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This page: Studded balaclava mask, $2,800, by CELINE HOMME. Opposite: Coat, $9,120, and briefs, $340, by BOTTEGA VENETA. Grooming: MANISA TAN using KEUNE and HERA. Fashion assistant: DEA WOENARDI. Model: OLIVER LOO/MANNEQUIN

State of Grace With an emphasis on fluidity — both in terms of silhouettes and the form of expression — these numbers dare you to push the boundaries and experiment photography ETHAN LAI styling JENINE OH Opposite, on Lucas: Skirt, $2,950, and Teen Knight Poem de Fleur earring, $720, by CELINE HOMME. Boots, $1,235, by ALEXANDER MCQUEEN On Erwinshah: Skirt, $4,100, by LOUIS VUITTON. Boots, $2,460, by BOTTEGA VENETA





This page: Blouse, earrings, $1,380, and necklace, $2,080, by GUCCI. Leggings, stylist’s own. Opposite, on Lucas: Chaîne D’ancre Punk brooch, Dress Code double- face scarf, Grand Tralala silk scarf, and trousers, by HERMES. Turtleneck top, by PRADA. On Erwinshah: Clic H bracelet, by HERMES. Trousers, by ALEXANDER MCQUEEN. Turtleneck top, by DOLCE & GABBANA



This page: Jacket, $4,300, leather belt, $3,640, and boots, $2,460, by BOTTEGA VENETA. Opposite, on Lucas: Dress, $4,690, by JIL SANDER. Boots, by VALENTINO. On Erwinshah: Coat, by SALVATORE FERRAGAMO. Boots, $2,460, by BOTTEGA VENETA

This page: Coat, by FENDI. Boots, $2,750, and ear cuff, by BALENCIAGA. Opposite: Dress, $3,350, blanket, and pumps, $1,450, by BALENCIAGA. Leggings, stylist’s own



This page: Coat, by ERMENEGILDO ZEGNA XXX. Shoes, $950, by GIVENCHY. Leggings, stylist’s own. Opposite: Coat, $5,350, and skirt, by GIVENCHY. Teen Knight Poem Cross necklace, $990, by CELINE HOMME. Boots, $2,000, by BOTTEGA VENETA



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This page: Jacket, shirt, loafers, and necklace, by SAINT LAURENT BY ANTHONY VACCARELLO. Opposite: Jacket, by LOUIS VUITTON. Shoes, $950, by GIVENCHY. Leggings, stylist’s own

This page: Turtleneck top, bodysuit, trousers, and shoes, by PRADA. Opposite, on Lucas: Skirt, $1,048, by RAF SIMONS available at Dover Street Market Singapore. Gloves and harness, stylist’s own. On Erwinshah: Rings, $1,320, by BOTTEGA VENETA. Bodysuit, stylist’s own. Models: LUCAS JONG / MISC MANAGEMENT and ERWINSHAH / WHOLE WORLD AGENCY. Hair: KEN HONG / EVOLVE using GOLDWELL. Makeup: SHA SHAMSI using DIOR BEAUTY. Fashion assistant: DEA WOENARDI & AMAN JOHN



Peter Doig bowler hat, coat, jumpsuit and turtleneck knit, by DIOR MEN THE GREAT PAIRING It’s a tale of two greats on the runway of Dior Men’s Winter’21 as British artist Peter Doig bewitching universe is transposed onto artistic director Kim Jones’ take on ceremonial wear, in silhouettes inspired by the French house’s haute couture savoir-faire photography RAFAEL PAVAROTTI

Peter Doig Saddle bag, bowler hat, anorak, jumpsuit and shirt, and boots, by DIOR MEN

Peter Doig bowler hat, brooch and earrings, Saddle bag, jacket, pants and boots by DIOR MEN

Peter Doig jumpsuit, necklace and brooch, coat and turtleneck knit, by DIOR MEN

Peter Doig knit sweater, necklace and earrings, shirt, pants and boots by DIOR MEN

Coat, blouson, turtleneck knit, pants and boots, by DIOR MEN

TIME Horology is steeped in tradition, but it is also a practice that thrives on innovation and progression. Reissues and re-editions here pay homage to archival references — an indication to where things might be headed photography AMAN JOHN & KATHERINE ANG styling EUGENE LIM

Arceau Squelette in stainless steel, $12,610, by HERMES

TIME/ONE TO WATCH Carrera Porsche Chronograph Special Edition in stainless steel, $8,250, by TAG HEUER 154

ONE TO WATCH/TIME Big Pilot 43 in stainless steel, $12,600, by IWC 155

TIME/ONE TO WATCH Ballon Bleu de Cartier in stainless steel, $8,350, by CARTIER 156

ONE TO WATCH/TIME Aluminium watch, $4,120, by BVLGARI 157

TIME/ONE TO WATCH Constellation Co-Axial Master Chronometer 39mm in stainless steel, $8,550 by OMEGA 158

ONE TO WATCH/TIME Tudor Black Bay Fifty-Eight “Navy Blue” in stainless steel, $5,040 by TUDOR 159

