Alfred Sung launched Sung in 1987 in partnership with Riviera Concepts, at a moment when fashion and perfumery were entering a fascinating transition. The extravagant, power-dressed glamour of the early 1980s was beginning to soften into something more refined and luminous. Women were still embracing success, ambition, and visible luxury, but there was also a growing desire for elegance that felt cleaner, more natural, and more emotionally intimate. This was the era of sculpted shoulder pads, fluid silk blouses, sharply tailored suits, pearlized makeup, glossy fashion editorials, and the emergence of the “modern professional woman” as a cultural ideal. In perfumery, dense powerhouse fragrances still dominated department store counters, yet consumers were beginning to gravitate toward fragrances that felt fresher, greener, more transparent, and more polished. Sung arrived precisely within this shift, embodying sophistication without the aggressive intensity that characterized many contemporaries.
Alfred Sung himself was one of Canada’s most internationally recognized fashion designers during the 1970s and 1980s. Born in Shanghai and raised in Hong Kong before immigrating to Canada, Sung became celebrated for minimalist bridal wear and refined ready-to-wear fashions that balanced modern simplicity with romantic femininity. His designs were famous for their graceful structure, purity of line, and understated luxury. Unlike the flamboyant excess associated with some European fashion houses of the era, Alfred Sung’s aesthetic emphasized clarity, poise, and timeless elegance. Women were drawn to his vision because it felt sophisticated without appearing inaccessible. His bridal collections in particular became enormously influential, helping establish him as a designer associated with femininity, beauty, and polished modernity.
The name “Sung” itself carries multiple layers of meaning and resonance. It is primarily a Chinese surname, commonly romanized from several Chinese family names depending on dialect and transliteration systems. In Alfred Sung’s case, it reflects his own heritage and identity. Pronounced in simple layman’s terms as “soong” (rhyming loosely with “room” or “bloom”), the word has an elegant softness when spoken aloud. To Western audiences in the 1980s, the name likely sounded exotic yet approachable — short, memorable, sophisticated, and internationally stylish. Phonetically, it also evokes the English word “sung,” the past tense of “sing,” unintentionally suggesting music, lyricism, warmth, emotion, and expression. This duality gave the fragrance name unusual emotional depth. It sounded modern and cosmopolitan, but also sensual and poetic.
The imagery evoked by the word “Sung” aligned perfectly with the fragrance’s marketing. It conjures sunlight filtering through silk curtains, glowing skin, fresh flowers in a minimalist apartment, quiet confidence, and graceful femininity. There is warmth in the word, but not heaviness; elegance, but not coldness. It suggests a woman who is cultivated, artistic, emotionally intelligent, and quietly alluring. Alfred Sung’s own words reinforced this idealized image:
“Sung - the essence of style. When I designed my perfume, I had a certain woman in mind. Spirited. Innovative. She is classically elegant, yet vital and warm. My perfume is an expression of this woman's wants and desires.”
This vision perfectly reflected the late-1980s woman who wanted sophistication without ostentation. By this point, many women were entering professional spaces in unprecedented numbers while also embracing luxury products as expressions of personal identity. A perfume called Sung would have felt refined and aspirational, but also emotionally comforting — less intimidating than the ultra-opulent perfumes of earlier years. The name implied modern elegance rather than aristocratic grandeur.
The fragrance composition itself mirrored this balance beautifully. Described as a soft green floral, Sung emphasized luminosity and polished femininity rather than dramatic sensuality. Osmanthus brought an apricot-like floral softness with delicate leathery nuances, while French white floral oils such as jasmine, lily of the valley, and orange blossom contributed a creamy yet airy radiance. Powdery iris added sophistication and cosmetic elegance, evoking expensive face powder and silk scarves. The sparkling citrus opening and green floral accents gave the fragrance a freshly washed clarity that felt contemporary for 1987. Beneath this brightness, subtle musk and precious woods created warmth without overwhelming the composition.
In a symbolic sense, the word “Sung” could almost be interpreted olfactorily. One imagines light on skin, floral notes warmed by sunlight, crisp white fabrics, translucent gold, soft-focus glamour, and an aura that feels radiant rather than dense. The fragrance was not trying to smell overtly seductive in the dramatic, animalic style of many earlier powerhouse perfumes. Instead, it projected cultivated femininity — clean, glowing, graceful, and quietly sensual.
