it a vital bridge connecting policy, industry and international trends.

Many companies initially view the Chamber as merely a networking platform for British businesses in Taiwan, but those who engage more deeply soon realise that BCCTaipei operates as a high-level strategic community. It brings together visionary leaders and globally minded enterprises, facilitating not only business cooperation but also meaningful policy participation, cross-border dialogue and sustainability initiatives.

According to Vicki Wu, BCCTaipei’s Executive Director, the Chamber’s strength lies in its neutrality. Because it is not driven by profit or specific industry interests, companies are willing to share their genuine challenges, allowing the Chamber to cultivate deeper and more meaningful conversations rather than superficial exchanges. Many newcomers assume the Chamber’s value lies in business matchmaking; however, once involved, they discover that its true focus is guiding the direction of industries—discussing where companies, and indeed entire sectors, are headed.

“We are not here to do public relations for anyone,” Wu explained. “We are here to think together about where businesses should go. The Chamber’s value is not about helping companies make more money, but about helping them become more meaningful. If we want to drive change, we cannot just follow the market—we must lead it with values.”

In this spirit, BCCTaipei is not only connecting resources but also shaping a new kind of corporate civilisation. From collaborating with the UK government on sustainability policy to helping companies understand frameworks like the EU Carbon Border Adjustment Mechanism (CBAM) and ESG reporting, and facilitating cross-sector dialogue across education, healthcare and energy, BCCTaipei’s role has long transcended that of a traditional chamber of commerce. It provides Taiwanese companies with a gateway to international engagement while showcasing Taiwan’s maturity and innovation to the world.

“Taiwan should not remain merely a node in the global supply chain,” Wu emphasised. “It should become a voice in defining global value. The Better Business Awards are our way of advancing that vision—ensuring that companies worthy of recognition are not just participating in the market, but actively shaping the future.”

The Awards Are Not the Goal, but a Catalyst for Businesses to Rethink Why They Do What They Do

Since its founding, the Better Business Awards has never been a competition focused on financial data or market share. What makes this award unique is that it does not ask “how much did you earn,” but instead asks “how did you earn it, why do you do it this way, and are you willing to take responsibility for the long term?” This perspective sets it apart from conventional business awards from the very beginning.

According to Vicki Wu, Executive Director of BCCTaipei, as a non-profit organisation, the Chamber itself is not driven by commercial interests. Therefore, when designing the award mechanism, it intentionally removed thresholds related to investment size, market share, or available resources. What she aims to build is a platform of values, where companies of all sizes, stages, and industries—so long as they have clear principles and genuine action—can stand on the same stage and be recognised.

“The spirit of the Better Business Awards lies in whether companies are willing to take one step further for society, not in how many resources they have.” To ensure credibility, each year’s judging panel is composed of industry experts, academics, multinational executives, and sustainability professionals with international backgrounds. They not only assess results but also examine the decision-making process and whether actions are sustainable and replicable. For example, a short-term ESG campaign, no matter how visible, will not be favoured, while an initiative that may still be developing but is embedded in the company’s core strategy will be highly valued.

More importantly, the evaluation process itself becomes a dialogue. Many companies, during their applications, systematically review their sustainability strategies and social impact for the first time—often discovering strengths or values that had never been articulated. Some even realise, through conversations with judges, that they can do more and choose to adjust their direction. As a result, the awards are not merely a competition but a mirror that helps companies see where they truly stand.

“Many companies only realise after applying that they have already done so much meaningful work—they just never organised it before.” The essence of the Better Business Awards, Wu emphasised, is not to single out the best company, but to guide enterprises toward a deeper question: What kind of company do we want to become? What matters most is not the outcome, but whether the process inspires self-awareness and a long-term mindset.

“We hope companies don’t change just to win an award, but become award-worthy through the process of change.” In a fast-changing global market, this approach has made the Better Business Awards one of Taiwan’s most forward-looking and internationally connected business benchmarks. It does not reward superficial figures but recognises genuine growth, determination, and accountability. It does not seek fleeting moments of glory but encourages the steady accumulation of long-term value.

Vicki Wu: Companies Are Beginning to Redefine What Truly Deserves to Come First

Reflecting on the 2025 applicant and finalist list, Vicki Wu observed a critical shift—one that goes beyond year-to-year change and reflects a deeper transformation in how companies prioritise what truly matters.

In previous years, proposals related to diversity made up a significant portion of entries. From gender equality and inclusive workplaces to multicultural team building, many companies actively showcased their organisational values. However, in 2025, the visibility of such topics declined. Some interpreted this as a waning focus on diversity, but the reality is far more nuanced.

As the global political climate shifts—particularly with a more conservative tone in the United States on social issues—multinational companies have become more cautious about taking public stances. Operating across multiple markets means every statement can be magnified, potentially affecting partnerships, investments and brand positioning. As a result, many firms have chosen to uphold their values in quieter, more internal ways.

“Some companies haven’t abandoned diversity; they’re simply implementing it more intelligently and steadily,” Wu explained. While diversity efforts have become more internalised, another issue has rapidly moved to the forefront—sustainability and ESG development.

This change is not a passing trend but the result of policy pressure, supply chain demands and structural shifts in global markets. With the 2050 net-zero target fast approaching and mechanisms such as carbon taxes and border adjustment policies on the horizon, international corporations are demanding higher environmental and governance standards from their partners. These forces are compelling businesses to re-evaluate their operations, integrating sustainability into cost structures, strategies and even product design.

“Sustainability is no longer a slogan—it has become the key to whether a company can continue doing business.” In this year’s submissions, BCCTaipei noted numerous in-depth cases: companies outlining concrete carbon-management plans, building recycling systems, adopting renewable energy, extending product lifecycles and developing platforms that connect upstream and downstream players to drive broader industry change. More importantly, sustainability is no longer treated as a departmental project; it has entered the core of corporate governance, influencing decision-making and organisational culture.

Wu also pointed out that participating companies are now speaking a shared common language. “When businesses shift their mindset from immediate profit to the kind of value they want to leave behind ten years from now, the entire ecosystem begins to change.” Sustainability has become the foundation for long-term resilience, expanding beyond environmental issues into operations, resource allocation and governance. Diversity, while less visible, has been deeply embedded into everyday practices and company culture, forming a quieter yet more authentic driving force within organisations.

From an Awards Ceremony to a Collective Evolution of Corporate Values

The reason the Better Business Awards has taken root in Taiwan for nine years lies not in its scale or form but in the clarity and rarity of the role it plays. For companies, it serves as a mirror that reflects their true state and position, a stage that amplifies worthy efforts to a global audience, and a driving force that encourages progress, fuels industrial transformation and redefines corporate value.

According to Vicki Wu, Executive Director of BCCTaipei, Taiwanese companies were once seen primarily as part of the global supply chain. Today, however, more businesses are building brands, creating new business models, adopting sustainability strategies and even leading in social impact. The purpose of the Better Business Awards is to bring these forward-looking enterprises to the forefront, allowing them to serve as benchmarks for others and to generate collective progress. “A company’s true competitiveness,” Wu noted, “comes from the values it creates, not from the resources it possesses.”

Looking ahead, BCCTaipei aims to use the Awards and its broader platform to foster greater international exchange and industrial collaboration, enabling Taiwanese enterprises to engage with their UK and global counterparts on equal footing. Together, they will address core issues such as sustainability policy, green supply chains, digital transformation and talent development. At the same time, the Chamber plans to introduce international standards and resources, helping Taiwanese businesses move beyond the role of learners to become active participants, and even contributors to rule-making on the global stage.

Wu emphasised that the Better Business Awards has never regarded the event itself as the destination. Instead, it is part of an ongoing effort to build an ecosystem where companies grow continuously, collaborate meaningfully and rise together. This ecosystem values influence over scale and pursues co-created value rather than one-time visibility.

“The true measure of a company’s stature lies not in its financial figures but in what it leaves behind for society,” Wu said. When businesses engage with social issues, contribute to cultural connection and invest in talent development, what they create transcends business results, it becomes a legacy of enduring value. This is the essence of the Better Business Awards: to pursue longevity, create meaning and drive evolution.

In a rapidly changing market, the leaders are never those with the most resources but those who can adapt, evolve and embrace change. Wu believes that Taiwan possesses this very energy, and BCCTaipei’s mission is to make it visible and elevate it to the global stage.

“The Better Business Awards is not an endpoint but a long-term choice. As more companies take this path, Taiwan will not merely participate in the global landscape, it will help shape the future.”

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Our conversation did not begin with tales of a career queen’s comeback, nor with the strategies of a top sales achiever. Her tone was light, yet it carried the calm that only comes after enduring life’s tempests. She did not answer《The Icons》interview team’s first question right away. Instead, she gazed out the window, as though conversing with a chapter of her life that no one else could hear.