LOOKING THE EXPRESSION “TWO STEPS FORWARDS, one step back” can be images courtesy of the brands BACK TO MOVE seen to bear a warning about the perils of relentlessly pursuing progress. FORWARD But despite Vladimir Lenin’s best intentions, not many seem to heed that warning. After all, non-linear progress (as frustrating as it may be) is still More watch manufacturers are dipping progress. In an abstract sense, the phrase also reminds us that every so their hands into their design archives and often, one looks to the past with the hope of finding a means through using past creations as a font of inspiration. which to move forward. But is there a risk of taking this too far? The growing interest in vintage timepieces is hardly a new development – the trend first emerged around the 2010s and was text EVIGAN XIAO encapsulated by vintage (and often rare) examples, like the Patek Philippe Ref. 1518 in steel, popping up in prestigious auction houses. The 160 aforementioned timepiece eventually commanded a final price just north of $15 million — eye-watering proof of just how hungry the horology- loving public was for the watches of yesteryear. Regardless of the exclusivity inherent within the auction house scene, the town bell rang clear and true: vintage is “in”, and watch manufacturers were more than happy to respond to that demand. Fast forward to today, and we can see that the push for retro-inspired timepieces shows no sign of slowing down. Earlier this year, Swatch

IN DEPTH/TIME group powerhouse Omega reinvigorated its Speedmaster Professional them as much as possible. Leave the esoteric designs to the line-up with the Ref. 310.30.42.50.01.001. This re-edition saw updates to independents (Grand Seiko is a prime example). People who buy into a the iconic series, such as Omega’s Master Coaxial calibre 3861 and specific brand do so out of deep love and appreciation for its legacy some notable aesthetic tweaks that brought the new series more in line and the iconography that comes with it; anything else aside from that is with the venerated pre-1970s examples. The Seamaster 300 received a just a neat little bonus. similar treatment, presenting a new bronze alloy-cased version, sandwich dial design and open Arabic numerals at the 3-6-9-12 hour indices. “I must admit that the Big Pilot’s Watch is probably the reason I joined IWC. As a designer, I was impressed by the uncompromising Meanwhile, LVMH witnessed a rising star in the form of Zenith. With execution of the ‘form follows function’ principle,” says Knoop. Purity a whole host of vintage-forward timepieces (including the lauded was also a major factor behind IWC’s decision to revisit the essence of Chronomaster Original) slated for release this year, the Swiss brand has the original 1940s design. “The idea of an ultra-pure Big Pilot’s Watch, shown that the success of 2019’s Chronomaster El Primero A384 Revival without a power reserve display and a date window, had been the topic was no mere fluke. Not too far behind was TAG Heuer, who followed of conversations within the IWC community for many years. Personally, suit with the refreshed Aquaracer Professional 300 collection, led by the I’ve always wanted to design a three-hand Big Pilot’s Watch.” limited-edition Aquaracer Tribute to Ref. 844. Suffice to say, the jury is still out as to whether or not the trend of They’re not the only ones to have their collective fingers on the pulse. vintage-inspired timepieces is doing more harm than good. A keen Richemont’s IWC refreshed its Big Pilot’s Watch 43 collection by observer would point out that the general outlook amongst watch maintaining the original design codes but presenting them in a more enthusiasts remains on the optimistic side, but there will always be compact format – a decisive move that has met with great success. dissenters. For a community to be heard is a wondrous thing, but whether Meanwhile, Cartier revisited another of its storied archival designs in the or not this new climate of “the good ol’ days” will result in stunted form of the Cloche de Cartier as part of its exclusive Privé collection, and growth – only time will tell. introduced colourful reimaginations of the Must de Cartier Tank Vermeil, now designated as the Tank Must. This page, from top: Omega’s Seamaster 300 is updated with the It may seem like a simple process, but the first step is always the hardest one. Selecting the right design to base a new reference on is a new Bronze Gold; the recently lot harder than it sounds, especially when one realises that many of revamped IWC Big Pilot’s Watch 43 today’s Swiss brands have centuries of archival data to sift through. The stakes are high enough at this point: The scale of such an operation comes in a more compact size as involves a production line with an output numbering in the hundreds of compared to its predecessor of 46mm. thousands. Bet on the wrong horse, and you’ll be stuck with the consequences for a very long time. Opposite: The Privé Collection is Cartier’s platform for revisiting and Speaking about the recently revamped Big Pilot’s Watch 43, IWC rediscovering its historically most iconic Creative Director Christian Knoop pointed to the collection’s legacy as designs. This year, the French Maison one of the major reasons for its selection, as well as the clear need for a revisits Cloche de Cartier (French for more contemporary treatment. “After releasing so many different versions of the Big Pilot’s Watch, we were aware of this model’s iconic bell), a design from the 1920s status. But we also realised that it has its limits when it comes to ergonomics. Many people love the design, but they cannot strap a 46mm timepiece on their wrist. For this reason, we decided to complement our portfolio with a new version [in] a more ergonomic case size,” he explained. It wouldn’t be wrong to say that the proof is in the pudding – the litany of vintage-leaning watches is highly indicative of our unslakable thirst for all things retro. Watch manufacturers, in particular, have certainly succeeded in capturing the consumer’s likes and dislikes, but to what extent does the possibility of going too far in this direction present itself? There’s certainly nothing wrong with pandering to the crowd (we are talking about an industry that relies on sales to survive); problems arise when the overall strategy hinges on what amounts to essentially rehashing past ideas. The concern at hand is what could transpire, should the manufacturer’s product rollout become too “vintage-driven”. Technical innovations will most likely continue unimpeded, as the appeal of calibres of either greater mechanical efficiency or avant-garde design is unlikely to wane. From a graphical standpoint, however, it’s very likely for fewer risks to be taken. Sure – we may see the occasional open-worked dial with a tourbillon every now and then, but that’s honestly old hat. What about designs that take our breath away, like the dial of Arnold & Son’s Luna Magna, centred around a moonphase aperture presented in a harmonious combination of marble and aventurine? A valid counterpoint to this argument is that there is no real need to reach beyond the obvious. The preeminent watch brands of today retain their popularity in very select areas, so it makes sense to leverage on 161