Within the broader perfume market of the late 1980s, Sung occupied an interesting middle ground. It was not radically avant-garde, but neither was it merely imitative. The era was crowded with assertive florals, aldehydic powerhouses, and heavily oriental fragrances, yet there was an increasing appetite for cleaner florals with transparent structures. Fragrances such as Beautiful by Estée Lauder, Giorgio Beverly Hills, and Paris by Yves Saint Laurent celebrated lush femininity and floral abundance, while later releases began moving toward fresher sophistication. Sung fit within this evolution, offering floral luxury softened by freshness and restraint. Its polished green-floral character anticipated the cleaner, more streamlined elegance that would increasingly dominate prestige perfumery as the 1990s approached.
What ultimately distinguished Sung was not necessarily shock value or innovation in raw materials, but its atmosphere. It translated Alfred Sung’s fashion philosophy directly into scent: understated luxury, emotional warmth, modern femininity, and timeless style. Rather than overwhelming the wearer, it seemed designed to illuminate her.
Making the Scent:
The creation of Sung by Alfred Sung was deeply intertwined with Alfred Sung’s personal aesthetic and almost monastic devotion to purity, light, and whiteness. Unlike many designers who approached fragrance primarily as a commercial accessory to fashion, Sung treated scent as an extension of his private world and visual philosophy. The fragrance was said to have been inspired directly by the blooms in his own garden, a detail that reveals how intimately the perfume reflected his lifestyle and artistic sensibilities. His comments about color — or rather the absence of it — are strikingly revealing:
“White is my favorite color, all the rooms in my home are white, my small garden is filled with white flowers. When I bought the house, it had a lavender lilac tree so I had it chopped down. I even had the red flowers plucked from the garden.”
This almost obsessive elimination of color translated seamlessly into the fragrance itself. In the context of the 1980s — a decade often associated with excess, saturated glamour, jewel tones, lacquered makeup, and dramatic fashion silhouettes — Sung’s preference for white felt unusually restrained and modern. White, for Sung, did not signify sterility or emptiness, but refinement, tranquility, clarity, and emotional serenity. It suggested sunlight flooding through linen curtains, crisp white cotton, bridal silk, fresh-cut blossoms, and luminous simplicity. His fragrance became an olfactory interpretation of that world: soft, radiant, polished, and quietly sensual.
The floral composition reflected this vision with remarkable coherence. Rather than building the perfume around heavy narcotic blooms or overtly opulent oriental notes, Sung centered the fragrance on white flowers that conveyed freshness and translucence while still retaining elegance and depth. Jasmine contributed creamy warmth and velvety richness, while lily of the valley added a dewy, green freshness reminiscent of spring air and delicate white petals still cool with morning moisture. Powdery iris introduced a cosmetic softness — refined, elegant, and faintly melancholic — evoking vintage face powder, silk gloves, and pale suede. Woven through these florals was osmanthus, whose uniquely apricot-like fruitiness gave the bouquet a subtle golden glow beneath all the whiteness. Osmanthus is particularly fascinating because although floral, it possesses nuances of dried apricot, tea, and soft leather, preventing the composition from becoming overly pristine or austere. Orange blossom softened the arrangement further with its honeyed luminosity, while delicate musk notes settled close to the skin, adding warmth and persistence without disturbing the fragrance’s airy structure.
Sung himself described the white floral accord in terms that perfectly encapsulated the perfume’s personality: “They are clean, light, fresh, romantic as the essence is. But it has staying power.”
That balance — freshness with longevity — was one of the fragrance’s greatest achievements and one of its most commercially intelligent qualities. Many lighter florals of the era disappeared quickly, but Sung understood that modern women wanted elegance without inconvenience. His remarks reveal an acute awareness of the changing lifestyles of women in the late 1980s: “It's something that doesn't just evaporate. I think women want to put on a fragrance in the morning and have it last all day - they're too busy to want to worry about re-applying it.”
This statement subtly captures the cultural atmosphere of the period. Women were increasingly balancing professional careers, social lives, travel, and independence, and fragrance marketing began reflecting this evolving reality. Perfume was no longer merely an evening luxury or romantic accessory; it was becoming part of a woman’s daily identity and polished presentation. Sung’s fragrance addressed this need by offering a scent that felt effortlessly elegant from morning into evening — refined enough for the office, romantic enough for dinner, and soft enough to feel personal rather than overpowering.
