"New Fashion II" looks at The Bootleg and Cuteness as strategies to present an idea of "Asian-ness." An everyday facet of life in Asia - including Vietnam, where CFGNY produces its clothes - the bootleg in New York brings forth images of Chinatown and its illicit trade in designer bags. Outside of the west, the implications of the bootleg differ, its aspirational longings shed. The value of original and replica are leveled and mistranslation becomes a positive.

Cuteness also plays a large role in the culture of many Asian countries. It can be read as a sign of weakness, docility, and childishness, but who can resist a bright smile and large eyes that call out to you on an instinctual level? What kind of intervention can happen in that space between the urge to draw closer the object of cuteness and the feeling of utter disgust?