TIME/COLLABORATION IN HIS FIRST James Bond book, Casino been involved in product placement. When THE WORLDS Royale, author Ian Fleming wrote, “He [James their watches appear in a movie, they are OF HOROLOGY Bond] could not just wear a watch. It had to more than just props, and have often been AND CINEMA be a Rolex.” written into the script itself or have manifested SHARE A LOT IN as a personal choice of the directors or actors COMMON, BOTH To date, we know how vast Bond’s watch who lean on the brand to subtly portray collection is, and how it features some of the fortitude in their characters — a sense of EMPLOYING most iconic Rolex timepieces, like the Oyster toughness and control, along with a THE USE OF Perpetual Submariner and GMT-Master. This sophisticated sense of style. TECHNOLOGY, relationship, however, happened not because IMAGINATION of an endorsement deal, but because of the To look at things through that perspective, AND CREATIVITY author’s personal choice. it could be said that Rolex’s relationship with TO BRING cinema started rather spontaneously, as the MASTERPIECES Worn by famous actors appearing in first great actors who wore the brand’s iconic films, Rolex watches have had their own watches did so in a completely informal way, TO LIFE part to play in Hollywood for decades, out of personal preference. And it wasn’t long despite the fact that the company has never BEYOND THE before the brand became a constant presence images courtesy of ROLEX SILVER SCREEN in cinema, showing up in many other iconic movies, such as Apocalypse Now, The Colour The worlds of horology and filmmaking may not seem to have much of Money and Titanic. in common, until you look at Rolex and its support for cinema In many ways, the brand shares the same text CAROLINE SUGANDA inclination toward storytelling, as the story of Rolex is one that has been punctuated by more than a century of innovation, told through a wristwatch. The worlds of horology and cinema share a lot in common, both employing the use of technology, imagination and creativity to bring masterpieces to life. So it’s unsurprising that off screen, Rolex fosters various relationships with the dynamic world of movie-making — supporting various disciplines, from arts to filmmaking. In 2016, Rolex brought the Greenroom to life. This was conceptualised for the Academy Awards as a place where presenters gather before going on stage to present Oscars to the winners, as well as for special guests of the Academy Awards, with this year’s edition being held at the historic Union Station Los Angeles. In 2017, the watchmaker’s close association with cinema was further cemented as the brand became the Exclusive Watch of the Academy of Motion Picture Arts and Sciences, and it went on to become the Proud Sponsor of the Oscars that same year and 162

subsequently the sponsor the annual COLLABORATION/TIME Governors Awards in 2018. This page: The 2021 Greenroom at Union Rolex’s latest project with cinema is as Station Los Angeles, hosted Founding Supporter of the new Academy and designed by Rolex. Museum of Motion Pictures, a museum and Opposite: Film director hub for film enthusiasts. Designed by Pritzker and Rolex Testimonee Prize-winning architect Renzo Piano and Martin Scorsese scheduled to open in Los Angeles this year, the museum will boast 50,000sqft of 163 exhibition galleries, a 1,000-seat theatre and more. This landmark is conceptualised to ultimately bring light to the magic that creates movies, and the arts and sciences that make creative storytelling possible. Rolex is also set to host a gallery retracing the history of film where the brand has played a role. Through the museum, Rolex also aspires to assist in the preservation of film history, as well as transmitting knowledge from one generation to the other. Beyond celebrating its ties to the past, Rolex is also looking to the future, extending into providing support for young filmmakers through its mentoring programme: the Rolex Mentor and Protégé Arts Initiative. Film director and Rolex Testimonee, Martin Scorsese who personifies excellence in his craft, is one such figure who has committed to passing on his knowledge and wisdom to young filmmakers. As a director, he recognises the importance of capturing moments in time, with his works serving as an artistic interpretation of the world around us. To this end, the has personally mentored a protégée within this programme, which identifies gifted young artists in a variety of disciplines from all over the world, bringing them together with artistic masters for a period of creative collaboration. This all seems fitting, seeing as to how Scorsese was once mentored and inspired by film veterans himself. With this mentoring programme, Rolex not only preserves film history, but also actively facilitates the passing on of knowledge — a mission close to its heart, and to the hearts of film lovers everywhere around the world.