The meticulous development process behind the perfume further underscores how carefully constructed its simplicity truly was. Although Sung feels effortless when worn, achieving that sense of natural harmony required extraordinary refinement. Sung explained: “There were 300 possible combinations considered… And you can only sniff five fragrances in one sitting, so it took a long time to go through them all. One would have too much of one element, another not enough. In the end, we came to this one and I said ‘this is it, exactly.’”
That quote reveals the precision behind the fragrance’s restraint. Soft floral perfumes are often deceptively difficult to compose because even slight imbalances can make them feel either too sharp, too powdery, too sweet, or too abstract. The final fragrance succeeded because it achieved equilibrium: floral but not heady, clean but not sterile, romantic but not overly sentimental, modern but not cold. In many ways, Sung mirrored Alfred Sung’s fashion aesthetic perfectly — an exercise in editing, refinement, and disciplined elegance where every detail existed in careful proportion.
Launch:
The launch of Sung by Alfred Sung in Canada became one of the most remarkable fragrance success stories of the late 1980s, transforming what might have been viewed as a refined designer scent into a genuine retail phenomenon. When the perfume debuted at Eaton's’ flagship downtown Toronto department store, expectations were already high because Alfred Sung was one of Canada’s most celebrated fashion names. Yet few anticipated just how dramatically consumers would respond. On the very first day of sales, Sung shattered the store’s existing fragrance sales record — a benchmark previously held by Giorgio Beverly Hills, whose bold, glamorous fragrances had dominated much of the decade. Astonishingly, Sung exceeded the Giorgio record by 50 percent on day one alone. Even more impressive, the momentum continued into the second day, surpassing the Giorgio benchmark again by another 20 percent. Retailers reportedly calculated that this translated into a bottle of Sung being sold approximately every two and a half minutes.
These extraordinary numbers reveal how perfectly the fragrance captured the mood of its moment. By 1987, women were beginning to seek fragrances that still conveyed luxury and sophistication, but with a softer, more polished elegance than the aggressive “power perfumes” that had defined the earlier part of the decade. Sung arrived offering precisely that balance: romantic yet clean, feminine yet modern, luxurious yet approachable. Its success also reflected the tremendous national pride surrounding Alfred Sung himself. As a Canadian designer achieving international recognition, Sung represented a sophisticated homegrown fashion success story at a time when European luxury houses still largely dominated prestige fragrance counters. Consumers were not simply buying a perfume — they were buying into an aspirational lifestyle associated with refinement, modern femininity, and understated elegance.
The sheer speed of the fragrance’s success was staggering. Within only six months of its Canadian launch, retail sales reportedly reached an astonishing six million dollars, an extraordinary figure for a designer fragrance in the Canadian market during the 1980s. This rapid commercial triumph demonstrated that Sung had moved beyond novelty and established itself as a genuine signature scent for many women. Its popularity likely stemmed from its remarkable versatility. Unlike louder evening fragrances that demanded attention, Sung could seamlessly accompany a woman throughout her day — from office to dinner to formal occasions — while still maintaining a luxurious identity. Its polished floral softness made it feel both contemporary and timeless, appealing to women who wanted to smell elegant rather than overpowering.
Recognizing the fragrance’s immense popularity, the company quickly expanded the line into a full bath and body collection beginning in July 1987. This was a significant development because the 1980s saw growing interest in “fragrance layering,” where women extended the scent experience through coordinated body products. The Sung collection soon included shower gel, body soap, body lotion, body dusting powder, and even a specialized oil intended for very dry skin. These additions allowed consumers to surround themselves entirely in the fragrance’s clean floral aura, subtly intensifying the scent’s longevity while transforming it into a complete lifestyle ritual.
The inclusion of products like body dusting powder also reflected lingering traces of classic glamour and femininity associated with earlier generations of perfumery. Dusting powders, with their silky texture and delicate perfumed veil, evoked vanity tables, soft powder puffs, and refined dressing rituals, while the body oil acknowledged the increasing consumer interest in skincare and self-care during the decade. Together, the expanded line reinforced the central fantasy behind Sung: a world of luminous white florals, polished elegance, softness, and effortless sophistication that women could carry with them throughout every aspect of daily life.
