“The Spirit of the Faubourg” is Hermès’ theme for the year, referencing the Maison’s iconic first flagship that still stands at its original address at 24 rue du Faubourg Saint-Honoré. You may think that it’s somewhat of a disconnect then that Lauren Clay, a visual artist based in New York, was given carte blanche to design artist windows for Hermès’ Singapore flagship. But perhaps Clay’s dream-like, almost mystical oeuvre is the perfect way to channel the Hermès spirit. Clay tells us all about it as she readies to present her first ever window to fellow artists in Singapore.
ESQUIRE SINGAPORE: The theme for Hermès this year is “The Spirit of the Faubourg”. What does it mean to you?
LAUREN CLAY: I’m fascinated by the concept of “place” and the unique qualities that a city or building holds. Sometimes we refer to this as “vibes.” The ancient Romans had a term, "genius loci," which is Latin and translates to “the spirit of a place.” This term, “genius loci,” also describes the atmosphere or character of a space. This is an idea that I’ve been inspired by for many years.
Regarding the theme “The Spirit of the Faubourg”, I aimed to capture the feeling of visiting the Hermès rue du Faubourg store, which for me, resonates with the experience of visiting Paris. The store embodies all of the beautiful aspects of Paris that we all love. I also wanted to convey the sense of discovery within the store, highlighting the various elements and unique architectural details it contains. There are numerous pieces from the collection and Hermès family history throughout the store. In my window installation, I wanted to evoke the feeling of exploring and encountering the unexpected.
ESQ: Is that how the name "The Traveller" came about for the windows?
LC: Yes. In the rue du Faubourg store, I particularly admire the main staircase— the curvature of the marble steps and the way they wrap through the different levels of the store. I aimed to capture that in the window display.
In my work, I often try to evoke the feeling of standing on the threshold between the natural world and some other realm. I think this sensation is familiar to most of us in dreams, where we encounter the familiar juxtaposed with the strange or unexpected. It’s similar to the feeling of being a traveler. I appreciate the way Hermès often captures this sensation in their storytelling.
I have a deep appreciation for architecture and ancient art history. Although I studied painting in school, my love for architecture and decorative arts significantly influences my work. The Hermès Faubourg store stands out in that regard.
ESQ: It reminds me of your work as well, because you do feature a lot of stairs in your artworks.
LC: Exactly. I frequently use stairs as a symbol in my work, drawing on art history. Many painters and sculptors have used stairs as a psychological symbol of transition. For example, William Blake’s painting of Jacob’s Ladder and Martin Puryear’s "Ladder for Booker T. Washington" come to mind.
ESQ: What's the process like in creating "The Traveller"? Was it a deviation from your usual process?
LC: This installation was slightly different. Typically, when I create an exhibition for a gallery or museum, I start by making a model of the space and studying its architecture. Usually, I consider the path and vantage points that the viewer has as they walk through the space. However, for the Hermès window installation, the viewer has one main vantage point, which in a way, gave me more freedom. I knew I wanted to create an illusion of depth and space beyond the window. I began with sketches—probably around 20 ideas that only my husband saw—before choosing one and developing it further.
ESQ: Because you're also interested in architecture, did the architecture of the Liat Tower building kind of informed how it was going to look like as well?
LC: Because I live in New York, I hadn’t visited the Hermès Singapore store before, but I studied photos provided by the Hermès team and also different views of the building from the street view on Google Maps. In planning the window, I considered the architectural features, such as the height of the window. Creating this installation felt similar to creating a diorama or tableau, which aligns with my background in painting. A window offers a controlled view, similar to a painting.
ESQ: What was the biggest challenge in designing a window for Hermès?
LC: A key challenge was finding where my artistic vision and the Hermès aesthetic would intersect. I had to ensure both worlds remained distinct while complementing each other.
ESQ: Did you also have to consider where products would be placed or how they would be placed?
LC: Yes, I had a lot of freedom—pretty much full creative license, which was exciting, like a shopping experience.
ESQ: I've looked through a lot of what you've done before and there's clearly a sense of fantasy, dream-like reality to your work. And you often use a lot of pastel colours. Has anything from your own childhood informed or influenced the use of these colours?
LC: I think my colour palette is heavily influenced by growing up in the southern part of the United States. I went to school at the Savannah College of Art and Design, in Savannah, Georgia, one of America’s oldest cities known for its beautiful pastel Victorian and colonial architecture. After Savannah, I went to graduate school in Richmond, Virginia—also an old southern city. It’s hard to explain, but both of those cities have a distinct feeling of place and history. The unique atmosphere there contrasted with my suburban upbringing and profoundly influenced my artistic sensibility. All of my work, going back to college has been influenced by that experience.
ESQ: Is there a story behind the use of the specific colours for "The Traveller"?
LC: The colour palette emerged from collaboration with the Hermès team. Some of my initial sketches were darker, but I’m pleased it evolved into brighter tones. The pastels reflect the stone and marble of the original Faubourg store and work really well with Hermès’ colour palette.
ESQ: I read in previous interviews that you also kind of tie some of your works to dreams that you’ve had. Was there a specific dream that you had for "The Traveller"?
LC: I've been studying my dreams carefully for about five years now. In my dreams, I often find myself in familiar places, like a grandparent’s house, but I keep discovering hidden doors, stairwells, or entire rooms that I didn’t know were there. I have this type of dream frequently, and I wanted to bring that sensation into the Hermès installation—that feeling of discovery and mystery.
ESQ: Have you learnt anything from studying your dreams?
LC: Definitely. Yes, I feel like a completely different person after spending five years studying my dreams. I agree with Carl Jung’s idea that dreams often reveal parts of yourself that you didn’t know were there. Dreams come from the unconscious realm—quite literally, the part of you that you’re not aware of. Sometimes the unconscious can reveal something encouraging; other times, it stings a little. But it’s valuable information, and I’ve found studying my dreams to be really rewarding.
