Dancer Max Day understands the significance of making fresh twists on storied traditions – he does this every day when dancing at Rambert2, London. “Dance really symbolises renewal because of its history,” he explains. “It originated from traditions between different cultures and religions, and if you tap into this, it’s about finding out how you can use its history, and move it forward.”

Having lived in Hong Kong, Australia and now the UK, Max’s ethos when it comes to celebrating the new year is all about forging a new path – and how you can still appreciate and hold onto past traditions, but update them to suit whoever you’re with or wherever you are. “At Chinese New Year, I try to go out with some friends and enjoy a nice Chinese dinner, and also see a dragon or lion dance and participate in that beautiful celebration. When we feed the dragon lettuce and oranges, it just takes me back to my childhood, but in a different setting and with different people.”

What’s most integral to Max today, in a modern, globalised society, when it comes to celebrating something so historical as Chinese New Year? “It’s important that people evolve,” Max explains. “There’s so much change happening in society; people moving into different places, people migrating. This idea of multiculturalism is very current, and I feel that being able to accept it, and take in all the different cultures and understand it really benefits not only you, but also the people around you.”

Textile Designer and Artist Tin – originally from Wenzhou, China, now living in London – is the walking embodiment of self-expression, with her eye-catching, unique designs that are a brilliant mix of head-in-the-clouds creativity and traditional Chinese culture. “My interest in textiles goes back to my grandmother, who taught me how to knit,” says Tin. “I think it’s a kind of legacy. My grandmother has influenced me a lot; she makes her own clothes at home.”

Tin’s current project involves a traditional folk method of printmaking named Jiaxie – a technique that uses carved wooden blocks and dye to create patterned fabric. “Rui’an [a city along the southern coast of the Zhejiang province, China] is the only place where this kind of etching method is still being used, so I went to the museum there to look into this technique,” Tin explains. “It’s not an attempt to transform traditions; rather, it’s to introduce a different way to remember this particular cultural heritage. To understand that the act of looking back on one’s past can also open up possibilities of creating something new.”

While in London, Tin is usually busy studying over the new year celebrations, but has fond memories of celebrating at home with family. “My uncle would buy a lot of firecrackers – it was like they were flying into the sky one by one, for almost an hour. Everyone had their eyes on the same thing, which was quite fascinating,” she remembers. And despite the almost 6,000-mile distance, her family remains close. “What’s special about my Chinese New Year is that although we live in different countries, our relationship is really good. We love one another very much.”