Fragrance Composition:
So what does it smell like? Sung is classified as a soft green floral fragrance for women. It is described as a light, clean essence incorporating a luxurious blend of osmanthus, lush French white flower oils: jasmine, lily of the valley, orange blossom and powdery iris with a top note of sparkling citrus intertwined with fresh, green floral nuances layered over a warm oriental base accented with subtle notes of musk and precious woods.
- Top notes: orange, mandarin, bergamot, lemon, ylang-ylang, galbanum and hyacinth
- Middle notes: broom, orange blossom, osmanthus flower, jasmine, iris and lily of the valley
- Base notes: ambrette, musk, vanilla, orange wood, orange blossom, sandalwood, ambergris and vetiver
Scent Profile:
Sung by Alfred Sung unfolds with the luminous clarity of white silk caught in morning sunlight, embodying the clean romanticism and polished femininity that defined Alfred Sung’s aesthetic vision. Although classified as a soft green floral, the fragrance possesses far more complexity than that description initially suggests. It is airy without being fleeting, floral without becoming indolic or overpowering, and warm without losing its crystalline freshness. The perfume moves like light through layers of white petals, green stems, polished woods, and soft skin musk, creating the sensation of stepping into a carefully tended garden filled only with pale blossoms and freshly cut greenery after rain.
The opening is sparkling and effervescent, bursting alive with a cascade of citrus fruits that immediately establish the fragrance’s clean, radiant personality. Bergamot — likely inspired by the famed Calabrian variety from southern Italy, considered the finest in perfumery due to its uniquely floral softness and delicate bitterness — glows with green-gold brightness. Unlike harsher citrus oils, true Calabrian bergamot possesses a velvety elegance, combining lemony freshness with faint floral and tea-like nuances.
Mandarin contributes a sweeter, juicier citrus tone, softer and more rounded than orange, almost like the scent released when peeling delicate orange skin with the fingers. Lemon sharpens the composition with crystalline clarity, adding a brisk, sparkling freshness that feels almost chilled. Orange adds warmth beneath the sharper citrus notes, introducing a sunny sweetness that feels golden rather than sugary.
Intertwined with the citrus is an unmistakably green floral accord that gives Sung its distinctive freshness. Galbanum, traditionally sourced from resinous Persian and Iranian ferula plants, slices through the opening with an intensely green aroma reminiscent of snapped stems, crushed leaves, bitter sap, and cool forest air. Galbanum is one of perfumery’s great “green” materials, famously used in classic fragrances to evoke sharp natural freshness. In Sung, however, it is softened and polished so that it never becomes austere.
Hyacinth follows, bringing watery floral coolness touched with earthy greenery. True hyacinth absolute is extremely difficult and prohibitively expensive to obtain naturally, so perfumers almost always recreate the note synthetically using materials such as phenylacetaldehyde, hydroxycitronellal, and various green floral aldehydes. These aroma chemicals produce hyacinth’s signature damp, dewy floralcy — simultaneously cool, airy, watery, and faintly spicy.
Ylang-ylang drifts through the top notes like warm cream beneath white linen. The finest ylang-ylang traditionally comes from the Comoros Islands and Madagascar, where the tropical climate produces flowers rich in creamy, banana-like floral facets. Here, it adds a soft exotic warmth that gently rounds the sharper green and citrus tones.
As the fragrance blooms fully on the skin, the heart reveals Alfred Sung’s obsession with white flowers in all their luminous elegance. Jasmine forms the emotional core of the composition. French jasmine — especially jasmine grandiflorum cultivated around Grasse — has long been prized for its softer, fruitier, more radiant profile compared to the more indolic jasmine sambac varieties of India. It smells velvety, creamy, faintly apricot-like, and warm like skin heated by sunlight. In Sung, the jasmine never becomes narcotic or overly sensual; instead, it feels polished and airy, woven seamlessly into the bouquet.
Lily of the valley introduces one of the fragrance’s most important illusions. The flower itself cannot produce an extract suitable for perfumery, making it one of the classic “fantasy accords” created entirely through synthetic molecules. Perfumers traditionally rely on materials such as hydroxycitronellal, Lilial (historically), Lyral (historically), and modern muguet molecules to recreate its scent. The effect is unmistakable: cool white bells dusted with dew, green stems snapped between the fingers, watery spring air drifting through shaded gardens. These molecules give Sung much of its clean, freshly-laundered aura. Without them, the fragrance would lose its signature brightness and translucency.
