ESQUIRE SINGAPORE: We understand that you’re a big fan of podcasts.
DAPHNE KHOO: I’ve been listening to so much of the Duncan Trussell Family Hour podcast.
ESQ: Oh, yes. Duncan can be very deep with the big questions about life. Are you in a better place right now?
KHOO: Yeah, I think I am. When I was younger, I had this beautiful image of the future. No matter how bleak my reality was, everything was going to be better. The equations in my mind, social expectations of people and life... they made sense.
ESQ: I’m hearing a “but”.
KHOO: But as I got older, I realised you can’t predict how people will react to me, so my mindset has changed. While I’m optimistic about my life right now, I also understand that it is because I had overcome tribulations and I'm just waiting for the ones to come.
ESQ: You are expecting the other shoe to drop?
KHOO: Always, always, always, always. But I’m also reminding myself to enjoy the moment. Like now. This is great and I’m super grateful for it.
ESQ: When did this shift occur for you?
KHOO: I think it was a gradual accumulation. Episodes where I got cancer kind of scuttled my plans. I was like, that’s ok. I’m resilient. I’ll get up, I keep going and then it’s one thing after another, you know. It’s not just the illness but also people disappointing you, taking advantage of you.
ESQ: Life and its lemons.
KHOO: But there is hope. That’s what keeps me going.
ESQ: Can we ask about the name change? You went from Daphne Khoo to Haneri.
KHOO: Ok, the reason that I needed a pseudonym... no wait, that’s not right. I’m thinking of another word.
ESQ: Persona?
KHOO: Yeah, thank you. I needed a new persona because I put out a lot of music as Daphne Khoo. It was fun but I didn’t know anything. I had no one to teach me, no music mentor or life coach at the time. I needed to figure out who I was and what kind of music I like for myself.
ESQ: What were some of the things you wish you’d known then?
KHOO: I didn’t know what I was aiming for. I didn’t know if I wanted to write a hit nor did I think about that side of things like marketing or PR. I was driving blind and I couldn't see anything ahead of me. But I’d just go.
Here’s how much I didn’t know: I didn’t hire professionals so instead, for a music video, I roped in my sister's mother-in-law who sells make-up to do my make-up.
ESQ: Selling make-up does not mean one can do make-up. At least, you were enjoying yourself.
KHOO: I was. But there wasn’t a lot of thought going into it. It’s like if you were painting but you don’t care about the brushes or the colours; you just want to get your paint on canvas. That was me.
ESQ: The “Just Do It” mentality.
KHOO: Yeah, just do it and figure it out later. Now, with experience, I find that there’s texture, storytelling and intention in music. I’ve learnt so much in the last 20 years of my career and waking up to that realisation—I didn’t know who I was; I didn’t know what I stood for; I didn’t know what I cared about.
ESQ: When did you start to realise this?
KHOO: The first was in 2008. I was in my mid-20s or early-20s. I wouldn’t have had that epiphany here [in Singapore]. Getting into Berklee College of Music and moving to the States helped. Even then it was this weird hybrid of who I was trying to be and who I thought I was.
That self-awareness came about later on, when I realised I wasn’t focusing on health and relationships.
ESQ: Back then did you think the music was superficial?
KHOO: Not at all. I thought I was super deep but I probably wasn’t. I was introspective; overthinking every possibility. It’s one of the things that served me well but it also ended up backfiring because you can’t take everything too seriously in life. I’m trying to look at one emotion in a thousand different ways.
ESQ: You can’t please everybody.
KHOO: Yeah, but part of being a people pleaser came from thinking that was where my income was coming from. That if I didn’t please everyone, I wouldn’t sell music and in turn, I wouldn’t be able to feed myself.
So, that came from a place of desperation. I was trying to suss out what everybody else wanted. I look at all these young artists these days and—I don’t know if it’s the way I was brought up culturally—but what they do seems selfish and yet, I get it. They are so unapologetically themselves and people vibe with it. It doesn’t matter how I present myself. The bigger question is: How do I feel? And I can also go off on a tangent and be like, Why does that matter?
ESQ: Must be fun living in your head.
KHOO: But going back to your question about “Daphne Khoo” and “Haneri”... people [in Singapore] remember me as Daphne. I’ve done so much more as a musician since I adopted the "Haneri" persona when I was in LA. If you go to Europe or the US, there’s a higher chance that people will not recognise me but they’ll recognise the music, more than all of my fans in Singapore.