ESQ: Do you dream in colour?
LC: I do, and some dreams have particularly vivid colours, though not always. Colour is a whole other type of symbolic language.
ESQ: It does seem as well that your work mostly has this positive, dream-like energy. But I do feel that there are some darker influences in certain pieces.
LC: I'm curious what pieces you’re thinking of.
ESQ: For example, "Fix your eyes on the unseen realm" and “Lover’s Knot" I feel had darker undertones.
LC: I think what you’re picking up on is that feeling of witnessing something that is simultaneously familiar and uncanny. I'm intrigued by spiritual ideas and the realm of the unconscious, which is why I often discuss dreams in relationship to my work. I think most of us have experienced this feeling in our dreams; there’s a mysterious aspect to dreams. Carl Jung referred to it as “the numinous” aspect of dreams. The sculpture, “Lover’s Knot” is inspired by an old Scottish folk song, "Barbara Allen", which is about unrequited love and a couple who die and are buried next to each other. Out of one’s grave, a thorn bush grows, and out of the other, a rose bush, and they grow together, intertwined. It’s a folk song that influenced early country music, but there’s definitely a dark element to that reference.
ESQ: Is it important for you to keep your artwork kind of lighthearted?
LC: Given the darkness in the world, I prefer to bring light. The New York art scene can be very cynical and political, which isn’t my focus.
ESQ: It feels like your work is a collage of different ideas and references, that you then twist into your own vision. In some ways, to me, it echoes what AI does, right? Pulling out information from everywhere, and then generating an image. What are your thoughts on AI with respect to art?
LC: I find it fascinating. I’ve experimented with AI for generating ideas, and I think it’s an exciting tool. There are artists who have been successfully using it for years—like Jon Rafman. I’ve only played with it a bit but I’ve used it to inspire new concepts, feeding in images of my work and observing the results. It has sparked ideas for a few of my drawings. Sometimes it has good ideas. (laughs)
ESQ: There's this saying that likens a painting to a window and now that you've done an Hermès window, how do you feel about it?
LC: Working on this installation for Hermès felt particularly poignant because it literally serves as a window, offering a curated view into a space that is simultaneously real but impossible. Just as I do in all my work, for this project, I wanted to create a bridge between the familiar and the fantastical, allowing viewers to experience a moment of discovery.
This interview has been edited for length and clarity.
As I write this, Taylor Swift will be boarding one of her private aircraft and jetting off for Paris, bringing to an end the months of foolishness that culminated in her six sell-out Singapore stadium shows. Out of love for my daughters, I spent hours in front of the laptop unsuccessfully attempting to purchase tickets to those concerts. 'Twas a fool's errand. Matched only in silliness by the task of schlepping to the stadium this past weekend and standing in the midday sun for 90 minutes to secure the consolation prize of outrageously overpriced Swiftie merch.
While we missed Tay-Tay, earlier this year, my eldest and I were fortunate enough to catch the opening night of another artistic showcase. One possessing somewhat greater cultural merit than Ms Swift’s 3.5-hour performances of polished pop. (At least, that’s what I thought. My teenage daughter may beg to differ.) Held as part of Singapore Art Week, Translations: Afro-Asian Poetics was an exhibition staged by local non-profit The Institutum across several venues at Gillman Barracks. The exhibit collected the works of 100 noted artists of Asian or African background, including Ai Wei Wei, Yinka Shonibare CBE and Nick Cave (the American sculptor, performance artist, fashion designer and academic, not the moody Australian troubadour).
The exhibition’s curator, Zoe Whitley, director of the Chisenhale Gallery in East London, said it intended to highlight "the solidarity and synergies between cultures of the Asian and African diasporas." In conversation the day before the opening, Whitley told me beyond that goal, she hoped the art on the show would confound preconceptions of African or Asian art and defy more granular, national-level stereotypes. "People should come with an open mind," she advised.
"A lot of the artists in the exhibition have the lived experience of—certainly with institutional invitations— being asked to do something because they’re Korean, because they’re Malaysian, because they’re South African," or what have you, she said. Whitley felt the works she’d curated would surprise visitors carrying pre-conceived notions of what Asian or African art might look like. "The fact that by just looking at it, you wouldn't necessarily be able to identify which artwork came from which part of the world is kind of the point," she said.
"In thinking about what’s projected onto us, it’s important for us to not necessarily be tethered by expectations," she explained. "None of the artists in this exhibition are reducing themselves or their possibilities. You wouldn’t look at Bronwyn Katz, for example, and think, oh, that's quintessentially South African art. Every artist (featured in the exhibition) is thinking in new and exciting ways," she said.
"With this exhibition, what is crucial is the diasporic experience," Whitley noted. "That sense of what it means to spread, to migrate, to be from one place and to make a home somewhere else." She felt this common background of being a migrant or the descendant of migrants—an origin story shared by every one of us in Singapore—was what bound these works by artists of disparate racial, national, spiritual and cultural backgrounds.
"Once you've come from somewhere else, what does that mean for creating a new culture?" she pondered. When you’ve settled in a new country, "What does it mean to be Chinese? What does it mean to be Korean? What does it mean to be Ghanaian or Nigerian or African American?" Whitley asked. "So many of the artists, those who I know personally in this exhibition, have had that sense of not being X enough in one place, or being too X in another"—a foreigner in both the land of their origins and their adopted home.
As the surname suggests, winemaker Max Schubert’s family were of German background. Regardless, he didn't hesitate from enlisting with the Australian army and shipping off to fight the Nazis during WWII. After serving with distinction, Schubert resumed work at Penfolds Wines, where he'd started as a messenger boy in 1931. Appointed chief winemaker in 1948, aged just 33, Schubert journeyed back to Europe to see how things were done at legendary Bordeaux estates such as Château Lafite Rothschild and Château Margaux.