“When you look back on your life, who do you think you are?” our reporter asked.

She smiled, her voice calm and assured. “My life may seem like it’s been lived for others, but in truth, it has been a journey of creating value for myself and for many people.”

TENG SHU-LAN, Director of BAIYI, LUNG YEN Authorized Distributor: When You Learn to Make Peace, You Can Take the Helm of Your Own Life!, Director of BAIYI, LUNG YEN authorized distributor, is a soul ferryman in the life service industry, someone who chose sincerity over salesmanship and compassion over cold transactions. Her story is not just about overcoming adversity; it is a spiritual journey through poverty, gender expectations, and the tides of time, crystallizing into a strength that is both gentle and unyielding.

She has walked through turbulence and thorns, yet always carried a light that never went out. From the alleys and earth of a military dependents’ village, Teng learned resilience and how to let her light shine into others’ lives. Her beginnings were humble: a girl with dreams shaped by the balance of a steadfast father and a tender, graceful mother. Her father spoke little but was always there when it mattered. Her mother, through the rhythm of daily life, taught her the quiet power of gentleness. These seemingly simple lessons became the foundation upon which she faced every storm that followed.

Her story mirrors that of countless Taiwanese women born in the postwar generation, raised amid transition and learning to stand tall in a changing world. Her father’s steadiness and her mother’s strength formed her compass, guiding her to live fully and to illuminate others with her light. Through our conversation, it became clear that the power of TENG SHU-LAN’s story lies not merely in her achievements but in how she has transformed every experience into strength, and every act of love into an everlasting flame that warms and inspires those around her.

“It took me a long time to understand,” she said softly, “that the real challenge in life is not the obstacle in front of you but learning to bloom through every experience and use that light to brighten someone else’s world.”

Living Not Only for Herself, But as the Continuation of a Thousand-Year Legacy

TENG SHU-LAN’s life journey began in a childhood that was both restrained and deeply cherished.

Her father was a military officer who came to Taiwan from mainland China. Born into a distinguished literary family in southern China, his ancestral home was once honoured by the imperial court and still stands today, now converted into a public hospital. The royal plaque once bestowed upon their family is preserved in the Phoenix Museum. In the midst of wartime, this scholarly young man laid down his brush and joined the military to protect his homeland. Though history left deep marks on him, his love for his children remained steady and gentle.

“From as early as I can remember, my father never once hit me or scolded me. Not even once,” Teng recalls with a warm smile.

Life in the military dependents’ village was not wealthy, but her parents did everything they could to protect their daughters. Her father worked two jobs, while her mother quietly created opportunities in everyday life — offering a small gift to a teacher or finding a way to enrol the children in extra classes, just so they would never feel overlooked.

“My father often said, ‘You are my blessing.’”

That simple sentence became her earliest sense of self-worth. Even when the world outside imposed limits or doubt, she always remembered the certainty and tenderness in her father’s eyes. It gave her the courage to face the world.

Her mother, like many Taiwanese women of that generation, spoke little but carried the weight of the family through every meal and household chore, holding both hardship and hope in silence. “I know my mother wasn’t always happy,” Teng says. “But she spent her whole life trying for us and searching for her own way out.”

Growing up in this environment, Teng developed a quiet but unshakable resilience that strengthened with each challenge she faced.

“I think I understood from a young age that no matter what happens, I must be someone who can stand strong and become a source of strength for my family.”

Revealing the Collective Face of a Generation of Women

When speaking about her upbringing, TENG SHU-LAN describes it as more than a personal journey; it was the reflection of an entire generation of women who carried the same unseen weight.
“From my mother’s generation to mine, women living through this era all faced the same silent struggles. Not because we lacked ability or ideas, but because countless social structures told us we were not allowed to have a voice.”

Her mother embodied the archetype of Taiwanese women of that time: quiet, steadfast, and capable of carrying a household on her shoulders. She cooked every meal, managed every chore, raised children, and endured emotions without ever admitting she was tired. The hardship was silent. There were no tears, no complaints, only an endless endurance. What pained Teng most was not how much her mother gave, but that she never believed any of it was worthy of praise.

“It was a way of living that erased the self, as if women were never meant to speak, to think, or to dream.”

As Teng grew older, she began to see that reflection everywhere, in her mother, her neighbours, even her teachers, all silently asking the same question: Is this really the only way women are allowed to live?

From a young age, Teng knew that if she wanted to live a life of her own, she would have to carve her path through hard work and determination. After finishing junior high, she worked in her father’s factory to help support the family, saving enough to pursue her dream of entering the renowned Huagang Arts School. Throughout high school, she refined her dance skills in class and taught dance after school to build her independence and confidence.

Life after graduation was far from smooth. Teng sold goods at street stalls, taught dance, and later entered the world of beauty direct sales. With unyielding determination and persistence, she was promoted to sales supervisor within three years, earning a moving trophy, a pink car. Within six years, she entered the company’s Hall of Honor twice and became a senior supervisor. To friends and family, she had become the embodiment of success.

From the Peak of Success, She Turned Back to Seek Her True Mission

TENG SHU-LAN had already reached the top of every sales field she entered, breaking records, collecting trophies, and owning her own home. From the outside, she seemed to embody success. Yet late at night, a quiet question echoed in her mind: “What am I working so hard for?” The higher she climbed, the greater the emptiness within her grew.

During this period of self-reflection, an emerging yet profoundly meaningful industry caught her attention: pre-need funeral planning. She recognised it not only as a global trend but also as a protective system actively promoted by the government, one that required professional and trustworthy companies to implement it properly. To her, this service was never about selling a product. It was about safeguarding families, helping them choose the right brand, and bringing peace of mind to those she served. Guided by the belief in creating value for others, she made the bold decision to join the LUNG YEN authorized distributor network and begin an entirely new chapter of her life.

The decision, however, was not an easy one. When a friend first introduced her to the opportunity, she too was influenced by social prejudice. Although she sensed the deeper value of this work, she hesitated and struggled. Within ten days, the emotional stress caused her to lose seven kilograms.

After officially joining the LUNG YEN authorized distributor network, she quickly demonstrated the same professionalism and drive that had defined her earlier successes. Yet just as her career soared once again, a sudden wave of anxiety struck. One morning, she awoke with a racing heart and shortness of breath. Physically and mentally exhausted, she later underwent surgery for uterine fibroids.

The recovery period that followed became a profound turning point in her life. For the first time, she allowed herself to face the emptiness she had long avoided and came to a realisation.

“Instead of only examining my own life, I realised I could help other women find their way in this rapidly changing era. Our generation of women finally has the chance to move in our own rhythm. The real question is, are you willing? And if you are, when will you take your first step?”

“Thank you — you helped break down the wall between my mother and me.”

Today, TENG SHU-LAN is not only a top sales champion within the group but also the spiritual leader of the LUNG YEN authorized distributor BAIYI Service Centre. She leads from the front, always taking the first step and, at critical moments, turning back to push her team forward. To her, leadership is never about standing above others. It is about showing through action: “If I can do it, you can do it too.”

When she first joined the LUNG YEN authorized distributor, she started just like every newcomer, making phone calls, doing cold outreach, and handling the most basic procedures. At the beginning, she viewed the job as pure sales work, striving to close deals, chase targets, and expand her client list. Yet through countless projects and farewell services, she gradually realised that this was not simply a job, but a calling deeply connected to the essence of life itself.

She recalls the moment she truly began to see people: the daughter sobbing quietly on a bench, the husband gripping the urn with trembling hands, the father standing before the memorial in silence. Those wordless emotions carried more weight than any language, teaching her to feel with her heart rather than merely observe with her eyes.

Because of this, she has always practised deep empathy in her work, standing in her clients’ shoes and creating arrangements that bring them comfort and peace. She understands professionalism, but she also understands companionship. She pursues results, but she never loses sight of the human heart. Her persistence, creativity, and care have made her not only a leader but also a trusted guardian of life.

One moment she will never forget involved a mother and her departed child. The mother, consumed by her career and distant from her child, stood pale and trembling throughout the ceremony, silent until the very end. Just before it concluded, she suddenly fell to her knees before the casket and cried out, “My child, I am so sorry.” The room fell silent. No one moved. Even the air seemed to stand still.

Standing quietly in the corner and understanding the story behind it, TENG SHU-LAN could not hold back her tears. “During that time of accompanying her, I knew what her pain truly was. She had never expressed her love for her child aloud. After the accident, she lost the chance forever. That is why she could not forgive herself. I knew then I had to stay and support her longer, or else it would become a regret she might carry for life.”