ESQ: You work with other music producers.
KHOO: Yeah. With a lot of EDM producers. It’s one of the things that made the most money in my 20s. As Haneri, my first single was with Dash Berlin so I have a lot of requests coming in from around that region. When I returned to Singapore, it seemed like a smart move to go back to “Daphne Khoo”.
ESQ: You’re now working in radio.
KHOO: As you know, I'm now with Kiss92 [Eavesdropping with Daphne Khoo].
ESQ: Congrats. Are you satisfied with where you are right now?
KHOO: No, I’m never satisfied with where I am. But I am content.
ESQ: Was it easy to get to this level of contentment?
KHOO: Absolutely not. You saw me through some dark years.
ESQ: Are we talking about the COVID years?
KHOO: That was a terrible period when I lost my dad. I think that was the biggest reveal that disappointing things can lead to beautiful things. Imagine if I had my visa renewed and decided to stay in the US, I’d never have been able to be with my dad in his last days during the pandemic.
ESQ: But you’d have returned anyway, right?
KHOO: But I might have been too late. Or my relationship with my dad wouldn't have been the same.
ESQ: What’s your relationship with him like?
KHOO: We don’t have enough time to unpack that but in a nutshell: my dad was a wonderful human being but flawed like all humans are. He didn’t know what he was doing when he had kids. He didn’t know how to be a dad to three girls; he was so out of his element with us.
I think the hardest thing in the world is sucking at something for a while and figuring out how to do better. You can’t just be, I’m a bad dad so I won’t be a dad then. He took it upon himself to try and slowly get there. He didn’t know how to show he loved us because he came from a very difficult background and he felt there was no way out of it.
But watching him in the last few months of his life was quite something and I wouldn’t trade it for anything else.
ESQ: Did you get your closure?
KHOO: I think getting closure made me even more mad at him. In a, wow, you did this perfectly. You did everything you wanted and then figured out how to just make it all better just before you died.
ESQ: Took a while but he got there.
KHOO: He changed a lot as I got older. We had conversations like two grown adults. I mean, he was never good at talking about his feelings but he was consistent on how he apologises, which is never... but in other ways, he’ll demonstrate it by wanting to take you to work, you know? Towards the end, he just got very spiritual. He fought the cancer for eight months and in that time, did some very tough self-reflection. He told us about his life and where he thought he fell short. And then, asked us for forgiveness.
My mom found a bunch of notes on his phone. We kept his number alive and now use the phone as a media player now. He showed me that you don't have to have it all figured out. The people around you might disappoint you but you still can choose who you want to spend time with.
Those memories will stay with me for a very long time. Some good and definitely some bad because it is very tough to watch life drain out of someone you love. It was tough for him too, but he handled it.
ESQ: With regard to your career, would you consider this a comeback?
KHOO: I do, but it’ll be a very slow comeback. I had a new single called “Daydream” that came out. For the last three years, I haven’t looked for jobs; I haven’t been actively creative. I'm just trying to ease my way back into making and releasing music. I try not to let the last couple of years hold me down because I’d rather move forward.
All the accolades and achievements that I have gathered while in LA—even if just for a few years—have been part of the most amazing experience in my life. I’d like to believe everything that’s happened to me—good and bad—is leading me to where I’m supposed to be... which turns out is in this weird little cafe with you right now. And that’s ok. This is nice.
Photography: Jaya Khidir
Styling: Asri Jasman
Hair and Makeup: Nicole Ang at SUBURBS STUDIOS using DUNGÜD and CHARLOTTE TILBURY
Photography Assistant: Kerk Jing Yi
Styling Assistant: Lance Aeron
The move to Sofitel Singapore Sentosa Resort & Spa marked a new milestone for Maduro. Formerly located at Dempsey, the move to the luxury resort on Sentosa Island aligns with Maduro’s vision. Keeping to its goal as a lifestyle destination, providing an unparalleled experience for whisky and music enthusiasts in the region.
The beautiful new venue is filled with globally sourced artwork. Curated by Maduro’s culture-loving founder Peter Ng, the pieces add to its eclectic interior. Guests may spot a Banksy or two when exploring their new space. It is a haven of the arts for patrons looking for a respite from the relentless buzz of city life.