TIME/SPOTLIGHT CULTURE They say good design creates culture. Take all images courtesy of CARTIER OF DESIGN it from Cartier, whose classic pieces such as the Juste un Clou and Ballon Bleu stem from the perfect confluence of pure lines, accurate shapes, precise proportions and precious details. Such are the design principles that go into the formula of a cultural icon 164

SPOTLIGHT/TIME This page, from top: Ballon Bleu de Cartier steel watch, $8,650, and Ballon Blanc de Cartier steel watch with diamonds and leather strap, $11,200, by CARTIER. Opposite, clockwise from left: Juste un Clou pink gold bracelet, $10,200, Love yellow gold bracelet, $9,350, and Trinity white, pink and yellow gold ring, in medium, $1,860, by CARTIER 165

TIME/SPOTLIGHT From left: Love white gold bracelet, $10,100, Love white gold bracelet, in small, $6,450, and Love white gold ring, $2,630, by CARTIER 166

TIME SPOTLIGHT/TIME Clockwise from top left: Santos de Cartier steel watch, in large, $10,200, Tank Française steel watch, in medium, $5,650, Panthère de Cartier yellow gold watch, in small model, $29,600, Trinity white, pink and yellow gold ring, in medium, $1,860, Ballon Bleu de Cartier steel watch, $8,650, Juste un Clou pink gold bracelet, $10,200, and Love yellow gold bracelet, $9,350, by CARTIER 167

LIFESTYLE text RENEE BATCHELOR photography AMAN JOHN As collectors get younger, they are challenging the idea of what art is, and who gets to own, collect and enjoy it HOW THE ART WORLD IS EVOLVING

“No Art Here”, by Javier Calleja. A limited edition of 1000 at Yang Gallery

This page: The Jay Chou x Sotheby’s show at K11 in Hong Kong featured works by artists like Jean-Michel Basquiat and was created in partnership with Enviseam. Opposite: Jazz Li, the founder and CEO of Enviseam IT USED TO BE that art, and fine art in As the age of the male collector becomes with Enviseam, a company whose mission is to images courtesy of ENVISEAM X SOTHEBY’S; RUBY LAW particular was deemed to be a realm suitable younger, so too has the face of the high- bring fine art to the masses. Enviseam’s only for the rarified among us, such as serious profile, contemporary art collector. In June founder and CEO is cultural entrepreneur Jazz collectors, wealthy patrons, exclusive 2021, Jay Chou, the king of Mandopop and Li, who is currently based in Singapore. Li galleries and legacy museums. But lately the an avid collector himself, co-curated a show started the company four and a half years ago idea of what art is and who it is accessible to with Sotheby’s, signalling a new direction for because he had a vision for the art world to has been challenged by new developments in the legendary 277-year-old auction house. truly inspire popular culture — the way it did the art world, such as the rise in the value of Chou’s edit for the show, “Contemporary back in the ’80s, with artists like Andy Warhol, the collectible market as well as the Curated: Asia” included works by blue-chip who had a strong connection with celebrities emergence of NFT (non-fungible token) art. artists like Jean-Michel Basquiat and Pablo and creatives of that time. Seeing that it was Male collectors, in particular, have been Picasso, as well as rising stars like Madsaki possible to replicate this movement in Asia leading the pack in both these fields — the and Izumi Kato, that had been handpicked by today, Li envisaged a world where art could former probably fuelled by a love for him. The auction was highly successful, selling influence people by making them see their real amassing toys, figurines and small sculptures 100 per cent of its lots, achieving sales of value in society. “There’s a lot of philosophy from a young age, and the latter likely US$109 million and forging artist records for and values behind works and artistic practices, because of a greater affinity to blockchain no fewer than nine artists. and we are trying to translate these values into technology and the use of cryptocurrency. easy-to-understand and interesting stuff, much Chou worked on the event in partnership 170

ART/LIFESTYLE in the way that Disney does with its movies,” large extent, is determined by what the says Li. Enviseam translates art into fun market is willing to pay. experiences, both online and offline, in order to shape the way that people think about art. Li himself collects art by a range of artists including Jose Parla, Crash, KAWS, Li believes that working with key opinion Daniel Arsham and Takashi Murakami, leaders (KOLs) and celebrities is a means to and names Singaporean Jahan Loh, who bring art to the masses, but understands why has been “endorsed” by the godfathers of the elite would be against this philosophy. street art so to speak, as one artist to look “The elite collectors and a lot of people in the out for. (Loh was the only Singaporean art world want to be gatekeepers, and they artist selected by the Warhol foundation to want the high art community to be exclusive. take part in a retrospective of the artist in A lot of people who feel this way also didn’t the ArtScience Museum in 2011.) Li feels want me to do what I was doing. I actually that Loh is able to capture what it means to think that what I’m trying to do is not to be “a person born in the ’70s and ’80s” ‘degrade’ fine art or high art, but actually and “an artist growing up in the emerging open it up. Instead of having fine art as a high- Asian culture where our identity is stronger, end community, as a gated community, I’m but we are still trying to find our roots”. trying to create a spectrum,” he says. “We’re trying to let the general public know that art Pop and street art continues to be popular affects everybody’s lives and it’s not just touchstones among younger collectors. At about acquiring objects and prices — the value Yang Gallery, located in the Hilton Shopping of art does not lie in the price tags. Even if you Gallery, a large painting by contemporary can’t bid on the works, you can appreciate art Chinese artist Shen Jingdong called “Role” outside of a white cube setting,” says Li. (2017) catches the eye. Blending Chinese iconography and bright colours, Shen and The auction houses are starting to take many of the younger artists who are featured notice of this trend, with curated shows aimed in the gallery are themselves drawn to pop at younger collectors, and items that would and contemporary art and tend to not have previously been considered art being reference popular culture in their work. In offered for auction. In January 2019, a the same vein, street and graffiti art complete set of Supreme skateboards sold for appeal to younger collectors, and for Li US$800,000 to a then 17-year-old collector, himself street art was one of the Carson Guo. Guo considered these movements that he first immersed himself skateboards — that had been painstakingly in. Moving forward, he feels that collected over 20 years — to be works of art, movements like “Light and Space”, led by as many of the decks feature artwork by artist James Turrell, will come into greater contemporary artists like KAWS and prominence, and also points to other George Condo, as well as signatures of artists like sculptor Anish Kapoor and the artists themselves. Again, value, to a Olafur Eliasson as names to watch. “THE ELITE COLLECTORS AND A LOT OF PEOPLE IN THE ART WORLD WANT TO BE GATEKEEPERS, AND THEY WANT THE HIGH ART COMMUNITY TO BE EXCLUSIVE” — JAZZ LI 171