After signing the contract, the woman’s daughter embraced TENG SHU-LAN tightly, tears streaming down her face. “Thank you, Shu-Lan. This contract finally broke down the wall between me and my mother. It reminded me that I still have time to walk with her through the final chapter of her journey. Thank you for that reminder. My mother passed peacefully, and I believe, just like me, she left without regret.”

For years, there had been a quiet distance between the daughter and her mother. Whenever they met, conversations stayed on daily matters, never touching the emotions buried beneath. Only after signing the contract did she realise how fleeting life can be. From that moment, she began to talk to her mother, share memories, and express the love she had long held back.

That invisible wall, unbroken for years, finally fell during her mother’s final days because of this shared realisation. At first, the family saw Shu-Lan only as a professional at LUNG YEN authorized distributor, but as time passed, the elderly mother treated her as a confidant, and the daughter became her friend. Their connection grew into something beyond service, a light born from understanding and love.

TENG SHU-LAN often tells her younger colleagues, “Many people come to us for a contract not because they are preparing for farewell, but because they are seeking reconciliation, for themselves, for their parents, for their children, and for every bond that was never properly healed.

A pre-need contract is never just about preparing for death. It reminds us to speak the love we have not yet spoken, to mend the regrets we have not yet faced, and to make every final companionship whole. Its greatest value lies in helping those who carry love in their hearts preserve it in memory and act before it is too late, so that no affection is left behind in silence.”

With early preparation, the living can find peace, and the departed can rest with dignity. This, she believes, is the truest meaning of a pre-need contract.

Rising Is Only the Beginning, Transformation Is the Real Journey

In her earlier years, TENG SHU-LAN once believed that wealth was the ultimate answer.

From a young age, she understood that having no money was not merely a lack of material resources but a condition of being overlooked and unheard. She believed that women from postwar families, without financial strength, would struggle to have a voice in society. Determined to change her destiny, she poured all her energy into building her first fortune at a very young age.

“I truly believed this was the happiness I wanted.” Yet when she finally stood in the position she had dreamed of, her heart felt emptier than ever. Late at night, as she returned to her comfortable home, she was greeted not by joy but by silence. Looking into the mirror, she saw a woman who was capable and confident in her career, yet her eyes had lost their light. The figures in her bank account could satisfy her material needs but could not fill the void within.

Her career in the beauty industry with Mary Kay had been rewarding, offering stability and recognition. Still, she wanted to create something greater, so she joined the LUNG YEN authorized distributor network. At first, she was filled with motivation, believing she was helping others. Soon, however, she realised that helping people was never simple, for not everyone seeks help. At times she was misunderstood, rejected, or even criticised.

Now, after twenty-eight years in the LUNG YEN authorized distributor, she reflects on the most important lesson she has learned: the ability to speak up for herself. When she stepped down from a senior director role at the head office and returned to being a branch director, she reached a deeper understanding. One can teach with sincerity, but others may not wish to learn. One can lead with passion, yet passion alone cannot make an organisation grow. Even with success, she often wondered why leadership felt so heavy. Through constant learning, she realised the true challenge was not others but herself. It was a matter of perspective and capacity.

“The same rice feeds a hundred different kinds of people. It is your dream, not theirs. Once you understand this, you stop trying to push people and begin to respect each person’s pace and choices.”

This new awareness shifted her focus from pure performance to a deeper reflection on life. She came to see that true leadership is not about control but about expanding one’s vision and inspiring others through purpose. Real support does not mean forcing change but walking beside others until they are ready to move forward.

“True scarcity is not the lack of wealth but unresolved wounds in relationships. In other words, broken love.” Over the years, TENG SHU-LAN has realised that growth is not measured by the prayers one recites but by the lessons drawn from each relationship, through which one learns to accept and to bless. True cultivation means living within relationships and learning to make love whole.

She recalls that every farewell ceremony is a moment of healing. Some people release resentment toward their fathers. Some make peace with their mothers. Some, for the first time, finally speak emotions they have held for a lifetime. In one ceremony, a man stood before his father’s photograph and whispered, “Dad, I finally understand you.” At that moment, she felt the entire space was filled with compassion and light.

“I gradually came to understand that pre-need funeral contracts hold another kind of value. They carry love.” For TENG SHU-LAN, such a contract is not only about preparing for farewell but about making a promise to life itself, reminding us never to forget love.

“I have tasted the comfort of abundance. But after witnessing so many partings, I have come to believe that nothing can be taken with us. True wealth lies in knowing that the people around you once felt your love and presence.”

Talent Is the Gift Given to Us by God

At the end of the interview, the team asked TENG SHU-LAN what she would say if one day a girl like her stood at a crossroads in life, uncertain yet eager to change her destiny and prove herself.

“I deeply understand what it feels like to hold strength inside yet still feel lost and helpless. Everyone has the ability to change their destiny, but first we must find the path within our own hearts. That path begins with self-awareness, with recognising our true nature and purpose. When we learn to return to the present and listen to our inner voice, we will gradually find our direction.”

Teng believes that we must also learn to embrace uncertainty, for confusion is an essential part of growth. As long as we continue to believe in ourselves and explore step by step, light and direction will eventually emerge. “Talent is a gift from God. Each person’s talent is unique. It guides us along our own path. When you discover your talent, you also discover your connection with the divine. Then your life begins to flow naturally and with strength.” As she spoke, her eyes seemed to gaze far into the distance.

Over the years, Teng has led her team to every corner of Taiwan, achieving not only impressive results but also nurturing a group of funeral service professionals who share her sense of purpose. Under her leadership, the spirit of “Walk with integrity, lead with love, and grow together” has become the core of BAIYI’s culture. It is not a business built on cold transactions but one founded on sincere human connection.

To her, this work is more than a profession. It is a voyage through life itself. Teng is like a helmsman on a vast and unpredictable ocean, steering her own course while lighting the way for others. Each time she helps someone find peace and dignity, she feels her own inner light shine a little brighter.

“Taking responsibility is strength. Growth is direction. Achievement is not just for ourselves but for others.” This is both her personal philosophy and her promise to the work she leads.

“Who says fate must be something we accept without choice? What matters is whether we are willing to see our own talent and transform every challenge into light.” Teng believes that every person comes into this world with a purpose to fulfil. The way to rediscover it lies not in books or in others but in the quiet moments when we are willing to face ourselves, understand who we truly are, and take responsibility for our own potential.

Reflecting on her journey, Teng describes it as a river that has flowed from silence and confusion toward light, and eventually to the desire to share that light with others. What allowed her to recognise her true value was not only the courage to keep moving forward but also the decision to embrace her talent and bring it to life.

True strength, she says, does not come from external pressure but from finding the path that aligns with our inner gifts. When we follow that alignment, life moves with ease and our efforts multiply. Talent is not merely a purpose; it is the path itself, the key to both success and fulfilment.

“If you ask me what my greatest achievement in life is, it is not how much money I have made, how many people have joined my team, or how many awards I have received. My greatest achievement is walking alongside one person after another who carries love in their heart, whether they have passed on or are still here, and helping them make peace with life while there is still time, allowing love to remain in eternity.”

From the narrow lanes of the military dependents’ village to the stage of the LUNG YEN authorized distributor, from a young girl with dreams to a guide of life, TENG SHU-LAN has used courage, compassion, and professionalism to illuminate countless journeys. Her light is not a fleeting spark but a steady lantern, forever glowing at the harbour of life, guiding those who seek their way home.

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At this critical juncture, COP30 Chief Executive Ana Toni has issued a call marked by urgency and resolve. She insists that this time must be different.

“The world must move from rules to delivery, from promises to action, from delay to acceleration,” she said. For Toni, previous COPs were largely about drafting the rulebook of the Paris Agreement. While important in their own right, they remained words on paper. COP30, she argues, represents another stage entirely.

“Rules will not stop a city from being engulfed by the sea. They will not rescue a farmer from crop failure. They will not bring water to a community in drought. The challenge today is to turn pledges into tangible change, words into action, hesitation into urgency.”

Rejecting the notion of COP30 as another bureaucratic exercise, Toni was blunt: “We cannot spend a week merely approving an agenda. What we need is immediate action. Even if we stumble in the attempt, I would rather err in moving forward than be judged by history for standing still.”

The Media Should Tell Stories of Delivery, Not Simply Record the Conference

This time Ana Toni also turned her attention to the media. Traditionally, reporting has focused on the drama of negotiations, the climax of agreements, or the symbolism of a handshake. But for COP30 she believes the narrative must shift.

“The story this year should be about delivery. It should be about transformations already under way, such as a factory switching to renewable energy, a city learning to withstand floods, or a forest spared from clearance. The media must highlight these efforts while being honest with the public that the pace is still nowhere near enough.”