Since its opening, Maduro has managed to build an identity and brand with patrons and the community through the gift of music, cementing itself within the local live music scene. Live music is held on most Friday and Saturday evenings, and it sure does know how to attract a crowd. Music takes precedence at Maduro, whether it's classical music, contemporary, fusion, pop or jazz. Unlike in other bars, when the music starts playing, the crowd goes silent as they listen attentively. No one talks over the music.
(Editor: Look, we really wanna to highlight the negative effects of smoking. We don't endorse smoking but you're an adult with excellent reading comprehension so you can make your own decision, natch.)
With a special private room meant for cigar smoking, Maduro provides a wide selection of Cuban, Dominican and Nicaraguan blends. There is a 24-hour temperature and humidity-controlled walk-in humidor, creating a sublime smoking experience. Additionally, a cosy retail corner offers a range of Davidoff accessories including humidors, cases, cutters, and Maduro merch.
At the whisky bar, a key highlight is Maduro’s focus in sourcing non-mainstream labels for their bespoke whisky selection, presenting a curated range of premium whiskies from Independent Bottlers (IBs). Regular masterclasses and tasting sessions are organised to unpack these gems, where guests are taken on a sensorial journey of smell, taste and storytelling led by a whisky connoisseur. Unlike mainstream whiskies, IB whiskies are bottled at cask strength, displaying the full flavour of the barrel and elements of the environment they were produced in.
Exclusive bottles include: Cask of Distinction Lagavulin 200th Anniversary Special Collector’s Edition Aged 15 years, Isabella’s Islay Aged 30 years, and Eidolon Port Ellen 1983 Aged 36 years Sherry Butt, to name a few. Besides whisky, Maduro offers a range of other beverages such as rum, cocktails, champagne and wines.
“We are excited to present these new and choice selections and experiences to our clientele, many of whom are our loyal regulars who have grown with us since our early beginnings,” said Ng. “We look forward to welcoming new guests to Maduro and hope that they too will find comfort, inspiration and joy in our space.”
Maduro is located at 2 Bukit Manis Rd, Singapore 099891 Lower Lobby of Sofitel Singapore Sentosa Resort & Spa
Amid rising concerns about climate change, many companies are innovating solutions to address these problems. Within the food industry, some companies are investing in development of meatless meat alternatives. However, meat and dairy products aren't the only foods with a high carbon footprint. It's been found that a cup of joe can generate an estimated 29kg of CO2 per 1kg. Enter Prefer’s beanless coffee.
Founded by food scientist Tan Ding Jie (chief technology officer) and former neuroscientist Jake Berber (chief executive officer), Prefer aims to create sustainable solutions with food. With Tan's expertise in the field and Berber's experience in the investment sector, the two set up Prefer, which is the first of its kind in Asia.
While there are other bean-free coffee producers that use chickpeas, rice hulls and seeds to make their product, Tan and Berber wanted to push the envelope by using food waste.
Prefer produces their coffee by upcycling food manufacturing by-products sourced from local companies. This includes day-old bread from Gardenia, soy bean pulp from Mr Bean, and spent barley grains from local breweries such as The 1925 Brewing Co. Once gathered, the three ingredients are then blended in a secret ratio and fermented, roasted in an oven to bring forth aroma and flavour, and grounded till preferred fineness. Fermentation also enables Prefer to create flavours that can replicate coffee profiles sourced from far-away lands such as Ethiopia and Columbia within the same facility. This in turn, mitigates the environmental impacts that come with importing food and its price markups.
While Prefer’s grounds are caffeine-free, the upside is the ability to add caffeine derived from tea and adjust levels as preferred. Prefer’s coffee can be ground fine for espresso, or medium coarse for drip brewing. On the nose, drinkers can pick up a malty and nutty aroma reminiscent of dark roasted coffee. When sipped, flavours of cereal and hazelnut come through with an earthy bitterness and mellowed acidity. The extraction process is as per normal, taking the same amount of time when brewed using a coffee machine. Baristas and coffee drinkers can also appreciate the crema that allows for latte art.
At present, Prefer is available at cafes including Dough, Brash Boys, First Story Cafe, Foreword Coffee Roasters, Parched by Parchmen.
"It's absolutely false to think that we in democratic countries have it any different to China," insists Frederic Lemieux. "The only difference is that China is open about what it does and we have a more layered, subtle approach. Governments say they’re not bad but the fact is that they have access to everything if they want it. Frankly, it's hard to grasp the scope of the surveillance apparatus today."