LIFESTYLE/ART Collectibles and Toys design world into public consciousness through jumping into an art journey that consists of just The idea of what constitutes art is shifting. Li collaborations with big, popular brands like oil paintings or traditional sculptures, I think agrees that a lot of pieces, like home Ikea and Adidas — and stoked a high demand that a lot of younger collectors are drawn to collectibles or small figurines, have real even for these relatively affordable products. big names like KAWS and Takashi Murakami instrinsic value because collectors are willing that they’ve heard of from collaborations with to pay higher than the original retail prices for At Yang Gallery, collectors are interested their favourite luxury brands. They see their them. “Anything which is done at a high level in original artworks and art toys by artists like favourite celebrities and fashion houses of artistic quality and with a serious production KAWS, Joan Cornella and Javier Calleja, as collaborating with an artist and their interest standard, whether it’s architecture or design, is well as collectibles from artists like Arsham. gets a bit piqued,” says Jiang. considered art,” says Li. He points to the The gallery also champions a wide range of works of KAWS, who started out as a contemporary artists from all over the world, During the pandemic, Yang Gallery has designer, but who now many consider an and more traditional art forms like paintings seen the demand for these collectibles grow artist. “Initially he was a designer, but now [his and sculptures. Lauren Jiang, a gallery even bigger. Once the shipments of these art characters] have become part of pop culture. assistant at Yang Gallery, notes that a lot of toys or pieces from Arsham’s “Future Relic” And that’s what he was trying to [achieve]— collectors are interested in more accessible series arrive, they are almost immediately to be a part of the social and collective pieces like the art toys — which can range whisked away by collectors who have already consciousness,” says Li. Even an artist like from a couple of thousand to tens of pre-ordered them. The gallery believes that Arsham has stepped beyond the realm of the thousands of dollars. “Our toys are a lot more due to the Covid-19 pandemic, more people accessible to a younger audience. Rather than have been stuck at home — leaving them more time and space to add to their collections, as A shelf in Marc Tan’s well as more money to spend on art. “People home features a mix of are realising that in a home, art pieces can give different collectibles you a better environment and joy,” says the including Jason Freeny’s gallery’s managing director Susanna Yang. Balloon Dog, various When it comes to male collectors, the idea of James Jarvis x Silas art or collectibles as an investment is also quite ‘Martin’ figurines, important, so they tend to go for artists who James Jarvis King Ken, have a name and investment value. “We have Kubrick Maharishi DPM, collectors of all genders and ages. But we see Michael Lau Gardener that a lot of male collectors are interested in figures (still in their the investment potential of art pieces, and we cans), various Ultraman look forward to helping guide them on their art figures and ape soldiers investment journey,” says Jiang. from Planet of the Apes However, Yang saw that it is becoming increasingly difficlut to distinguish between real images courtesy of MARC TAN and fake pieces — a huge problem in the art world, especially with many people buying and selling online. “We have a physical gallery, so buyers can actually come and view 100 per cent authentic and brand new artworks with confidence,” says Yang. For photographer Marc Tan of Studio Periphery, collecting toys from artists like KAWS and James Jarvis started in an organic fashion, stemming from his time as a student in the 2000s when street culture, music and collectible toys were all coming together under the general umbrella of pop culture. He likes collecting ape-themed toys, and is drawn to the idea of the same shape worked in different materials. “It is probably something to do with repetition as well, which is quite interesting,” says Tan. He describes the arrangement of his objects as typically mixed. “They’re not very curated… toys are mixed in with antiques, books and magazines.” Tan enjoys rearranging his collections on a semi- regular basis as it allows him to have a different perspective of his pieces. “It gives a sense of familiarity but at the same time, it’s something fresh and new.” He likes being surrounded by things that he likes. 172