Her voice dropped as she added, “If you are not part of the solution, you are part of the problem. It is harsh, but it is the reality we must face.”

In her blueprint COP30 will place “resilience” at the centre of the global stage for the first time.

“We are already living in a world warmed by 1.5°C. Droughts, floods and food insecurity are not future threats but present realities. Resilience is not a supporting theme, it is the foundation of survival.”

This year’s agenda will focus sharply on agriculture, food security, infrastructure and risk management. For the first time the presidency team will establish six thematic pavilions covering energy, industry, forests, oceans, cities and infrastructure, with resilience woven through them all.

Climate Finance Must Address the Gaps in Nature and Agriculture

In the interview, Ana Toni repeatedly underlined that without finance, every blueprint remains empty talk.

“The 1.3 trillion US dollar report is the first time a COP presidency has been asked to deliver such a document. But it is more than a list of figures, it is a political signal. We must answer where the money will come from and how it will actually reach the countries and communities that need it most.”

She also stressed another crucial point: this time the focus cannot be limited to energy. The vast gaps in nature and agriculture must be addressed. Land restoration, agricultural transformation and forest protection all require real financial resources and diverse forms of international support.

Ana Toni further noted that the private sector must take on a greater share of responsibility for adaptation. “Mobilising 1.3 trillion dollars is impossible without business. Today we see companies making commitments and investments in mitigation, yet in adaptation there is still a vacuum, whether in insurance, agricultural investment or nature-based solutions.”

She concluded by emphasising that these tasks all demand business involvement, because without private capital and collective expertise, the transformation will never truly happen.

COP30 Is Not a Ceremony but a Stress Test

Belém, the “heart of the Amazon,” naturally became the world’s focus because of COP30. Yet Ana Toni hopes other ecosystems can receive equal attention.

“The Amazon is, of course, a treasure of the world, but the Pampas, the Cerrado, and ecosystems in other countries also have their own wisdom and challenges. COP30 must provide a stage for all of them.”

She also looked back to Rio thirty years ago: “Climate change, biodiversity, and desertification were all born from the same moment, yet history has pushed them apart. It is time to bring them back to the same table, because fragmented governance only costs us more time.”

Speaking to reporters, Ana Toni conveyed both urgency and sincerity. She reminded the world that COP30 is not a ritual, but a stress test. It is a test of whether we are prepared to transform promises into real action.

“We hope COP30 will be remembered not because of an agreement, but because it marked the moment humanity finally faced reality and moved forward at full speed.”

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Across Europe and the United States, major law firms continue to dominate the lucrative fields of patent licensing and litigation while quickly aligning themselves with emerging technologies. In Southeast Asia, supply chain restructuring combined with a surge of innovative applications has turned the region into a proving ground for multinationals eager to experiment. In contrast, many Asian businesses still cling to the outdated belief that patents are nothing more than a cost centre, overlooking their potential as levers of value creation and as pillars for long-term sustainability.

It is at this very turning point that Miir Chen, Founder of FZ Patent & Trademark Ltd., has carved her own path, evolving from “patent analyst” to “corporate value architect”. In an interview with《The Icons》 International Leaders Magazine, she reflected on her philosophy: “Patents have never been just about protection. At the highest level, they enable companies to expand, to monetise, and even to reshape the entire landscape.”

For Chen, patents are not a static line of defence but a dynamic tool of capital strategy. They can guide businesses through geopolitical risks, strengthen valuation, and provide weight at the negotiating table. The mission of FZ Patent & Trademark Ltd. is to help Asian companies capture these opportunities in times of change, ensuring that every innovation ceases to be a cost and instead becomes a source of genuine value.

“What I most want to achieve,” Chen explained, “is to help every business recognise its potential, and to turn every single patent into the starting point of future cash flow.”

From Paper Analysis to Industry Practice: The Original Aspiration of Entrepreneurship

While most intellectual property firms continue to focus on “applications” as their core service, Miir Chen chose instead to begin with “analysis”, breaking away from the linear logic of the traditional patent industry. Rather than waiting until a company presents its technology before drafting a patent, she works with businesses at the very inception of an idea, mapping out potential patent landscapes and forecasting future value structures.

“I started my career in patent analysis,” Chen recalls. “Through analysis I realised that patents are not just something to be written down. They can in fact predict the direction of technology three to five years ahead.”

This foresight has become the foundation of FZ Patent & Trademark Ltd. The firm does not simply submit documents on behalf of clients; it positions itself as a strategic partner, engaged from the very beginning of value creation and supporting decision-making at the highest level.

Reflecting on her early days in the field, Chen remembers the shock of discovering how many treated patents as an afterthought: “I noticed that patents were often considered the last step, something to deal with once the technology was complete. But in truth, if there is no strategy at the outset, patents cannot truly fulfil their purpose.”

From this insight, she developed her own professional methodology: starting from market demand, aligning with research possibilities, and planning ahead with strategic foresight. “Most engineers begin by writing,” she explains, “but I begin by observing.”

Chen insists on always approaching patents from the perspective of a company’s future operating environment. “I do not wait for clients to tell me what they want to apply for. I help them identify where the value and potential lie, and then design an entire intellectual property strategy around that.”

This distinctive role quickly set FZ apart from conventional firms in its early years. Rather than producing technical documents, Chen helps companies draft commercial blueprints that resonate with investors, connect to global markets, and open the door to licensing opportunities. “What I want us to achieve,” she stresses, “is to show companies the potential value they may realise in three to five years, not simply wait for them to come and tell me what they need.”

This, she notes, is not only her original aspiration but also the defining strength that continues to draw leading innovators and start-ups to collaborate with FZ. It is not merely about filing patents; it is about foreseeing the next market before businesses themselves are even aware of it.

Intellectual Property Management: The Second Balance Sheet for Entrepreneurs

While many companies still regard patents as passive expenses, legal obligations, or simply certificates to be locked away in a cabinet, FZ Patent & Trademark Ltd. has long advanced a more sophisticated interpretation. For Miir Chen and her team, patents are transformed into quantifiable assets that act as genuine levers for growth and fundraising.

“Many business owners have no idea that patents can in fact be monetised,” is a phrase often repeated in FZ’s meeting rooms. For start-ups, patents are often viewed as little more than tickets to government subsidies, accelerators, or listing processes, yet very few truly understand how to unlock their wider value.

Chen quickly recognised that what most companies lacked was not the technology itself, but the methodology to convert technology into an asset. “With sound planning, the right positioning, and the patience of time, patents can add several zeros to a company’s worth at critical moments.”

Within FZ’s service framework, patents are not documents to be processed after R&D has concluded. They are strategic assets that must be embedded into the business model from the very start of the entrepreneurial journey. This is why FZ often begins working with clients in their earliest days, even while products remain in the trial phase.

“From the outset, we help founders plan their patent structures three years ahead, so that by the third to fifth year, they hold genuine value. That is the thinking behind our approach,” Chen explains.

To illustrate: in the first year, FZ helps clients secure key patents; in the second, it establishes a link between technology and market demand; in the third, it integrates business models with patent portfolios. The result is an intellectual property asset roadmap, one that allows companies to present a coherent story to investors.

This is far more than clerical work. It is a strategic process of value design. It is also the reason why FZ has attracted a large number of promising start-ups, with more than seventy per cent of its clients coming from early-stage or technology-intensive teams.

“Patents are not ornaments. They belong in the asset column of your investment pitch,” Chen remarks, capturing her determination to overturn conventional perceptions. What distinguishes FZ from traditional firms is precisely this: it does not merely draft applications, but designs a full evolutionary path for intellectual property, moving from technology to monetisation.

“For us, patents are not the end result. They are an integral part of corporate strategy. As long as you are on the path of innovation, we can help you turn it into visible, negotiable, and investable value.”

Beyond Expansion Abroad, The Market Finds Its Way to You

When many companies still reduce “internationalisation” to nothing more than placing their products in overseas markets, Miir Chen advocates a very different perspective. For her, it is not about setting sail, but about allowing the market to come to you. In FZ Patent & Trademark Ltd.’s approach, internationalisation is not an expensive gamble, but a carefully calculated contest of foresight and timing.

“People often ask me: which national market should I enter? My answer is that it is not about which market looks largest today, but which one will come knocking on your door three years from now.”

In its internationalisation consultancy, FZ does not rely solely on market size or linguistic convenience. Instead, the team considers a wide range of factors, including GDP growth rates, demographic structures, intellectual property filing density, and the degree of openness to technology adoption. These are then combined with FZ’s proprietary country-ranking analysis model to create a “global radar” that identifies where businesses should secure their positions three years ahead of opportunity.