Lemieux is a professor at Georgetown University, US, specialising in information technology, and he uses a virtual private network. He avoids Zoom and social media; has "privacy settings through the roof". Lemieux is only "friends" online with people he’s met several times in person. He watches what he says in emails, won’t wear a smartwatch. And he is not remotely paranoid.
Just look, he says, at the mobile surveillance spyware Pegasus—technically illegal in the US. And yet the FBI has just been caught out. They are forced to cancel its arrangement with a government contractor that used the tool on its behalf. It’s the latest instance of an abuse of power. And the data breaches that underscore it are uncovered somewhere around the world every few months. Many more, one can only assume, are not. "So am I hopeful of some correction to this surveillance culture?" says Lemieux. "No."
Perhaps this culture has been a long-time coming. After all, the idea of systematic surveillance is not new. The Panopticon was the name given to an ideal prison devised by philosopher Jeremy Bentham in 1787. In it, every prisoner would—as an encouragement to improved behaviour—be observable without ever knowing if they were being observed. It would, as Bentham put it, create a "sense of invisible omniscience". And, he added, more darkly: "Ideal perfection would require that each person should actually be in that predicament, during every instant of time. This being impossible, the next thing to be wished for is, that, at every instant, seeing reason to believe as much, and not being able to satisfy himself to the contrary, he should conceive himself to be so."
In Bentham's time, this was no more than a thought experiment. Today the situation is very different. As the tech entrepreneur Maciej Ceglowski put it to a US Senate committee in 2019, "Until recently, even people living in a police state could count on the fact that the authorities didn’t have enough equipment or manpower to observe everyone, everywhere". Now, it seems, it looks as though they "enjoyed more freedom from monitoring then than we do living in a free society today."
It’s easy to see why. The aforementioned spyware, with advanced processing power, can now collate, save and analyse truly awesome quantities of data. Increasingly prevalent CCTV has morphed into often erratic facial-recognition technology and biometrics. That includes the unevidenced idea that people’s emotional state can be read through their physical appearance. Drones have provided 'eyes in the sky'. These digital currencies—actively promoted in many nations as a stepping stone to doing away with cash—will allow the tracking of all financial transactions. So-called 'smart cities'—the UN recognised Singapore as a world-leading example—see the mass deployment of intrusive sensors to monitor its citizenry. Supposedly with the intention of improving the urban environment. And there's ever more wearable tech, RFID tags, GPS dots and the growing Internet of Things to provide anyone sufficiently well-resourced with a detailed picture of what once was considered private.
“But then we have also become largely indifferent to matters of privacy,” stresses sociologist Dr Gary Armstrong, co-author of The Maximum Surveillance Society. “Generation Facebook/ Tik-Tok / Instagram have a different perception of privacy than my generation—over 60s—and think nothing of self- revelation and self-promotion. As it stands the state knows less about me than, say, supermarket chains do.”
How so? Invariably because the greatest tool in the snoop’s armoury is, as Lemieux puts it, "our own complicity". We let Alexa listen and Ring Video doorbells watch. We sign up for loyalty schemes. Given that 86 per cent of the growing world’s population owns a smartphone, we willingly allow the means of our own monitoring. David Lyon, director of the Surveillance Studies Centre and professor of sociology and law at Queen’s University, Ontario, argues that while CCTV might remain the most powerful symbol of surveillance, to still think of it as the most powerful means of surveillance is way out of date. That's the gadget in our own pocket. Our self-imposed, frantically upgraded, style-conscious ankle monitors. He calls the result 'dataveillance', our supervision and assessment through a melding of state and corporate interests.
"And that’s been mutating and accelerating at a rapid rate," he says. Lyon cites a recent case in Canada. A user of the ordering app from a Tim Hortons put in a "freedom of information" request about its function. He discovers that, even when he thought he had disabled it, the app continued to track his movements. It even recorded when he visited one of the company’s competitors.
What he still didn’t grasp, however, was "the other uses that data was undoubtedly put to. His data was sold to and among other corporations and institutions in what has become a globally-significant economic system," says Lyon. "It's not just about being tracked but analysed, and then treated according to the profile then created and from which all kinds of judgments are made—by employers, healthcare providers, banks, insurers, law enforcement. The thing is that most people just don’t get that this is even happening."