He returned to Australia with a vision for making a wine that would stand up against anything produced in the Old World; a robust red that would get better and better with age. Initially working in secret, Schubert created a bold yet nuanced shiraz he dubbed "Grange Hermitage". Some 70 years later, Grange is among the world's most respected and sought-after wines, described by uber-critic Robert Parker as "a leading candidate for the richest, most concentrated dry table wine on planet Earth."
Several years ago, I sat at dinner next to a representative of a historic, highly respected French winery. They whispered in my ear as a glass of Grange was served, "Ah, mais non, we have nothing that can beat this." I recently related this story to Penfolds' senior winemaker Steph Dutton. I asked how she felt about being the guardian of what is probably Australia’s foremost luxury export.
"You feel excited and proud," she said. "And nervous. Australians have a huge affection for Penfolds. And obviously, they're incredibly proud about Penfolds Grange representing 'Brand Australia' to the rest of the world." As the market for Grange spans the globe, Dutton said, "Export markets are always going to be important to us as a brand. So making sure that we benchmark against the world's best of the best—that keeps us operating to a higher standard."
As a vigneron, you're always thinking about legacy. About leaving something for the next generation, preserving the brand's reputation for the long-term, Dutton said. "There’s this lovely reminder that as winemakers, every single time you put something to bottle, it will probably outlive you, with our flagships anyway: Grange, Bin 707, and so forth," she said, namechecking Penfolds' top-tier shiraz and cabernet sauvignon, respectively.
Bottles of Schubert’s inaugural 1951 vintage Grange are still being consumed. One was sold at auction in December 2021 for a record AUD157,624 (SGD138,630), the highest price ever paid for an Australian wine. This longevity means Penfolds' best wines preserve triumphs and failures for decades to come. "If there's something that's not right, you're probably going to have to face up to that literally for the rest of your life," as Dutton put it. "That is a good double-check we use when we're doing our work: if we're not proud of something, let's figure out what we need to change."
That's not to say Penfolds is mired in tradition. Don't forget that the very creation of Grange was an act of rebellion, and many of the house's signature bin-numbered labels began life as risky winemaking experiments. "Our winemakers do a really good job of respecting the work of their predecessors and looking at what tradition counts for," Dutton said. But she reckons the company’s design and marketing departments keep the traditionalists on their toes with moves like bringing Japanese street-style icon, A Bathing Ape founder Nigo, aboard for creative collabs. "They do a really good job of making sure that we’re always nudged forward." Looking to the future? Nothing foolish about that.
Returning for its 17th edition this year, Maison Guerlain's perennial partnership with Art Basel Paris is set to present Good Morning Korea, In the Land of the Morning Calm. The exhibition will spotlight South Korean artists from all walks of life, including the late Nam June Paik, Lee Bul, and Anicka Yi, among others.
Besides pushing boundaries in fragrances and beauty, Guerlain remains dedicated to the principles of heritage and innovation. Guerlain is also committed in providing a platform for artists to showcase their creativity, believing that art has the unique ability to evoke and share memories—be it personal or collective. It's no surprise then that South Korea was chosen as a focus this time around. South Korea's impact as the creative muse of the Western world embodies this philosophy, with its wealth of artistic ideas providing a look into the perspectives of a growing arts and culture nation.
Good Morning Korea, In the Land of the Morning Calm is curated by Hervé Mikaeloff, the exhibition invites visitors to explore memory through a multi-sensory experience in the form of an olfactory journey that links several works, subtly connecting visual and scent-based memories.
The works featured in the exhibition highlight the profound connections South Korean artists have with nature, technology, and the challenges of contemporary society, guiding us through the timeline of South Korea's cultural evolution and its rich, diverse heritage.
An icon in performance and technology-based art, the late Nam June Paik was the first artist to display abstract forms on television by using magnets to distort images. He also famously pioneered the use of portable video cameras—what we now refer to as "digicams". He firmly believed that technology will reinvent the way we create and share art, foreseeing a future of camcorders, live-streaming, and social media. Nam skilfully merged Eastern and Western influences, transforming our inward gaze into an endless technological quest.
Lee is known for her bold, genre-crossing works that explore themes of beauty, corruption, and decay. A pioneer in South Korea's art scene, she continues to inspire younger artists with her early iconoclastic performances and multi-sensory installations, pushing the boundaries of visual art. Her work has been featured in solo exhibitions at major museums worldwide, including the Hayward Gallery in London, Berlin's Martin Gropius-Bau, and Paris' Palais de Tokyo, just to name a few.
Good Morning Korea, In the Land of the Morning Calm will feature Lee's work that delves into ideas of perfection and the distorted realities of modern identity, blending feminine forms with robotic elements to create cyborgs.
Anicka Yi explores the hidden politics and associations of smell by creating unique fragrances, and incorporating scent into sculptures. She constantly pushes the boundaries of science, technology and art, aiming to create new, unsettling and futuristic experiences that challenge traditional notions of her artwork. Her work has been showcased at prominent venues the likes of the Tate Modern in London, and even in Singapore's Art Science Museum.
Yi uses algorithms to create holographic paintings, blending patterns from past work (her "visual DNA") with motifs that draw from both the organic and the technological, raising questions about how art can evolve in the digital age.
Beginning her career as a novelist, Omyo Cho has evolved to create artworks that reflect her literary roots—from sculptures, to installations and VR videos that exist as nonlinear phenomena on a different level. Cho's works have been showcased in numerous group exhibitions including the Surim Art Center, Ulsan Contemporary Art Festival, and Osan Museum of Art. Cho's piece for the exhibition, "Barrel Eyes", invites the audience to envision a future where memories take on concrete forms in real time, redefining our understanding of time and memory.