ART/LIFESTYLE In Tan’s studio, KAWS’ Companion and Bearbrick are some of the collectibles that co-exist with his collection of books and magazines “WE HAVE COLLECTORS Tan believes that collecting toys is a At Yang Gallery, Yang points again to the OF ALL GENDERS AND generational thing, as the connection between art world’s frequent collaborations with luxury AGES. BUT WE SEE THAT artists and wider popular culture, such as or fashion brands as a means of building name clothing brands, did not really come about until recognition — noting that clothing brand Sacai A LOT OF MALE the late 1990s and 2000s . He points to artists had just launched a collaboration with KAWS COLLECTORS ARE like Jarvis who collaborated with clothing brand (in mid-July 2021) in the neighbouring boutique INTERESTED IN THE Silas in 1998, and the Hong Kong artist Michael upstairs. In fact it is common for customers to INVESTMENT POTENTIAL Lau, who created the Gardener series in 1999. shop fashion collections along with the OF ART PIECES” The continuing influence and resale value of the matching art toys at the gallery. KAWS, in Bearbrick, which has become one of particular, keeps popping up in almost every — LAUREN JIANG streetwear’s most enduring icons over the conversation. In a given day, one might years, shows the longevity of certain collectible receive an email from Cactus Jack — a design toys. The Bearbrick — which is ultimately a collective that includes rapper Travis Scott — blank canvas to express almost any idea or about a Cactus Jack + KAWS for Fragment design upon — is perhaps the best example of clothing drop, or read about how KAWS has how a plastic bear can attract collaborations launched his Companion figure into space. Li with luxury heritage brands like Chanel and predicts that Kaws, “will continue to be Hermès, as well as artists like Futura. popular like Andy Warhol”. 173

LIFESTYLE/ART NFTs, Digital Art and Beyond Brandon Tay’s NFT Beyond design collaborations and collectibles, “Death Spiral” the world of NFT art is also moving at a fast pace. While blockchain technology has (2021) showed at ensured that the problem of fakes or copies in Yeo Workshop’s the digital art world has been somewhat show “only lovers solved, it raises the questions of what it means to own a digital version of an authentic, left alive (love original artwork or an edition of it — if the songs for the end artwork is technically available everywhere for others to see and even copy. In a way the of the world)” conundrum it posits is the digital equivalent of Maurizio Cattalan’s infamous “Comedian” “TYPICALLY, DIGITAL ARTISTS DID NOT HAVE A (2019), where a fresh banana was affixed to PLATFORM TO EASILY SELL THEIR WORK. NOW the wall with duct tape and came in an edition of three. THIS IS A WAY FOR THEM TO BRING THEIR WORKS TO MARKET” — AUDREY YEO The NFT space’s most notable sale was probably achieved by the record-breaking and in a July 2021 show called “only losers my time with Yeo during the show, editions of image courtesy of YEO WORKSHOP “Everydays — The First 5000 Days” by left alive (love songs for the end of the “Death Spiral” were easily snapped up via Beeple, that sold for a whopping US$69 world)” sold a piece by artist Brandon Tay as Rarible, the NFT marketplace where the work million to buyer MetaKovan, later revealed to an NFT. Audrey Yeo, the director of Yeo was placed on sale. be Singapore-based crypto investor Vignesh Workshop, said the piece was priced very Sundaresan. The hype surrounding this sale — accessibly at $100 for the first edition, rising While the world around digital art and no doubt because of the price tag — led to a to $115 and then $130 for the second and NFT is changing, Yeo sees both good and sharp rise in sales especially in the first half of third edition, and so forth in ether, the bad with the fast evolving scene. On the one 2021, with an estimated US$2.5 billion worth cryptocurrency of Ethereum. The edition of 10 hand, digital art and NFTs make it easier for of NFT art being sold according to for the work entitled “Death Spiral” (2021), a artists to market their own work, as traditional DappRadar. But like any marketplace, the 4K animation video sold out. “People who gallery representation is so hard to come by. NFT realm still depends on demand as well as came to the exhibition were actually very “Typically, digital artists did not have a brand name artists to really move sales. interested in this NFT artwork because of its platform to easily sell their work. Now this is installation in the gallery. Brandon Tay is also a way for them to bring their works to Established artists like Arsham and an artist with high-tech skills with impressive market. And the artworks are backed by Damien Hirst have gotten on the bandwagon detailed quality of digital renderings. His skills blockchain certificate that can provide some with innovative perspectives, but there are are impressive, so it makes it very easy for validation and assurance of its value for also thousands of no-name artists whose people to buy this artwork,” says Yeo. During buyers,” she says. artwork will continue to have no real value. Li says, “As there are more digitised works out But at the same time there are so many in the market, they will saturate it — similar to how there are an infinite quantity of (physical) paintings to hang on our walls. Anybody can create a painting, with millions of art students graduating each year, but so many of the artworks created by artists are not even worth the price of the materials used to create them.” The NFT world is also quite male dominated at present, so the offerings by artists tend to cater to this audience, in terms of the subject matter and aesthetic. A quick glance at a list of top-selling NFT artists like Pak, Trevor Jones, SlimeSunday and Xcopy reveal that most are male artists, or if they are anonymous, have a decidedly male aesthetic or references like anime or gaming. Many of the cryptocurrency investors in NFT art are also likely to be male. The misogynistic imagery found in the details of Beeple’s record-breaking work has also been studied and commented on. Among the traditional galleries in Singapore, Yeo Workshop, a leading gallery, was one of the early adopters of NFT art, 174