Chen offers the example of Vietnam. A Taiwanese firm had initially shown little interest in ASEAN markets, yet FZ’s analysis revealed a clear gap for their product and highlighted recent strengthening of Vietnam’s intellectual property framework. Without even conducting active promotion, the company later received an unsolicited invitation from a Vietnamese distributor. “What we deliver is not just an analytical report,” Chen explains, “but a form of foresight-driven decision-making that places you in position before opportunities are even visible.”

When it comes to Europe and the United States, FZ’s strategies are even more precise and cautious. Chen discourages companies from treating these regions as entry-level testing grounds. Because intellectual property protection in these markets is exceptionally strict, poor preparation can result in lawsuits and devastating damages. “The European and American markets are not for testing, they are for decisive battles.” Accordingly, FZ ensures that businesses entering these arenas possess robust patent portfolios, complete trademark registrations, and thorough reviews of potential infringement risks. The firm also supports simulations of regulatory responses and import clearance procedures, steps that can help companies avoid losses running into millions.

Most importantly, this approach means that FZ is not merely a legal safeguard, but also a risk radar and strategic guide for businesses preparing to enter the international stage. “What we offer is not expansion, but foresight. True internationalisation is not about knocking on doors; it is about being ready when the market comes knocking on yours.”

Staying Ahead of Change: Navigating Geopolitics and Cultural Divides Through Patent Strategy

In an era marked by supply chain disruptions and the shadow of trade wars, businesses no longer face the challenges of individual regulations alone, but rather systemic risks where one shift can ripple across the entire network. Against this backdrop, FZ Patent & Trademark Ltd. does more than simply assist with patent applications. It acts as a kind of “business weather forecaster”, providing companies with a panoramic view that allows them to plan ahead, build in flexibility, and navigate the storm.

“Patents move slowly, politics moves fast,” observes Miir Chen, her words carrying both insight and caution. This is not a statement of helplessness, but a pragmatic reminder: if companies are to survive in volatile conditions, their planning must stay ahead of policy shifts and emerging trends.

She recalls a striking case involving a Taiwanese client who had planned to set up a factory in China, only to be caught in the escalating tariffs of the US–China trade dispute. “We designed a segmented strategy,” Chen explains, “where the final assembly was relocated to Vietnam, local labelling was applied there, and the products were then exported under a Vietnamese origin.”

This was far more than a regulatory adjustment. It was a systematic integration spanning supply chain design, certification of origin, ownership of patent rights, and even customs clearance strategies. What FZ provided was never a single solution, but rather a “system of choices” that allowed the business to move forward with resilience despite multiple constraints. “We are not merely legal practitioners,” Chen notes, “we help businesses carve a path through the intersection of geopolitics and markets.”

Beyond policy shifts, cultural barriers also present costly and often overlooked risks for companies venturing abroad. FZ has long observed how many Western firms stumble in Asia, where insufficient cultural understanding leads to failed product launches, stalled licensing negotiations, or even invalidated intellectual property.

“Many European and American clients do not fully grasp Asian culture. We act as a cultural translator, helping them truly establish a foothold,” Chen explains. While she acknowledges that AI will inevitably replace parts of the administrative workload — translation, submissions, and annuity payments — she emphasises that cross-cultural understanding and the trust required for entering unfamiliar markets will always depend on human connection.

“AI can file your documents, but it cannot grasp the sentiment of a local distributor, nor can it translate the grey areas of regulation into human terms,” she adds with a smile. And therein lies the very value of FZ.

The firm has firmly positioned itself along this line, not as a mere executor of regulations, but as the most reliable strategic integrator and cultural intermediary for companies preparing to step onto the global stage.

Sustainability Is Not a Statement, but the Temperament and Attitude Shaped by Institutional Choices

For most people, ESG may be nothing more than the metrics of an annual report or a set of figures presented to investors. For FZ Patent & Trademark Ltd., however, sustainability is not a slogan to be displayed, but a language embedded deep within the organisation’s decision-making fabric.

The firm does not manufacture carbon emissions, nor does it have energy-saving KPIs in its processes. Yet Miir Chen has chosen another path to practise sustainability: building warmth into systems and preserving humanity in governance. It is not about branding through slogans, but about shaping culture through choices.

She recalls the case of a team member who had long been commuting between regions due to family and personal commitments, a situation that created significant strain. Instead of leaving her to manage the challenge alone, or brushing aside the complexity, FZ initiated an internal adjustment. The colleague was reassigned to the Tainan office, while colleagues elsewhere stepped in to support paper-based tasks originally handled in Taoyuan. Though seemingly a small organisational mechanism, it reflected a profound commitment to human-centred governance.

These institutional choices are not simply acts of kindness. They form part of a replicable, extendable logic within corporate culture. They align with the United Nations Sustainable Development Goals: Good Health and Well-being (Goal 3), by supporting work–life balance; Gender Equality (Goal 5), by recognising flexibility and care responsibilities; and Decent Work and Economic Growth (Goal 8), by upholding dignity in the workplace and fostering long-term retention. At the same time, reducing long-distance commuting contributes directly to Climate Action (Goal 13), making lower carbon emissions a natural by-product of thoughtful decision-making. “Sustainability is not about gestures. It is about whether, when you make choices within your systems, you truly place people at the heart,” Chen reflects.

In her view, ESG is not a tool for polishing corporate image, but a practice in trust: whether companies are willing to believe in people, to understand them, and to adapt processes to become more organic and humane. Only then, she suggests, can a corporate culture genuinely grow into the future.

At FZ, warmth is not projected through marketing language, but through deliberate choices, careful design, and a systematic approach to people-centred governance. In this way, sustainability becomes the organisation’s natural rhythm of breathing.

Turning Intellectual Property into the Starting Point of Value Flow and the Engine Driving Brand Growth

Patents should never be left as a forgotten stack of documents in a company’s cabinet. For FZ Patent & Trademark Ltd., intellectual property represents untapped potential, an additional layer of corporate assets yet to be realised. It is with this perspective that Miir Chen has led the firm to extend its vision, not only assisting businesses with their application processes, but also opening the door for promising technologies and products to reach international markets.

Chen has introduced the concept of the “FZ Select” platform, which identifies products with strong patent advantages and supports them further by connecting to international distribution and agency networks. This evolution from technology promotion to brand promotion signifies a deeper level of involvement: no longer confined to documentation, but directly engaged in amplifying and grounding enterprise value.

This philosophy defines FZ’s approach to intellectual property management: not standing outside the industry to offer advice, but actively working within it to drive value forward.

At a time when AI is reshaping the very role of the patent industry, FZ is far more than a conventional consultancy. It has positioned itself as a strategic partner that sees ahead, mapping the pathways for asset transformation. Through her cultural fluency, policy sensitivity, and people-centred perspective, Chen has reinterpreted patents from mere legal rights into levers of capital, engines of brand growth, and springboards for international expansion.

FZ has brought intellectual property to life, ensuring that Asian innovation is not only noticed, but also understood, accepted, and recognised.

“I believe the true value of patents lies in their ability to take businesses where they could not have gone before. To transform technology into brand, innovation into capital, and the future into reality.”

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On the afternoon of 7 August 2025, “The Compass, the Flame, and the Future She Shapes” forum was held at the British Office Taipei. Organised by the University of Cambridge’s global alumni network, CAMentrepreneurs, and co-hosted by the Cambridge Taiwan Alumni Association, Oxford Taiwan Alumni Association, the British Chamber of Commerce in Taipei (BCCTaipei), and UK-based global entrepreneurship media《The Icons》, the event brought together leading figures from academia, industry, venture capital, and sustainability. Through the deep insights and dialogues shared by the speakers, participants collectively mapped out a path towards the future, one defined by both courage and wisdom.

Professor Huey-Jen Jenny Su, Honorary President of NCKU: Respect the Truth, Value Education, and Cherish Professionalism

The forum opened with a speech by Professor Huey-Jen Jenny Su, the first female Honorary President of National Cheng Kung University (NCKU), who began by focusing on how to bring more support to the new generation. Addressing the theme of “leadership,” she shared heartfelt reflections drawn from her own journey through challenges.

As the first female president in nearly a century at NCKU, and notably someone with neither an engineering background, alumni status, nor a large clinical discipline affiliation, Professor Su candidly described herself as “the president the university was not prepared to meet.” This unexpected role meant her leadership path was challenging from the very beginning, yet it also forged a leadership philosophy of remarkable clarity:

“Leadership comes without a personal agenda. Its essence lies in ensuring collective respect for truth, valuing education, and cherishing professionalism. I believe that as long as one’s convictions remain steadfast, time and circumstances will ultimately offer fairness and goodwill. In my own development, what has always guided me is a foundation in evidence and facts. Especially when facing formidable challenges, truly respecting professionalism is the hardest, yet most crucial, thing to do.”