The Good Morning Korea, In the Land of the Morning Calm exhibition will run from 16 October to 12 November 200 at Maison Guerlain, 68 avenue des Champs-Elysées, 75008 Paris.
“We don’t sell watches, we sell art pieces,” is what CEO of BOVET, Pascal Raffy told me over lunch at the BOVET Story Exhibition. And for years, that's exactly what they've done—creating timepieces so exquisite you'd be forgiven for thinking they belong in a museum rather than on your wrist. This focus on artistry is precisely why everyday-wear timepieces are a rarity for the brand. However, after years of requests from collectors and customers, Raffy finally decided to break tradition with a daily timepiece that somehow manages to still retain that air of artistry. Introducing the Récital 12, BOVET's first-ever bracelet timepiece.
Two years. That's how long BOVET spent researching and developing a bracelet that would meet the house’s standards. Crafted from grade 5 titanium—a material known for its strength and corrosion resistance—the watch is not only durable but also remarkably lightweight. Its density is only 60 per cent of stainless-steel, making it weigh nearly half of a hypothetical stainless-steel counterpart. But now, onto the main selling point.
The subtle lustre and smooth finish of the bracelet lends a sophisticated look to the timepiece. It features a V-shaped design, borrowing from the “V” in BOVET which contours the wrist, creating a slimming effect. Interestingly, when the clasps are folded, it forms an infinity symbol.
The links are engineered to move independently and feature an expansion mechanism allowing up to 3mm of adjustability throughout the day, ensuring a perfect drape on any wrist.
They say the eyes are the window to the soul, but the Récital 12 lays its soul bare for all to see. The 13BMDR12C2 calibre is a brand-new movement that’s been flipped on its belly to bring the intricate mechanics typically hidden on the caseback to the forefront. With a power reserve of seven days or 168 hours and a sweeping arched power indicator at 12 o'clock, the movement is both capable and visually striking.
At a glance, the face of the timepiece looks pretty convoluted, but closer inspection reveals a balanced horizontal symmetry within the inner workings of the Récital 12. The hour and minute hands rest on a dial that stands alone like an island—which are available in dark blue, emerald green, or turquoise lacquered guilloché.
As a testament to Raffy's vision of BOVET watches as wearable art pieces, the three-pronged seconds wheel breaks convention by sitting outside the dial among the exposed gear wheels at 9 o'clock. This deliberate deconstruction of traditional watch design elements creates a visual dialogue, leaving room for artistic interpretations—but I’ll leave that for you to ponder its meaning.
Felipe Pantone, who cut his teeth spray-painting walls as a pre-teen graffiti artist has become a global sensation for his bold, kinetic creations. His signature style, characterised by vibrant colour gradients, geometric shapes, and optical illusions that seem to vibrate and move with the viewer’s perspective has now found its way onto a new canvas: the ZENITH DEFY Skyline Tourbillon.
Limited to a mere 100 pieces, the DEFY Skyline Tourbillon Felipe Pantone retains pretty much everything you loved from the original model, but with a few twists. It features a 41mm octagonal stainless steel case and showcases a tourbillon mechanism with a lightning bolt bridge—a recurring motif in Pantone's art—executed in a stunning gradient of metallic rainbow tones. The watch dial, crafted from sapphire, displays a micro-engraved pattern that creates a moiré visual effect, adding to its hallucinogenic nature. Then again, time itself is a dizzying concept, so this piece makes a fitting tribute.
In this interview with Pantone, we delve into the mind of one of contemporary art’s most daring innovators and discover how he transforms a timepiece into a kinetic masterpiece.
ESQUIRE SINGAPORE: What were the biggest challenges and rewards of this collaborative process?
FELIPE PANTONE: One of the biggest challenges was finding the perfect balance between honouring the technical mastery of Zenith and infusing it with my artistic vision. Watchmaking is a field steeped in tradition, and pushing boundaries within that framework required a lot of careful consideration. However, the reward was immense—seeing a concept that originated in my mind take shape in such a finely crafted, functional object. It’s not just art you can see, but art you can wear and experience in a very personal way.
ESQ: What do you hope the watch will evoke in people who wear it?
FP: I hope it serves as a reminder of the dynamic, ever-changing world we live in. The watch is more than just a timepiece; it's a symbol of energy, transformation, and the blending of past and future. I want people to feel a sense of movement, not just in the mechanics of the watch, but in their own lives as they navigate through time.
ESQ: How did you balance personal expression with the commercial expectations of the watch industry?
FP: Balancing personal expression with commercial expectations is always a tightrope walk. But I see it as a challenge that can lead to innovation. For this project, I focused on how my style could complement the craftsmanship of Zenith, rather than overshadow it. The key was to stay true to my aesthetic while also respecting the heritage and precision that Zenith is known for. It’s about creating a dialogue between art and industry, where both can thrive.
ESQ: Can you describe a eureka moment you had during the design process?
FP: The eureka moment for me was when I realised how to integrate the lightning bolt motif into the tourbillon bridge. It’s a recurring element in my work that symbolizes energy and speed, and it fit perfectly into the watch’s design language. This wasn’t just a visual enhancement—it was a conceptual bridge between my art and the intricate mechanics of watchmaking. That moment was like seeing two worlds come together seamlessly.
ESQ: Are there any other mediums you'd like to explore in the future?
FP: Absolutely, I’m always looking to push the boundaries of where my art can go. Architecture and interior design are already in my sights with Casa Axis, but I’m also fascinated by virtual and augmented reality. These are mediums that allow for an entirely new kind of interaction with art—one that can be immersive and multi-sensory. It’s the next frontier for blending the digital with the physical in a way that challenges perceptions.