ART/LIFESTYLE artworks to look through that it can be information about the artworks and it doesn’t in these pandemic times. In the end, the overwhelming, and the platforms that feature beat walking into the gallery where art is tyranny of choice remain some of the biggest the work may not showcase them in the best experienced, because art, ultimately, is a challenges in the realm of NFT art. There is way. “Some of the pitfalls are of course that kind of experience,” says Yeo. simply too huge a volume of digital and NFT a work is something you’re not seeing in art out there, and Yeo says this “makes it person. A lot of platforms are quite flat at the Buying art from your laptop or phone may hard to see everything and figure out which moment — they’re just kind of on the surface. not give the same thrill as doing so at a show artists to read more on and ultimately There’s also a lack of curatorial, contextual or gallery, even if there is a level of support.” convenience and physical protection offered Collectible art toys from Yang Gallery include pieces from Joan Cornella and KAWS 175

LIFESTYLE/DINING images courtesy of ORANG LAUT SG; @RUNAWAYPILOT; KOTUWA; BANGLA LIM Gulai Nenas. Seafood and spices are heavily featured in Orang Laut cuisine MELTING POT text FABIAN LOO The multi-cultural food scene in Singapore is made even more diverse with the introduction of obscure, unsung cuisines. In choosing to shine the spotlight on under-represented recipes, a small group of people is helping to preserve tasty pieces of culture and heritage — one meal at a time

DINING/LIFESTYLE SINGAPORE IS KNOWN FOR ITS colourful, contrasting food options — brought here by Clockwise from left: early settlers of the island: the Chinese, the Indian, the Malay, as well as the Eurasians Orang Laut SG’s take-home feast, and Peranakans. Ketam Lemak, Sambal Udang But the origins of our local cuisine run much deeper than one would typically expect — before immigrants arrived, the seafaring Orang Laut community was among the first to “AS WE inhabit the island, including Pulau Semakau. Their ancestral roots, which trace back to the PROGRESS, I FEAR Riau Islands, combined with the proximity to the waters, resulted in a unique, native cuisine that celebrates spice and seafood. Urbanisation, however, forced many of these THAT OUR island-dwelling natives to evacuate to the mainland. With families scattered across the TRADITIONS WILL country, their history — and recipes — are threatened. BE LOST IN TIME” “Our food reflects a time of life and the livelihood of the Orang Laut community,” — FIRDAUS SANI shares Firdaus Sani, a fourth-generation Orang Laut. “As we progress, I fear that our images courtesy of the brands traditions will be lost in time.” For the Orang Laut community, and many others, is it clear that their cuisine serves as more than just sustenance. Food has meaning attached to them; they act as markers of identities, as tangible reminders of history and heritage, and more importantly, as mediums to spread cultural knowledge and understanding. In an academic journal, Understanding Culture: Food as a Means of Communication, author Nevana Stajcic states: “What we eat and with whom we eat can inspire and strengthen the bonds between individuals, communities, and even countries.” Damian D’Silva is someone who understands, and harnesses, the sentimental power of food. Regarded as a stalwart of local heritage cuisine, the chef has made it his mission to serve up dishes that would have otherwise faded from existence. “Let me give you an anecdote,” he explains. “I love Japanese cuisine for its freshness, simplicity, and clean taste. I can eat it every day and not get tired. However, it will never invoke a memory that will cause tears to well up in me.” “Heritage food is the only cuisine that can [bring forth] such memories in me,” D’Silva adds. “I feel a sense of responsibility to pass on what I hold dear to my heart to the next generation, and the generations to come.” Shedding light on unsung cuisines can help bring these oft-overlooked voices to the fore, and foster cross- cultural understanding and discourse. But to do that will require people who can still remember these recipes, and prep them well. “With every dish comes a story of how the cuisine evolved, some more than others,” he says. “I believe, when a discerning person eats a dish … it tells them, what they are eating is not just different in taste, but has emotional qualities that invoke a need to know more. Whether it’s wanting to know the recipe or the need to discover more about the dish. It will change the view of the person on what is right or wrong.” This is exactly why Sani decided to set up Orang Laut SG, a platform to preserve the ‘spirit of the sea’ or jiwa laut — to share anecdotes and offer the chance for others to sample the food of the community. “I think it is important that we shed light on Orang Laut cuisine because it doesn’t have a place on Singapore’s food map today,” he adds. The food might be reminiscent of Malay cooking, but Orang Laut recipes go beyond that. Proximity to the open waters affords plenty of fresh catch, which gets worked into everyday dishes. From the menu of the home-based outfit: curries that feature unfamiliar additions of sea cucumber, sea urchin, or even puffer fish; Gulai Nenas, pineapples stewed in a tangy prawn broth; and Siput Sedut Lemak, 177