This conviction became her compass in moments of crisis. From the devastating Weiguan Building collapse in southern Taiwan to the global COVID-19 pandemic, she led NCKU through one historical test after another. When confronted with challenges she had “never experienced and never anticipated,” she consistently chose to anchor her decisions in respect for professionalism and commitment to facts. Over time, these principles crystallised into resilience, a force that she regards as the core of her leadership ethos:

“When we talk about leadership, what we can demonstrate is not only the gentle resilience often associated with women, but also the strength to uphold truth in times of chaos, to build consensus in moments of crisis, and to find direction amid uncertainty. It is this strength that allows diverse voices to converge in wisdom, to open new paths through challenges, and to see the many possibilities that the future may hold.”

NYCU Associate Professor Grace Chan Hsiao: When AI Meets Life’s Vision, It Becomes a Moment to Find Your True Self

If President Huey-Jen Jenny Su set the grand compass for leadership during the forum, Associate Professor Grace Chan Hsiao of National Yang Ming Chiao Tung University (NYCU) turned her gaze toward the inner flame that fuels it all, which is personal vision. Standing at the crossroads of education and technology, she posed a question that strikes at the heart of our times: As AI takes on more and more tasks, what remains that it can never replace?

This question stems from a decade of in-depth conversations with leaders, a journey that has left her continually drawn to one insight: every remarkable instance of leadership springs from a strong and clearly defined inner sense of purpose. Yet, in an era awash with information and competing values, discovering one’s own “true north” has become more challenging than ever.

“For the past ten years, all my life’s inquiries have revolved around one central question: What is the true vision for my life? I have found that while AI can accomplish many things, it cannot determine your unique vision. Dreams may be a word for the young, but a true vision must be rooted in your authentic nature and deep-seated motivation. It is not fantasy, but a blueprint that drives you to act,” she explained.

Based on this understanding, Grace Chan Hsiao is developing an innovative AI-powered education system designed not to hand out standard answers, but to serve as a guide. The journey begins with a deep exploration of the user’s authentic self, uncovering core values and motivations. From there, the AI generates three possible “future vision” scenarios as starting points for reflection. Finally, the system helps transform the chosen vision into a tangible “vision story” that can be seen, felt, and shared.

For Grace Chan Hsiao, this is more than a technological experiment in education. It is a profound response to the fundamental questions Who am I? and Why am I here? “Only when a person sees their vision clearly can they possess the most powerful and authentic form of leadership and entrepreneurial drive in a world defined by change.”

NYCU Associate Professor Sirirat Sae Lim: Demonstrating an Entrepreneurial Spirit Begins with Embracing “Constructive Failure”

After a series of inspiring talks, Associate Professor Sirirat Sae Lim of National Yang Ming Chiao Tung University (NYCU), speaking via a pre-recorded address while on an overseas business trip, offered a sharp observation about a deep-rooted paradox in Taiwan’s innovation education.

Citing the OECD PISA report, she noted that among 75 participating countries and regions, Taiwan ranked first in the “Fear of Failure Index,” with 89% of students worrying that failure would invite criticism or be seen as a denial of their talent and future. Yet in the real world of entrepreneurship, failure is almost inevitable, with more than 90% of startups unable to succeed with their initial business model.

“In a culture that strongly avoids failure, how can we teach students to face the setbacks that inevitably come with entrepreneurship? Education should not only teach knowledge but also courage, curiosity, and the ability to remain composed in uncertainty. We need not just classrooms that aim for success, but environments where students dare to try and dare to venture.”

To address this, she proposed a “Constructive Failure” teaching model, where failure is not only permitted but expected. Students take on real-world challenges, attempt, stumble, and then reorganize their strategies through reflection. She acknowledged that the process can be unsettling, emotionally intense, and occasionally chaotic, but it is in such conditions that learning becomes profound and transformative.

Her philosophy is best illustrated by one of her former students who co-founded a business during university. Starting from nothing, the company now generates over NT$100 million in annual revenue. One of his designs a pen became the only Taiwanese product listed among TIME magazine’s 200 Best Inventions worldwide. Despite his busy schedule, he still returns to her class each year to share his real-life journey of drawing strength from repeated failures.

“The courage to embrace failure is an indispensable fuel for igniting the next generation’s spirit of innovation. I believe entrepreneurship education today should be recalibrated toward a new direction, one that guides young people onto a truly fearless and boldly innovative path.”

CISL Head of Innovation Programmes Viola Jardon: From Cambridge to Taiwan, Transforming Local Innovation into Global Sustainability Solutions

Viola Jardon, Head of Innovation Programmes at the Cambridge Institute for Sustainability Leadership (CISL), opened her talk with a steady yet engaging tone, immediately drawing the discussion back to her deep connection with Taiwan. “This is not only a conversation about sustainability, but also a two-way dialogue between my homeland and the world,” she said.

Her story is one of a journey from Tainan to the global stage. “When I was shortlisted for the Asian Women of Achievement Awards in the UK, what I felt was not personal glory, but the excitement of finally bringing Taiwan to the world. At that moment, my thought was, I have made Taiwan visible to the world. This honour does not belong to me alone, it belongs to Taiwan,” she recalled.

For Viola, collaboration has never been a one-way transfer of resources. She noted that Taiwan excels in many areas, citing the achievements of President Su at National Cheng Kung University as an example that has moved people both at home and abroad. “What I want to share here is that the greatest strength of CISL lies in its ability to connect governments, regulations, finance, industry, and academia across countries. I also hope that through this non-political platform, the world will see that Taiwan is not only about semiconductors, but also has diverse and powerful innovation capabilities,” she said.

She further shared that global beauty leader L’Oréal has launched a €100 million sustainability innovation investment programme, with CISL serving as its global delivery partner to identify top tech start-ups capable of solving supply chain challenges. “L’Oréal has already listed over one hundred technical needs. We will select twelve to fourteen start-ups from around the world, and those chosen will enter pilot collaborations with L’Oréal. This is a golden ticket to the global market. I sincerely hope that the final list will include companies from Taiwan.”

As a sustainability innovation leader who has travelled from Taiwan to the world stage, Viola Jardon is not only telling a personal story. She is building a bridge that directly connects Taiwan’s most promising innovations with the world’s most urgent sustainability needs. Her sincerity and drive not only energised the room, but also made it clear to participants that the path from local to global is closer than they might imagine.

The Connection Between the UK and Taiwan Runs Deeper Than Most Imagine

As one of the co-organizers, Executive Director of the British Chamber of Commerce in Taipei (BCCTaipei), Vicki Wu, delivered a speech that broke the stereotype of international chambers as overly formal and revealed the vast, opportunity-filled ecosystem behind it.

“Many people in the past may have thought that the role of an international chamber was limited to networking, but the relationship between the UK and Taiwan runs deeper than most imagine. Taiwan is the third-largest market in the world for UK whisky exports, and this connection is so strong that when Scots hear ‘Taiwan,’ they roll out the red carpet. All the alumni here are important partners in achieving our mission, and we hope everyone can work together to expand this platform.”

This vision of transforming a traditional organization into an open platform was further elaborated by Ali Ying-Che Hsieh, President of the Cambridge University Taiwan Alumni Association and Professor at the Institute of Technology Management, National Tsing Hua University. He emphasized that this year, the association has placed special focus on breaking down barriers and fostering a more inclusive community:

“We are working to transform the alumni association from being merely a social gathering into an open platform. The Cambridge Alumni Association not only serves alumni but also welcomes anyone interested in sustainability, innovation, and entrepreneurship to find opportunities for collaboration and resonance here. What we aim to build is a space where all participating organizations and individuals can thrive together.”

Harry Hsu, Lead Organizer of CAMentrepreneurs Taiwan, Secretary-General of the Cambridge University Taiwan Alumni Association, and CEO of《The Icons》, an international entrepreneur media based in the UK, highlighted the concept of “Cambridge Plus”:

“Cambridge Plus is the key force behind why CAMentrepreneurs forums can flourish in so many countries. We open the doors to all like-minded partners, bringing together the depth of academia, the strength of industry, and the fusion of global vision with local passion. CAMentrepreneurs organizations and alumni associations across countries often meet online to explore ways for entrepreneurs worldwide to truly engage in each other’s lives. In the future, we will share more cross-sector exchange initiatives, and we welcome all interested friends to join us.”

Building the “Cambridge Plus” Ecosystem to Shape the Future Together with Women

The forum titled “The Compass, the Flame, and the Future She Shapes” not only brought together a line-up of exceptional female speakers, but also highlighted the rise of a new leadership paradigm – one that blends resilience, empathy, authenticity, and inclusivity.