ESQ: How do you overcome creative blocks?
FP: I find that stepping away from the work and immersing myself in other forms of creativity often helps. Whether it’s listening to music, traveling, or even just spending time in nature, these experiences tend to unlock something in my mind. Sometimes the solution isn’t to push through the block but to change your perspective until the path forward becomes clear again.
ESQ: What book, film, or piece of music has had a profound impact on you recently?
FP: Roxy Music’s "In Every Dream Home a Heartache" has been on my mind a lot lately. The song starts off as a reflection on materialism and the hollow pursuit of perfection, but then it takes an unexpected, almost eerie twist. That shift from something seemingly mundane to something profoundly unsettling is fascinating to me. It’s a reminder that what we see on the surface is often just a façade, and that the deeper layers are where the real story lies. That kind of unexpected transformation is something I strive to capture in my own work.
The DEFY Skyline Tourbillon Felipe Pantone is limited to 100 pieces that will be available from ZENITH online and physical boutiques, as well as with select retailers, worldwide from 12 September at 14:00 CEST
A nine-time Grammy winner and an American music institution, Sheryl Crow has sold more than 50 million albums worldwide and is a member of the Rock & Roll Hall of Fame. With songs like “Love is a Good Thing,” “Redemption Day”, and “There Goes the Neighbourhood” in her arsenal, she has few peers when it comes to chronicling, as she describes, “the things that I see and the things that disturb my peace.” Her 12th studio album, Evolution, continues the tradition; she wrestles with AI anxieties, rails against Internet trolls and yearns for human connection.
I HAVE BEEN A MUSICIAN since I was old enough to reach the keys on a piano.
THERE WAS A MOMENT when I realised that what I was meant to be doing was not only reflecting but documenting the human experience.
IT’S VERY HARD for me to understand why I’ve had the colossal success I’ve had when I’m not the greatest singer, I’m not the greatest songwriter, I’m not the greatest bass player, guitar player, or producer.
EVERYTHING IS ABOUT the voice in my head that tells me that I’m not enough.
MY CAREER HAS BEEN largely propelled by my need to not just be liked but to be great. I have really come to terms with that. Cancer put that all into perspective—and several bad relationships.
I’VE LOVED SOME AMAZING PEOPLE, and I’ve loved some other people, too.
THE LAST FEW TIMES I’ve been back to LA, I felt melancholy. It’s the feeling of being young and having everything be exciting and full of possibility.
BUT I DON’T REALLY MISS IT. I’m most happy when I’m in this house with my boys in this town.
I’ve loved some amazing people, and I’ve loved some other people, too.
I’VE ALWAYS STRUGGLED with the weight of everything. I come by that genetically.
WHEN I FIRST STARTED TAKING OFF, I could not figure out how to hold all the energy coming at me. So I went and studied with this woman named Sharon Salzberg; she teaches mindfulness meditation.
I DO MINDFULNESS at least 30 minutes in the morning. Wherever I am. Two cups of coffee. Focus on breath.
IT’S A PRACTICE of letting everything go. It’s about finding compassion for yourself and your imperfections.
I GREW UP looking at magazines with Linda Ronstadt and Stevie Nicks, and they were mythical. I didn’t know that fame wasn’t going to feel like those black-and-white photos.
NOBODY, where money is concerned, is trustable.
THERE IS DIVINITY and there’s ego in everything. When you take your analytical “This is who I am and this is what I do”out of it and sit down with that weird, obtuse experience called life, sometimes something you couldn’t imagine surfaces.
I HAVE A FEW SONGS that I think, I don’t even know where that came from.
I TALK ABOUT mental issues because when I was really struggling, I didn’t have an example of somebody who said publicly, “I’m struggling, and this is what I did.” We need to make that normal.
Nobody, where money is concerned, is trustable.
THERE’S NOT A HANDBOOK for how to navigate, as a woman, a business that is predominantly run by men. Or for when you have a strong woman, how that challenges men and their feelings of importance.
I HAVE BEEN ADVISED on numerous occasions to please just tone it down.
I WISH I would shut my mouth but I can’t do that.
WITH CANCER, I had to learn how to say no and put myself first. A year of crying and being mad and not writing and resenting and having fear—and then ultimate joy and adopting a child. There was so much living that went into one year of my life, it seemed like I’d been slapped.
I WOULD NOT WISH cancer on anyone, but for me it was a tremendous—actually, a monumental—gift.
HAVING A DIAGNOSIS like that demands that you rebuild and decide what your life is going to look like and who is going to be in it—and who you are going to be in it.
YOU AND YOU ALONE are responsible for your art.
I LOOK AT WHAT TAYLOR SWIFT has done and think: she’s a powerhouse. The fact that she came up with solutions for how to not allow her music to be a moneymaker for other people when she should be owning it.
YOU WANT TO BE AIRY-FAIRY and making great music and having people love you. But what a distraction.
BY THE TIME my kids came into my life, I didn’t have things that I felt compelled to accomplish. That makes decision-making easy.
I HAVE THIS RELATIONSHIP with these two boys that I’m raising, and I have not manifested somebody coming in and changing that dynamic. That’s not to say I’m going to grow old by myself. I would like not to.
I TELL MY BOYS: “You have a college fund and a therapy fund. I hope you use the college fund, but please use the therapy fund.”
OUR KNEE-JERK NOW is to immediately criticise, vilify. Just observe and try to breathe love through your heart.
YOU’RE HERE for a nanosecond. Why be an asshole?
Originally published on Esquire US
To honour Loewe's origins as a collective craft workshop established in 1846, the Loewe Foundation held its inaugural Craft Prize competition in 2016 to showcase and celebrate modern craft excellence and has since become an annual tradition.