LIFESTYLE/DINING “FOOD IS THE ONE THING THAT HAS NO BOUNDARIES” — DAMIAN D’SILVA Clockwise from left: A hearty which offers up sea snails simmered in coconut-scented gravy. Almost everything is best enjoyed spread from Kotuwa, Kottu with bare hands, over spoonfuls of jasmine rice to soak up the sauces, and an open mind, to Roti, crab cutlets, Achcharu discover and learn more about the forgotten history of these indigenous “sea people”. 178 “I definitely think that there is more to the everyday food staples than what we are presented with today, like Orang Laut cuisine,” adds Sani. “I believe there are other under- represented foods from other communities that may not enjoy the limelight they deserve.” For a food-obsessed nation like Singapore, enjoying a meal is probably the easiest (and tastiest) way to get acquainted with foreign cultures. “Food is an important vehicle for our history. It helps to shape our narratives, livelihoods and our way of life. As we no longer have access to Pulau Semakau, its recipes are the next best thing left,” Sani explains. “Ultimately, we hope to get more recognition as people from Singapore’s indigenous community.” Beyond the ability to preserve history, sampling traditional flavours from outside cultures also has the potential to provide a glimpse into their respective heritage, lifestyles, and beliefs. “Food is the one thing that has no boundaries,” says D’Silva. It is a portal to understand a world beyond the plate, and more are increasingly using food as a tool to champion these under- represented cultures. This comes exemplified by Singapore’s very first full-service Sri Lankan restaurant, Kotuwa, which opened late last year at Wanderlust hotel. Working behind the stoves: Rishi Naleendra, a prominent chef who, too, is behind Michelin-starred Cheek Bistro and fine-dining restaurant Cloudstreet. This latest venture, however, is the one that is dearest to his heart — Kotuwa is a reflection of his personal heritage and the comforting flavours he grew up enjoying. While the chef-owner has previously peppered hints of his native Sri Lanka into the food he served, Kotuwa provides a much bigger stage where he can really shine the spotlight on dishes from his hometown. What emerges from the menu are dishes that “represent the sights and sounds of the streets” of Sri Lanka — piping-hot hoppers, bowl-shaped pancakes with crisp edges; juicy bursts of lychee pickled in mustard and apple cider; Kottu Rotti, an aromatic jumble of chopped flatbread, vegetables, eggs, and gravy; and crab curry, spicy and heady, made based on a time-honoured family recipe. If it all sounds rich and heavy, Naleendra is quick to point out that the cuisine is anything but. “The use of spices, chillies, textures, aromatics, and acidity all play a part in making Sri Lankan food very light, welcoming, and easy to enjoy,” he says. Recipes might also borrow the same

ingredients used in Indian cooking – DINING/LIFESTYLE onions, coconut cream, and more – but From top: Kotuwa’s the ratio used is different, shares the Sri eclectic interior; The Lanka-born chef, and flavours are often vibrant, spice-scented enlivened with plenty of tamarind and offerings at Bangla Lim lime. “This characteristic, coupled with the fact that we don’t use much butter or 179 ghee in our cooking, makes Sri Lankan food light yet big on flavour,” he adds. “And I believe it is a style of food the local crowd enjoys.” Through Kotuwa, the chef also intends to raise the status of Sri Lanka cuisine — from street grub to one befitting of a sit-down dining experience. “We wanted to highlight the hospitality and generosity of the Sri Lankan culture,” he adds. The communal-style sharing menu, served in a colonial-chic setting, provides just that. Betting big on a restaurant dedicated to a relatively unheard cuisine here in Singapore might sound like a huge risk, but it was one that Naleendra felt was necessary — and willing to take. “There is a lack of representation of Sri Lankan food in Singapore,” he notes. “And we will never know what the response will be, but we were confident in our flavours, and the fact that Singapore’s dining scene has grown to be more open to new and lesser-known cuisines.” In fact, the call for diversity and inclusion has never been more important, and as more Singaporeans grow vocal about social issues, so too have we seen platforms that seek to drive positive change and amplify unsung voices emerge. Brown-Owned is an upcoming crowd-sourced map featuring minority-owned local businesses. And Seasonings is a recently launched quarterly indie publication that hopes to highlight the different cultural festivals celebrated — through the common language of food. By bringing ethnic recipes to the fore, according to the magazine, it strives to “show that you don’t have to belong to a specific race or religious group to appreciate a festival, because we have more in common than we think.” Within hawker centres (the city’s community dining rooms), cuisines from far- flung regions are also finding a home alongside classic local grub. Bangla Lim, located in a humble industrial canteen, is an ode to the relatively unknown Bangladeshi cuisine. Owner Simon Lim first fell in love with the food during his stint in the construction industry, when he had to visit and inspect the dormitories. Interactions with the migrant workers revealed a problem: that the flavours of their home country cannot be easily found in Singapore. Most would assume that the neighbouring countries – Bangladesh and India – share the same flavours, but there are enough variations in the cooking styles and ingredients that they taste different. Poppy seeds are rarely used in Bangladeshi kitchens, and Lim points out that curries typically come served in a semi-dry style (bhuna), unlike the more common runny variants. “Being a foodie myself, I was concerned about the lack of Bangladeshi food options,” he shares. “I could understand how sad they must feel to not be able to have their own food.” So in June, he decided to open an eatery, with the stoves manned by a Bangladeshi head chef he befriended. “We wanted to do this for the migrant worker community,” Lim adds. For them, a choice of any meal goes for $5 flat. The chef taps into recipes he grew up eating, and misses, to cook up a lean selection of neatly arranged set meals, which might come ladled with spoonfuls of velvety chingri or prawn curry, coconut- based malai chicken stew, and mutton bhuna, plated with rice and vegetables. The goal is to bring Bangladeshi food out of the shadows, and into the mainstream, by presenting the food in an easily accessible and familiar way to most Singaporeans — a hawker stall. Reception has been positive, says Lim, with many people pleasantly surprised at how flavourful and scrumptious the cuisine is. But beyond raising awareness for the food and its culture, the stall has taken on a higher, more important purpose: to reclaim the word ‘bangla’ — which has, unfortunately, taken on a derogatory slant in a local context. Lim explains: “Whatever we are doing now is to change the mindset of how people look at the Bangladeshi. It is not just about the food.”