As profound reflections on leadership, vision, courage, and action converged, the discussion returned to the driving catalyst behind it all – the core spirit of CAMentrepreneurs, “Cambridge Plus.” Founded in 2016 by Cambridge alumnus Richard Lucas, the CAMentrepreneurs global network has since ignited the spark of innovation in over 63 cities worldwide.

Its success lies in the team’s deep understanding of “platform thinking,” moving beyond the traditional model of an exclusive alumni club. By breaking down the walls of elite institutions and transforming them into open, co-creative spaces, “Cambridge Plus” has come to embody limitless possibilities and connections.

This forum in Taiwan was more than just an exchange of ideas – it was a declaration of the future. When local resilience meets global innovation, an infinite horizon unfolds, and that future will be shaped by these women, alongside all those they have inspired.

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In the work of artist Szuchi Huang, we find a possible echo. The foxes, rabbits, cats, and dogs she depicts are no longer mere fairy-tale companions or symbolic projections. They are real, soulful beings. With their postures, emotions, and presence, they quietly emerge in her paintings and sculptures, reminding us of the capacity for trust, gaze, and empathy, qualities we thought forgotten, yet remain deeply embedded in our inner language.

As an artist, Szuchi Huang is devoted not only to creation but also to education and companionship, constantly seeking a balance between art and life. Her works blend dreamscapes, stillness, and philosophical reflection, constructing a spiritual universe where humans and animals coexist. This artistic intent was candidly revealed during her interview with《The Icons》, where she emphasized that animals are not accessories to the human world, but equal life allies walking alongside us.

“I don’t paint animals just for the sake of painting them. I want them to finally be seen as themselves. They are not backgrounds, not symbols, not decoration. They are the protagonists.”

Seeing as Ethics: Letting Animals Return to Their Own Place

“I don’t see animals as symbols. I see them as lives. They are not here to complement human existence, but to be emotional, soulful beings in their own right.”

Throughout art history, animals have rarely been absent, but they have often appeared merely as symbols. The serpent as temptation, the lion as power, the lamb as purity or sacrifice. Yet for Szuchi Huang, such symbolic frameworks obscure the true value of animals as autonomous beings. She refuses to reduce them to metaphors or vessels for human emotion. Instead, she insists that they “stand in their own place,” appearing in the world as themselves. “I don’t want the animals in my paintings to play a role. I want them to simply live, to be themselves, freely and fully.”

Huang’s early training in visual and design disciplines sharpened her sensitivity to the act of seeing. She observes not only form, but the relationship between animals and their surroundings, how a stray cat chooses a patch of afternoon sunlight, or whether a fox’s gaze reveals wildness or wary observation. She avoids imposing postures, resisting the urge to compose for aesthetic effect. That kind of gaze, she says, is too human-centric. What moves her is the quiet spirit that emerges when animals are in their natural state. That is where true presence resides.

“I love seeing them as they are in daily life, not in cages, not posed. Only when they are at ease does their soul appear.” In her work, looking is not an act of control, but a form of ethical practice. Through art, she preserves their true being, not for our sentimentality, but for their own right to exist and be seen.

From Alleyways to Artworks: Reflections of Spirit and Self

“The rabbit is a projection of myself, but the fox is the spirit I aspire to.” In Szuchi Huang’s creations, animals are summoned from both life and inspiration. They may be a cat dozing in the sunlit corner of a street, a dog weaving through a crowd, or something entirely unnamable, like a fox from a dream or a beast from the depths of memory. She explains that these animals “aren’t characters I made up; they are presences I’ve felt,” as if they choose to appear on her canvas by their own will.

The rabbit was the origin of her artistic journey and an intuitive mirror of her personality. Huang describes the rabbit as gentle and quiet on the outside, seemingly mild-tempered, but possessing a fierce will and inner independence. “People often think rabbits are weak, but if you’ve raised one, you’d know how stubborn and strong-minded they truly are.” Her rabbits are not merely cute icons on the canvas. They are self-portraits of solitude and quiet resilience.

The fox, on the other hand, represents a spiritual totem she’s long revered. It belongs to no one, cannot be tamed, and constantly wanders the margins, an embodiment of freedom and instinct. “I’ve always felt the fox exists somewhere between human and divine,” she says. “It carries a kind of wisdom, perhaps even guidance.” While foxes in East Asian culture are often portrayed as mysterious or supernatural beings, in Huang’s work, the fox stands for spiritual elevation and the dignity of solitude.

These animals are never just decorative, anthropomorphized, or ornamental. They are sentient presences carrying profound meaning. With their distinct temperaments, rhythms, and stories, they act as mediators in her dialogue with the world and extensions of her artistic language. She repeatedly sketches their forms on canvas and in ceramic sculpture, as if meditating or summoning them, helping others relearn how to respect the quiet but perceptive souls among us.

“I don’t paint them because they’re cute,” she says. “I paint them because they know things we don’t. Animals can see what humans can’t, that’s the kind of spiritual vision I try to honour.”

Not Speaking for Them, But Letting Them Be Heard

Szuchi Huang never shies away from the relationship between her art and her convictions. For her, art is never merely self-expression. It is a statement of values and an ethical act. The quiet animals that inhabit her works are not there to decorate or please the eye. They represent a conscious gaze, a response to the overlooked, objectified, and commodified non-human lives. With each creation, she hopes to reclaim the right for these voiceless beings to be seen.

When discussing animal-related issues, she speaks with clarity and conviction. Whether it’s abandonment, experimentation, hunting, or consumer-driven pet ownership, she believes such wounds exist because humans fundamentally fail to see animals as individuals. We love their cuteness but overlook their pain and will; we say we care, yet harm them out of convenience and habit. “We always want to define them, control them, but animals don’t need to be explained. They just need the right to exist equally,” she says.

This is why she is especially mindful in her creative process, not to let animals become mere extensions of human stories, but to let them stand in their own right. She paints their gaze, sculpts their posture, and ensures that in her exhibitions, each animal becomes a protagonist in its own story, not a sidekick, not a pet, not a fairytale device, but a being unto itself.

Though she hasn’t yet collaborated on large-scale exhibitions with animal welfare organisations, it doesn’t mean she is silent. On the contrary, her art is her activism. In every drawing, every sculpture, each animal emerges with eyes, a name, and a soul, respected, understood, and recognised as a fellow inhabitant of this world.

“If humans stopped treating animals as accessories,” she says, “maybe the world would be a lot gentler. I hope art can be a reminder and a force.”

Responding to Sustainability Through Art: From Creative Practice to Empathetic Education

In the framework of the United Nations Sustainable Development Goals (SDGs), animal rights are not listed as a standalone category. However, their spirit runs through many of the targets, Good Health and Well-Being (SDG 3), Quality Education (SDG 4), Sustainable Cities and Communities (SDG 11), and Life on Land (SDG 15). For Szuchi Huang, these goals are not abstract international rhetoric, but deeply embedded in her everyday artistic reflections.

She firmly believes that art is not confined to galleries; it is a gentle form of activism capable of shifting perspectives and reshaping how we see the world. In her teaching, she encourages students to reconsider their relationships with animals, especially those without formal artistic training, whose personal experiences often foster a more authentic bond with non-human lives. “Art-making shouldn’t just be about technical skill. It should be a process of learning to see again,” she explains.

This way of “seeing” also informs her vision of education. She believes that through creating art with animals as the subject, we can rebuild our emotional connection with all living beings and inspire a rethinking of the concept of coexistence, not only in terms of environmental awareness but as a deeply rooted ethical stance. In her works, the fox is no longer a mystical symbol but a spiritual guide; the rabbit is not merely a symbol of cuteness but a quiet embodiment of inner strength. These animal figures gradually lead viewers to reconsider the meaning of equality, respect, and genuine understanding.

“SDGs speak of global goals,” Huang says, “but I believe they can begin with each act of creation, each character we bring to life. To help people see animals anew, is to help them see themselves anew.”

Szuchi Huang: Let Every Life Be Seen in the Light

Szuchi Huang never confines her work to canvases or gallery walls. For her, art is not merely about depiction or display. It is a force of action capable of entering society, challenging ways of seeing, and even repairing ethical relationships. In 2025, she held a solo exhibition titled Paradise, where foxes, rabbits, dogs, and cats were, for the first time, truly seen. They were not decorative backdrops or vessels of human emotion, but beings with personality, posture, and spirit, standing silently before every viewer.

The exhibition unfolded like a collective exercise in seeing, a prophecy for the soul: animals have never been mere supporting characters. It’s just that we have long stopped truly looking at them. Huang allowed each figure to emerge as a sovereign subject, with a name, a breath, and an undefinable aura. Viewers were no longer passive observers, but drawn into a deeper state of perception, where seeing became mutual and equal.