The House seeks to recognise the significance of craftsmanship in contemporary culture by appreciating talent, vision, and innovation. "Craft is always going to be modern. It is about creating objects that have a formula of their own and speak their own language, creating a dialogue that didn't exist before. It is about newness as much as it is about tradition," says Loewe creative director Jonathan Anderson.
Just like the previous years, Loewe Foundation has opened up submissions for the next instalment of the Loewe Foundation Craft Prize—submissions will be accepted until 30 October 2024. Working in a craft-based profession and above 18? Congrats! You're eligible to apply, and the eventual winner will be awarded with EUR50,000, while two special mentions will each receive EUR5,000.
The award ceremony will then be held next spring at the Thyssen-Bornemisza National Museum in Madrid and a distinguished panel of artists, essayists, and curators will judge the submissions, selecting a shortlist of 30 entries. Their decisions will be based on criteria such as originality, clear artistic vision, exceptional craftsmanship, material excellence, innovative value, and distinct authorial mark.
For the most recent edition of the Loewe Foundation Craft Prize saw Andrés Anza's "I only know what I have seen" claim the top spot. The sculpture was crafted from glazed refractory clay adorned with countless small, pointed protrusions that drew inspiration from organic forms. Its quasi-human presence is a blend of figurative and abstract elements, appearing to twist and fold inward upon itself.
In addition to the prize winner, the jury also recognised three special mentions: "Still Life" by Miki Asai, was praised for its intricate and monumental essence by using lacquer and eggshell fragments;
"#16" by Heechan Kim who crafted a sculptural vase using traditional boat-making techniques;
and lastly, "Coffee Table 'Comme un lego'" by Emmanuel Boos that's made from porcelain bricks that can be individually removed from the structure.
Apply for the Loewe Foundation Craft Prize here.
What defines the essence of being Singaporean? Is it the laksa and chicken rice we eat? Our kiasu nature? Maybe it's the way we speak. Whatever it is, I’d argue nothing encapsulates our cultural identity quite like secondary school. For every Singaporean, secondary school was a crucial rite of passage. It’s a time when we are thrust into a melting pot of local culture and self-discovery. These are our most formative and tender years, which harden to form some semblance of who we eventually grow into. In a setting that perfectly embodies the wistful nostalgia and vibrance of Singaporean culture (if you’ve ever revisited your alma mater, you’ll know what I’m talking about), The Lo & Behold group decided to launch New Bahru, a project in this exact place that brings together local businesses to form an artist’s collective.
Brought to you by the folks behind Odette and Tanjong Beach Club, New Bahru repurposes the skeleton of Nan Chiau High School to create a space spanning food and beverage, retail, wellness, entertainment, education, arts and culture. The project's goal is to capture the quintessential Singaporean spirit and unleash our city's untapped creative potential. Despite the easier path of demolishing and starting anew, The Lo & Behold Group chose the more challenging one. By preserving the original framework, they've retained that intangible magic of adolescence. This essence permeates every repurposed classroom-turned-store, echoes through the hallways, and lingers in the parade square.
Home to the infamous SGD18 Nasi Lemak, The Coconut Club resembles how we imagine a Singaporean diner to be. They serve elevated local fare like the Quail Goreng Berempah, made with livestock from Singapore’s oldest family-owned game bird farm. Another standout dish to look out for is the River Valley exclusive Wagyu Beef Roti John.
For everything bedroom, check out SOJAO, a local brand known for 100% ethically made organic cotton products. You’ll find anything from bedsheets, sleepwear and fragrances—one of which White Noise, a collaboration with stillgoods, caught my nose. It’ll have you sniffing the sample paper like an inhaler (in the best way possible) due to its calming effect. I hear they’re collaborating with 50 other local brands, embracing the kampung spirit we’ve grown so out of touch with.
Hearing Nujabes playing in the background of Soilboy told me everything I needed to know about the plant studio. The atmosphere evokes a Zen Japanese garden, with blends of textures—cork on metal, smooth and textured, soft but rugged. Soilboy curates a careful selection of plants that involve intensive research and propagation. The result is a catalogue of flora you probably expect to see in somewhere like Gardens by The Bay instead. Their collection of handmade ceramics is also available for sale in their first experience store, so rest assured your plants won’t go home unclothed.
To effectively sum up what MAKE is, one can only describe it as a kitchen for clothes. Launching as an experience-based concept store, they allow customers to customise a selection of materials and fabric (the seasoning stage as I like to call it) and quite literally, steam them in an “oven” once they’ve undergone the arduous process of this or that. What comes fresh out of the oven is a creation—either a garment or a bag—complete with a beautiful pattern of pleats, a signature design of the studio.
Chef Rishi Naleendra's homage to his Sri Lankan heritage, the restaurant used to be at Wanderlust Hotel but traded it for a bigger space and a thirstier clientele. Now with a bar and a new vigour to the menu, the joint has a new lease of life. Sure, Chef Naleendra may have to travel a little further from his other two establishments—Fool and the two Michelin-starred Cloud Street, both within the Tanjong Pagar district—but you can't really beat the vibe of New Bahru.
Once an online portal, MORNING has now succumbed to having a physical retail space. It's about time though. It's hard to experience the ease of making your own coffee with MORNING's signature Morning Machine. Drop in and the retail staff will walk you through the handling of the machine, as well as, recommend the different coffee profiles that might tickle your fancy. Expect future endeavours like sampling sessions, workshops and events.
What started as an Etsy side hustle has now blossomed into a third physical space at New Bahru. As the first to introduce permanent jewellery (where a custom-fitted piece is welded close without any clasp) in Singapore, Curious Creatures at New Bahru offers fine and demi-fine jewellery collections as well as the only outlet that has a bespoke service.