Osmanthus weaves delicately through the white florals like pale gold embroidery through ivory silk. Traditionally cultivated in China, osmanthus is treasured because of its uniquely multifaceted aroma. Unlike many florals, it combines floral softness with nuances of apricot skin, dried fruit, tea leaves, suede, and even faint leather. Chinese osmanthus is especially valued for its rich fruity complexity and velvety depth. In Sung, it adds warmth and subtle sensuality beneath the pristine white flowers, preventing the composition from becoming too cold or abstract.
Orange blossom adds a honeyed radiance to the bouquet. Traditionally associated with Mediterranean perfumery, especially Tunisia, Morocco, and southern France, orange blossom absolute possesses an intoxicating duality: simultaneously innocent and sensual, fresh yet narcotic. It smells of warm white petals infused with nectar and sunlight. Broom contributes a fascinating herbal-floral nuance often overlooked in modern perfumery. Broom absolute carries a sweet hay-like warmth with hints of pollen, dried herbs, tobacco, and honey, adding texture and softness to the floral heart.
Iris, meanwhile, provides the fragrance’s powdery sophistication. True iris butter, derived from aged rhizomes rather than petals, is among perfumery’s most expensive materials because the roots must dry and mature for several years before distillation. The scent is ethereal: cool violet-like powder, soft suede, silvered wood, and cosmetic elegance. In Sung, iris creates the sensation of white face powder brushed over silk skin.
As the fragrance settles, the base becomes warmer, softer, and more intimate without sacrificing its airy cleanliness. Ambrette seed — one of perfumery’s rare botanical musks — introduces a delicate pear-like muskiness with faint nutty and wine-like undertones. Unlike animal musk, ambrette feels sheer, soft, and luminous. Musk itself in modern perfumery is entirely synthetic, as natural deer musk is ethically prohibited. These synthetic musks are essential to fragrances like Sung because they create the sensation of warmth, clean skin, freshly laundered fabric, and lingering softness. Materials such as galaxolide and muscenone likely contributed to the fragrance’s elegant persistence, allowing it to feel fresh while still lasting throughout the day.
Vanilla softens the base with creamy warmth, while sandalwood lends polished smoothness. During the era Sung was composed, Indian Mysore sandalwood was still highly revered for its creamy, milky richness and velvety warmth, though increasingly scarce. Sandalwood in this composition feels pale rather than dense — like smooth blond wood warmed by afternoon light. Vetiver introduces subtle dryness and refinement. The finest Haitian vetiver is especially prized for its cleaner, smoother profile compared to smokier varieties from elsewhere. It smells of dry roots, cool earth, faint citrus peel, and elegant woods, grounding the florals with understated sophistication.
Ambergris adds perhaps the most mysterious dimension to the fragrance. Historically originating as a rare oceanic material produced by sperm whales, true ambergris possesses an extraordinary scent profile: salty skin, warm sunlight, tobacco, ocean air, sweet musk, and mineral warmth. By the late 1980s, most fragrances used sophisticated synthetic ambergris materials such as Ambroxan rather than natural ambergris itself. These molecules provide radiance and diffusion, giving Sung its glowing “halo” effect — that sensation of soft warmth hovering around the wearer rather than sitting heavily on the skin.
The result is a fragrance that feels impeccably white in atmosphere without ever becoming sterile. Sung captures the scent of white flowers arranged in a sunlit modernist home: polished surfaces, fresh linen, green stems in crystal water, pale silk against warm skin, and sunlight illuminating every surface with a soft golden glow. Its genius lies in how the synthetic elements and natural materials support one another. The fantasy lily-of-the-valley accord enhances the realism of the jasmine and orange blossom; clean musks amplify the softness of iris and sandalwood; ambergris molecules make the citrus and florals glow more radiantly. Rather than competing, every ingredient seems carefully edited into balance — an olfactory reflection of Alfred Sung’s disciplined aesthetic of purity, elegance, and understated luxury.