She envisions future exhibitions centered solely on the animals themselves, ones that resist function or anthropocentric symbolism, instead honouring the animal’s full presence. Not animals existing for humans, but beings living for themselves. For those souls often ignored, reduced, or consumed in everyday life, she seeks to rename them, retell their stories, and pave a gentle path back to the empathy humans are slowly losing.

This is not merely a question of artistic form. It is a restoration of the spirit, a reflection on broken relationships, and a quiet revolution in motion. Art may not change the world’s systems, but it can change the way we see the world. And that shift in perception is where true change begins:

“I’m not here to speak for the animals. I want them to finally be heard on their own. I want to build a space where each overlooked life can stand in its own light, not because it is cute, but because it has always been worthy.”

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The post Beyond the Ethics of Viewing: Artist Szuchi Huang on Creation as a Gentle Response to Sustainability and Equality first appeared on The Icons.

This spring, Kate Huang, founder of Young Power Art, was invited to present her latest exhibition, Mirrors of the Soul, at Burgh House. Merging art, medicine, and emotional exploration, the exhibition revolves around the themes of illusion and reflection, featuring artists from both Taiwan and the UK. Huang’s own works, expressed through botanical motifs and vibrant color, explore the complexity of human emotion and the layered nature of life itself.

In an interview with《The Icons》, Huang stated, “Art is healing, art is power, and it is a mirror for the soul. Through my work, I hope people can see their own resilience and hope. I wish for everyone to live their life as if they are painting their own beautiful masterpiece.”

The Illusion of Identity: A Journey of Self-Discovery on Canvas

“This time, my works are lighter in tone, using flowers and plants as the central theme. I wanted to create something more emotionally accessible for the viewer,” says Kate Huang when speaking about her latest exhibition. Unlike her previous abstract and experimental visual language, she has intentionally returned to a more expressive and figurative style—allowing audiences to connect with the recognizable imagery of flora in a familiar, comforting way.

“In the past, I often tried to capture fleeting emotions on canvas—bold brushstrokes, layers of heavy pigment—some viewers may have felt a certain distance from the work,” she laughs. “But this time, I want them to step directly into the painting.” For Huang, the floral motifs are not merely representations of nature—they are emotional projections of the soul.

To her, “illusion” is like a mirror, reflecting each viewer’s inner state. “When we look at a work of art, we are also seeing into ourselves,” she explains. “Art has never just been about colour and form. It holds the artist’s lived experiences and invites the viewer’s emotional resonance.” Every leaf, every bloom becomes a symbol—an invitation to find one’s own story and identity in the illusion of the canvas.

Huang further notes that in an era of globalization, identity has become blurred and fluid. “Each of us is like a multilayered garden,” she says. “Our sense of self constantly shifts with the times. Art allows us to rediscover who we are, and to recognize our connections with the world.”

In her hands, even the most delicate flowers carry deep symbolic weight. They speak of healing, of rebirth—and serve as bridges for self-discovery. Through these illusions, every viewer is invited to see, perhaps for the first time, their truest self.

An Ode to Friendship and Roses: A Life Traced in Love and Contradictions

“Friendship means a lot to me. Since I first started creating, many friends have helped me with connections and resources. Their support has been like a guiding light, helping me find direction during times of uncertainty,” said Kate Huang when speaking about An Ode to Friendship, her tone filled with gratitude and warmth. This artwork features orange roses, chosen for their warm hues symbolizing friendship. Each layered petal seems to carry a story of encounters and support.

She emphasized that the piece is not just a tribute to friends, but also a gesture of appreciation to all who have quietly supported her along her journey: “As the saying goes, our home comes from our parents, but the path forward is paved by our friends. Everyone I’ve met—those who lent a hand, or even just offered a nod and a smile—has left a mark on my life.”

When discussing Roses, Huang spoke with a hint of playful irony: “Roses are beautiful, but they have thorns. Sometimes we’re captivated by appearances and overlook the danger within.” This artwork uses vivid colors and delicate brushstrokes to depict the dual nature of roses—their charm and their risk—mirroring how many things in life that seem beautiful may also hide unseen challenges.

Kate Huang hopes viewers can see life’s dualities through these two works: on one side, the warmth of love and support; on the other, a subtle reminder of uncertainty and contradiction. “Life is inherently paradoxical. Sometimes, the most beautiful things carry hidden risks—but that’s also what makes them worth contemplating.”

Through An Ode to Friendship and Roses, Kate Huang isn’t merely recounting her own emotional journey—she’s inviting viewers to explore the deeper layers of human nature and emotion.

Blossoms in Clusters and A New Outlook: An Artistic Language of Connection and Renewal

“When I think of Blossoms in Clusters, I imagine a spiderweb—every dot connects to another, each one lifting the next. That’s how I see human relationships,” Kate Huang said with a quiet smile, as if visualizing the intricate web of fate woven through her life.

In the painting, petals and green leaves intertwine to form a vivid tapestry of life—complex yet harmonious. With delicate brushstrokes, Huang captures each leaf and blossom in precise detail, infusing the canvas with resilience and rhythm. “Each point is like a person or a relationship. They may stand alone, but together, they create something whole,” she explained. This evolution from points to lines to interconnected planes reflects not just the nuance of social bonds, but her deeper understanding of life’s interconnected paths.

“Everyone plays a role in someone else’s life,” she added. “Even the smallest encounter can spark a major shift.” That’s why Huang sees Blossoms in Clusters as a mirror of human interaction.

By contrast, A New Outlook represents her hope and resolve. “It’s been a dark period, but I’ve been holding on. This piece is like a shot of courage to myself—a reminder that better days are ahead.” With bold, flowing colors evoking the promise of dawn, the work symbolizes renewal and strength. Huang believes that the power of art lies in its ability to rekindle light from darkness. “We all face low points, but if you learn to paint your way through them, you’ll find your way back to the light.”

Through Blossoms in Clusters and A New Outlook, Kate Huang not only pours her personal story into her work, but also shares a belief that even in the depths of struggle, there’s always a way to reconnect and hope. Each piece becomes an invitation for viewers to discover their own courage and clarity within the canvas.

The Spirit of the SDG: Sustainable Responsibility Through Art

In addition to the emotional depth and creative language within her works, Kate Huang actively integrates the idea of “artistic social responsibility” into her practice. She specifically highlights several of the United Nations Sustainable Development Goals (SDG)—in particular Goal 3: Good Health and Well-being, Goal 5: Gender Equality, and Goal 10: Reduced Inequalities—as closely aligned with her artistic philosophy.

“Art is not just something that belongs in a gallery. It’s a form of communication,” Kate says, her eyes shining with conviction as she speaks about the SDGs. She has long hoped her work could offer emotional healing while also sparking broader conversations and societal change.

“Just like every dot in Blossoms in Clusters, each one connects to another to form a network of life. That’s how I imagine society—each person is a connection point. With just a little more empathy and understanding, the whole system becomes more resilient.” To her, art is a form of empowerment, allowing individuals to be seen and validated.

Kate also shares her long-term dedication to supporting people with disabilities and marginalised communities. Through art workshops and public lectures, she brings the concepts of medical art into community spaces, helping individuals discover healing through creativity. “Sometimes, art speaks more powerfully than language. It helps people rediscover their own value and potential,” she explains.In her creative work, she weaves SDG ideals into her visual narratives, making each painting more than just a piece of aesthetic beauty—it becomes a medium for social value. “I want people to see hope in my work, to see the future. Art is a responsibility—to plant something beautiful in every heart.” Through her brush and her actions, Kate Huang paints not only the colours of life but also sows the seeds of sustainability—building a warm bridge between art and the greater good.

From London to the Journey Ahead

As she steps off the exhibition stage in London, Kate Huang’s artistic conviction remains unwavering. For her, each painting is not merely a visual composition but a tapestry of lived experiences and emotional resonance. She believes art is more than an artist’s expression—it is a mirror for the viewer’s soul:

“Art, to me, is healing. It’s a form of power. When you stand before a painting, it’s like facing a mirror—one that reflects your resilience and warmth from within.”

Looking ahead, Kate hopes her future creations will continue to inspire and offer solace. She envisions herself as a connector—linking people, hearts, and stories through art.

“Every piece I create is both a gesture of sharing and a quiet form of companionship.”

To her, art is a flowing energy, an invisible bridge, and a light that reaches the depths of the human spirit. She believes that as long as there is a trace of colour and hope within, the canvas of life will always bloom anew:

“Art is both a responsibility and a promise. If you’re willing to step into the canvas, you’ll find your own strength waiting there.”

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The post From London to the World: Kate Huang, Founder of Young Power Art — Art as Both Mirror and Illusion first appeared on The Icons.