Located at the Big Block, Alma House's nomenclature is taken from "alma mater" as the building was once Nan Chiau High School. It's a new-to-market serviced apartment concept that's designed by local design studio FARM. With furnishings supplied by Commune, there are six room tiers to stay at; with the Deluxe Room (18sqm) that's fitting for a single traveller or the largest Alma Family Suite (55sqm) that... well, the whole family can enjoy.
If MAKE by Ginlee is a kitchen for clothes, it only makes sense to liken Crafune to a kitchen for leather handbags and accessories. Here, they offer a series of hands-on workshops focused on leather craftsmanship, but there’s also an emphasis on upcycling. That old leather bag you just can’t bear to part with? Under Crafune's guidance, your own hands can transform it into a stylish wallet, cardholder, or any number of creative accessories.
To understand what ÁTIPICO is, look no further than the name itself. Defined as “different from all others of the same type,” ÁTIPICO has had its background as a bakery and caterer for high-end fashion brands. At New Bahru, Room #15 will be its first foray into the restaurant industry, and it seems poised to make a splash in fine dining with a fresh perspective. Based on the tantalising samples I’ve tried, I have no doubt ÁTIPICO will transition just fine into the industry—albeit a little disruptive with how unique it promises to be.
Opening its doors as Singapore’s only Makkoli bar and restaurant, Odem takes pride in its curation of meticulously handcrafted makkoli that’s been brewed with local ingredients and free of preservatives—a far cry from your typical mass-produced rice wine. As someone who struggles to finish a pint of beer, I was pleasantly surprised to find myself enjoying a flight of five makkoli glasses without much resistance. Though we must admit, we’ve always had a soft spot for makkoli. Pairing each sip with a warm and comforting bite of their Soy Glazed Brioche and Gamtae Seaweed Butter hit every spot for us.
Traditional Korean dishes are refined using modern techniques, resulting in a menu featuring comfort food such as the Gulim Mandu and Barbequed Kalbi. The ambience is bathed in soft light, creating an intimate atmosphere that’s sure to get those long conversations going. If you do decide to visit, don’t leave out the Brioche, seriously.
More than the Birkins, Kellys, and Haut à Courroies bags, Hermès prides itself on the art of craftsmanship (fashion and beyond) and showcasing them to the public through unique experiences. We've had variations of them over the years in Singapore—from a literal display of the breadth of its artisanship, to an innovative wellness experience using Hermès leather goods and accessories. This year, Hermès combines the crafts of cinema and performance art with On the Wings of Hermès.
"This work metaphorically illustrates the lightness that is omnipresent at Hermès: in the delicate hands of our craftspeople sewing with two needles at once, in the elegance of materials and in the subtle notes of a perfume. It is an experience which sparks the imagination, designed by the artisans of dreams," says Pierre-Alexis Dumas, artistic director of Hermès.
On the Wings of Hermès is the collective effort of Belgian director Jaco Van Dormael and choreographer Michèle Anne De Mey, with the Astragales dance company. It had already made its run in Los Angeles, Hong Kong, and Shanghai. Singapore is the latest stop in its world tour.
Visitors will experience the entire performance within a film studio format where seven vignettes that blend dance, object theatre, music and cinema, come together to tell the story of the mythical winged horse Pegasus and his seven foals. Each of the seven parts are set against its own backdrop consisting of Hermès objects, and figurines gliding to choreography. Live dancers and choreographers work together with image and lighting technicians—they're captured in real time by Van Dormael and projected up onto a giant screen.
A screening of a 35-minute film of the same name (inspired by the performance) completes the entire experience of cinematic poetry in motion.
On the Wings of Hermès is scheduled to open on 19 July and will run until 28 July 2024. Bookings are now open and can be made online.
What do you do when you're an artist fascinated with the past, present and future? You poetically merge all three to fuel your art. New York-based artist Daniel Arsham is celebrated for crafting modern-looking artifacts or figures that appear eroded, mimicking the effect of casts being burried for centuries. Future relics, if you will. Given his penchant for time, it makes sense that his next project will involve a watch brand like Hublot. The matrimony between his artistic perspective and Hublot's technical expertise yields something that feels modern and otherworldly, the Arsham Droplet.
The Arsham Droplet reimagines the classic pocket watch by building on antique forms using the latest production methods and materials. These updates challenge watchmaking norms, fashioning a timepiece that looks straight out of Ex Machina. Drawing inspiration from nature's water elements, the Arsham Droplet employs titanium, rubber, and sapphire crystal to create a tactile experience that feels like whatever the antithesis of grasping water is.
True to the concept of fluidity, the Arsham Droplet can be shown off in more ways than one. As a necklace to a pocket watch, or displayed as a statement piece on its titanium and mineral glass table stand, Hublot’s patented double "one-click" system ensures seamless attachment.
A timepiece without a heart is merely a shell and the Arsham Droplet comes alive with Hublot's Meca-10 manufacture movement. It flaunts an impressive 10-day power reserve shielded by two domed teardrop-shaped sapphire crystals measuring 73.2mm in length and 52.6 mm in width. Fortified with a titanium case and a custom Arsham green rubber bumper, it's double encased with 17 O-ring seals to ensure nothing contaminates the quiet and intimate environment of the calibre. Featuring Hublot's signature H-shaped screws, the pocket watch bears a stamp of the artist's monogram on its crystal surface. Adding to the Arsham Droplet's theme, it has a water resistance of 30m, impressive for a pocket watch this intricate.
Given the complicated construction of the Arsham Droplet, it's no surprise it's limited to just 99 pieces world-wide.