Product Line:
Sung was available in the following:
- Eau de Toilette
- 1 oz Parfum
- 0.25 oz Parfum
- 0.5 oz Parfum Spray
- 1.7 oz Eau de Toilette Splash
- 1.7 oz Eau de Toilette Spray
- 3.4 oz Eau de Toilette Spray
Bottle:
For Alfred Sung, the presentation of Sung by Alfred Sung was never meant to function merely as packaging; it was conceived as a complete aesthetic statement, an extension of the fragrance’s atmosphere and of Sung’s own disciplined visual philosophy. He approached the creation of the bottle almost as one would commission a sculpture or a piece of modernist architecture. To Sung, containing the perfume’s delicate white floral composition required the same precision and emotional sensitivity as “painting a work of art.” The fragrance itself was built around clarity, luminosity, and restraint, and the bottle needed to communicate those same qualities before a single drop was ever smelled.
To achieve this, Sung collaborated with the legendary French bottle designer Pierre Dinand, one of the most influential perfume flacon designers of the twentieth century. Dinand was renowned for creating iconic bottles that distilled a fragrance’s identity into pure form, often working almost psychologically, studying not only the perfume but the personality and environment of the designer behind it. Sung later recalled how deeply personal the process became: “Then he returned to Paris, designed six bottles and sent them to me for my approval. My choice he’d already predicted.”
Before even sketching the bottle, Dinand visited Sung’s home, carefully observing his surroundings, his objects d’art, his preferences, and especially his obsessive devotion to white and black. This detail is particularly revealing because it shows that the final bottle was not designed in isolation from Sung’s lifestyle. Dinand appears to have understood immediately that Sung’s world revolved around purity of line, disciplined elegance, symmetry, and controlled contrast. The designer’s home itself became a kind of silent mood board for the fragrance.
The resulting flacon perfectly embodied those ideals. Manufactured by Pochet et du Courval — one of France’s oldest and most prestigious perfume bottle manufacturers — the bottle possessed a sleek, symmetrical simplicity that felt simultaneously contemporary and timeless. Pochet et du Courval had long been associated with the great French perfume houses, and their expertise in luxury glassmaking gave the bottle a refined optical clarity that enhanced the perfume’s luminous character. The clear glass appeared almost weightless, allowing the pale golden fragrance inside to glow softly like filtered sunlight. Rather than ornate embellishment or excessive decorative flourishes, the design relied on proportion, balance, and transparency.
The crystal-clear stopper further reinforced the fragrance’s atmosphere of light and purity. Its polished transparency echoed the scent itself: airy white florals suspended over clean musk and soft woods. There was an almost architectural quality to the bottle’s geometry, reflecting the minimalist sophistication emerging in luxury design during the late 1980s. Unlike some of the decade’s more extravagant perfume bottles — dripping in gold ornamentation, heavy faceting, or flamboyant color — Sung communicated quiet luxury. It looked expensive without needing to announce itself loudly.
Even the contrast elements were deliberate. The black lacquered plastic components supplied by Bonnay introduced the dramatic black-and-white palette that defined Alfred Sung’s personal aesthetic. Black and white had long served as visual shorthand for modern sophistication in both fashion and interior design, and Sung used them masterfully. The glossy black accents framed the bottle’s clarity the way black lacquer frames white silk or polished ebony highlights marble. This interplay of darkness and light mirrored the fragrance itself — radiant white flowers anchored by subtle shadows of musk, woods, and amber warmth.
Sung took particular pride in designing the outer packaging himself, describing it simply yet revealingly as: “an elegant box, classic white and glossy black.” That description encapsulates the entire identity of the fragrance. The packaging was not intended to feel trendy or excessively decorative; it was meant to appear enduring, refined, and architecturally clean. In many ways, the box resembled the restrained luxury associated with upscale fashion boutiques of the era: glossy black lacquer, crisp white surfaces, perfect symmetry, and immaculate presentation. It conveyed sophistication before the box was even opened.
Together, the bottle and packaging created a complete visual translation of the fragrance’s olfactory world. The transparent glass reflected the perfume’s clean floral radiance; the black accents echoed its sophisticated depth; the symmetry suggested discipline and balance; and the restrained palette reinforced Sung’s lifelong obsession with purity and elegance. Much like the fragrance itself, the design avoided flamboyance in favor of controlled beauty — polished, luminous, romantic, and timelessly modern.
Fate of the Fragrance:
As of 2021, Sung by Alfred Sung is still in production. It can be purchased at the Alfred Sung website.
