In collaboration with Tatler Asia.

At the home of Jenny Kim, the Shanghai-based founder of the Chinese women’s fashion brand MO&Co. and edition, art and design are a part of everyday living. Her collection runs the gamut from Ming dynasty huanghuali Chinese rosewood furniture to the monochromatic masterpieces of French painter Pierre Soulages. She is drawn to works that speak to her sensibilities, whether it is the minimalist sculptures of the Romanian artist Constantin Brâncuși or the meditative beauty of Buddhist statues. But for Kim, collecting is not about following trends or making investments – it is about intuition, personal resonance, and the joy of living with art.

‘My passion for collecting started with design: I’ve always been fascinated by interior spaces, architecture, and the way objects interact with their surroundings. One of my biggest inspirations is [Belgian gallerist] Axel Vervoordt ­– his wabi-sabi [the idea of accepting and highlighting imperfections] philosophy and the way he curates his spaces are unlike anything else. I once visited Kanaal, the former brewery he transformed into a living art space in Belgium, and that experience changed the way I saw collecting. It wasn’t about simply owning objects – it was about creating an environment where art, history, and personal experience come together. That visit left a deep impression on me. Afterwards, I started my first collection, buying sculptures, antique furniture, and unique artworks – all from Vervoordt’s space. It was the beginning of what has now become an essential part of my life.

‘Later, my interest in art deepened as I traveled, explored museums, and met artists. I was particularly drawn to pieces that merge Eastern and Western influences. For example, I own a lacquer screen by French artist Vincent Cazeneuve, which took years to complete using traditional Eastern lacquer techniques. Its materiality and philosophy are deeply connected to wabi-sabi, yet it was created from a Western perspective.

‘I don’t consider myself a professional collector. I collect based on instinct and love, not market value. My home is filled with my collection – not stored away but truly lived with. Whether it’s the paintings on the walls, the sculptures in my garden, or the antique furniture I use every day, each piece has a place in my life. One of my most cherished pieces is Peinture 130 x 162 cm, mai 1965 (1965), a painting by Pierre Soulages, which now hangs at the entrance of my Shanghai home. It used to be in my dining room in Guangzhou, where I would see it every day. Over time, it became part of my daily rhythm. Soulages’s work fascinates me ­– his exploration of black is not just about color but about light, shadow, and space. His philosophy resonates with me deeply and I find myself constantly drawn into his world when I look at this painting.

‘I also have a deep love for Buddhist art, particularly [China’s] Northern Qi dynasty (550-577) sculptures. I have one such statue in my Hainan home, bought at auction. To me, these ancient Buddhist figures hold a quiet but profound power, carrying centuries of history within them.

‘Art has always been part of my life and I hope to pass that on to my children. My mother was a passionate painter and even though she never became famous, her love for art deeply influenced me. My daughter is still young, but she already has an eye for art. She often tells me which pieces she finds “pretty” or “cute.” I don’t pressure her to follow in my footsteps, but I do encourage her to explore art in her own way. She loves drawing, and sometimes I’m surprised by the maturity of her work – it even has a slightly dark, moody edge to it. When I think about the future, I don’t have strict plans for my collection. I don’t want to dictate where each piece should go – I believe art should be passed down naturally, becoming part of the family’s story. My daughter will one day inherit this house, and with it, the collection I’ve built. She will live among these pieces, feel their presence, and hopefully, continue the journey of living with art. For me, that’s the most beautiful kind of legacy.’