Augustinus Bader is known for its potent, science-backed skincare, and now it is extending the cellular- renewing magic of its proprietary TFC8 tech to hair. An upgrade from its predecessor, The Rich shampoo and conditioner work in tandem to revive hair that’s extra-dry, heat-damaged, coloured and/or breakage-prone. Essentially, you’d have a mane like this handsome boy pictured.
Don’t be fooled by the appearance of this backpack. This work of art is part of Berluti’s Toujours Soft series. Crafted from Venezia leather, it cuts a rather structured profile but feels incredibly soft (and not to mention, light). The softness also gives the backpack potential to be even more pliable with age. The Scritto-decorated exterior also lends a classic gentlemanly air that’s contrasted with the contemporary top-handle-backpack hybrid.
Because ideas of what makes a man have changed over the decades, it makes perfect sense for Guerlain to update some of its signature men’s fragrances. Perfumer Delphine Jelk sought inspiration from the world of spirits, transforming Vetiver, Habit Rouge, and L’Homme Idéal into eau de parfums reminiscent of infused gin, bourbon and amaretto respectively. The intensities are heightened thanks to a selection of concentrated ingredients; each of the fragrances is seductive in its own way.
How does one create leather shoes that feel buttery-soft on your feet? Zegna achieves it with the use of leather typically reserved for making gloves. Not only is the leather durable and extremely light and airy, the glove leather-tanning process gives it a form- retaining capability that heightens the luxurious feel of the Zegna Triple Stitch SECONDSKIN shoes. Your feet will thank you.
Jabra boasts that its Elite 8 Active earbuds are the world’s toughest and it’s easy to understand why. They are US Military-tested to be dustproof; completely waterproof (with the added boon of being saltwater-proof), and fitted with the Jabra ShakeGrip tech to keep your ear buds in place no matter what activity you engage in.
Say hello to the second release in The Macallan Home Collection. This particular expression is a hearty mix of sultana, rich velvety butterscotch, toasted oak, chocolate and nutmeg for that characteristically sweet and fruity palate of the Spey. But beyond the whisky, each bottle comes with a set of three limited-edition giclée prints by artist Michelle Lucking to visually transport you to the natural beauty of The Macallan's home.
It’s all in the foam with this one. The New Balance 1080V13 is fitted with a thick rubber outsole to help increase its durability in high-wear areas. There’s also its midsole that’s made for incredible comfort thanks to its bio-based Fresh Foam X material. There’s no doubt you’d be able to breeze through your daily training runs in these without needing to worry about post-run aches.
Twenty-five years ago, Bertrand Piccard and Brian Jones were the first to circle the globe nonstop in a hot air balloon. Their timepiece of choice? Breitling’s Orbiter 3, clocking in 45,633km in 19 days, 21 hours and 47 minutes. To commemorate that incredible feat, the Aerospace B70 Orbiter is dressed with an orange dial reminiscent of the balloon’s capsule and marked with the mission logo. A piece of the original balloon is also embedded within the watch itself, visible through the open caseback—a piece of history in your hand, literally, to remind you of the indomitable human spirit.
We cannot tell you just how soft Loro Piana cashmere is—it is something you will just have to experience for yourself. This fringed cashmere scarf will keep you warm, whether in an air-conditioned setting or during a winter vacay. It’s that luxe feel that’s akin to being snuggled up by a fluffy kitty. Oh, and that circular gold logo adornment adds a rather spiffy touch too.
We are all familiar with RIMOWA’s signature grooved detailing on its suitcases and accessories by now. But dig deeper into the brand’s archives and you would find the Hammerschlag (the German word for “hammer hit”) that predates the grooves. RIMOWA brought back the textured, polished aluminium series for a limited edition collection. This time, updating it with modern travel functionalities, so that it’s perfect for when you want to escape the rigours of life for a bit.
Photography: Jayden Tan
Styling: Asri Jasman
Digital Imaging and Retouching: Nguyen Tien Phuc
Photography Assistants: Aisyah Hisham and Brian Neo
Special thanks to Cat Paradise
Led by the Singapore Tourism Board (STB), Singapore’s participation at the World Expo 2025 was an opportunity to share our nation’s story. Located at Yumeshima Island, situated near Osaka, Singapore's pavilion design is called "The Dream Sphere". It is a seven-storey bright red sphere that pays homage to Yumeshima Island’s name, meaning "Dream Island". With the tagline, "Where Dreams Take Shape", this sphere is designed and produced by Kingsmen Exhibits.
If the design looks familiar, chalk it up to coincidence. Leading Singapore-based multidisciplinary design firm, DP Architects spearheaded its architectural design. Inspired by Singapore’s endearing moniker, ‘the Little Red Dot’, DP interpreted the look of the Dream... quite literally. Conceived in line with the expo's theme of "Designing [a] Future Society for our Lives", the Pavilion aims for positive change to build a more sustainable and liveable city for Singaporeans. It's constructed around the tenets of 4Rs—renew, reuse, reduce and recycle. And staying true to the message of sustainability, the facade is made of more than 20,000 recycled discs.
Other design features of the Pavilion include its scaly exterior. It references the Seigaiha, a traditional Japanese wave motif, and Ema, a Japanese wooden wishing charm. The sphere’s colour coincides with Singapore's and Japan’s national colour. Its shape resembles the distinct silhouette of the Japanese ume.
Carrie Kwik, Executive Director, World Expo and Special Project, STB, said, “Singapore’s participation at Expo 2025 in Osaka serves as an important platform for Singapore enterprises and talents to be profiled on a global stage and a chance for companies to enhance their brand visibility and engage potential business partners. We are proud to bring Singapore to Osaka and aim to have Singapore business missions visiting Japan to network and promote collaboration between Singapore companies and Japanese guests at our Singapore Pavilion.”
Expo 2025 Osaka expects 28 million visitors over 184 days from 13 April 2024 to 13 October 2025.