Small wonder then that when the public reaction to surveillance is discussed it is, at best, rather muted. As Lyon puts it, "we've become seduced [through our smartphones] by the idea of the world organised around our needs, living in a very consumerist society in which efficiency, convenience and comfort have been elevated into core values"—"luxury surveillance" as it has been dubbed. And even if we give it some thought, our rationalisations justifying our acceptance of surveillance tend to be misguided, adds Juan Lindau, professor of political science at Colorado College, US, and author of Surveillance and the Vanishing Individual.
People dismiss the encroachment of surveillance because "they have nothing to hide"—"but it's a bullshit notion that they wouldn't mind if every detail of their life was out there for all to see," Lindau notes. Or they say they're too irrelevant to be of interest—"but if you ever do anything of even remote political consequence then you’re immediately not irrelevant to the state," he adds. Or there's the argument that any one personal revelation is now merely lost in a giant sea of revelations and so doesn't matter.
"But its evil brilliance... is that tech gives the veneer of distance and [us the sense of] anonymity that is entirely fictitious," he says. "It is not impersonal. We spend our lives now interacting with machines that observe all, that never forget and never forgive, such that the delineation between our inner and outer selves is [breaking down] by stealth."
It's also because thinking seriously about the boundaries for surveillance is relatively new. Before the seismic revelations of Edward Snowden, much concern about surveillance was dismissed as so much conspiracy thinking, argues Professor Peter Fussey, an expert in criminology at the University of Essex, UK. That, and because much of the surveillance apparatus is, governments so often argue, for our own safety. That's the line Myanmar has taken in the junta’s crackdown on protests. Or for more effective, worryingly "proactive", increasingly militarised crime prevention.
That's concerning. As Armstrong argues, we're well on our way to systems that look for the potentially suspicious or merely inappropriate. "Doing that requires a database of both known and potential offenders. And such schemes are always sold on the benefits of apprehending these known offenders," he says. "But these schemes are expansionist and soon develop databases of 'people of interest' too".
But it's also concerning when national emergencies are used to bring in more surveillance. We see subsequent spikes in favour of its expansion. A TNS poll conducted in 2014—three years after 9/11, but also not long after Snowden—found that 71 per cent of respondents thought the government should prioritise reducing the public threat "even if this erodes people's right to privacy".
"The idea that surveillance is for our own safety holds water, but only up to a point. Surveillance doesn't inherently make us safer. And that’s aside from the misplaced assumption that surveillance always works, as many cases of misidentification suggest," says Fussey. (He also an independent human rights observer of London’s Metropolitan Police while it trialled facial recognition technology from 2020.)
"The problem with people being suddenly more accepting of surveillance after, say, a terrorist attack is that the powers then given [to the machinery of state] don't tend to be rolled back later," he adds. "And then there is the fact that if we keep creating these tools that can be used for surveillance—even if that's not their intended use—they will be. There is simply just so much evidence for their misuse."
Furthermore, the expanding means of surveillance—from gait recognition to remote heartbeat analysis—are developed at such a pace that campaigners and legislators can barely keep up. It says something concerning that a hugely powerful business like Amazon has been entirely open in its ambition to create tech products with what it calls "ambient intelligence". They are always there in the background harvesting your life.
There's mission creep to contend with as well. If it wasn't bad enough the state and commerce wanting to watch us, remote working has encouraged a culture of surveillance among employers too. There was a boom in monitoring software. Tech used to map the behaviour, mood, eye movement, location, online activity and productivity of often oblivious workers. The American attorney Zephyr Teachout has predicted the coming of "surveillance wages". This is where each worker’s pay is constantly changing according to that worker's perceived alignment with their employer's expectations. Data would be used for hiring and firing decisions.
Could a new ad-free business model be devised for the web, disincentivising data collection? Could the European Union's General Data Protection Regulation be adopted beyond its borders? Even as Facebook obtusely moaned about how it and other regulations "may be costly to comply with and may delay or impede the development of new products, increase our costs, require significant management time and subject us to remedies that may harm our business".
Is there scope for a rebalancing of the interests of the surveillance industrial complex and individuals' rights? This segment makes billions from monetising data flows, with China and US the leading exporters of surveillance tech. Surely the transparency and accountability necessary for the relationship between state and citizen to function requires it? And yet, right down to how certain parts of your smartphones algorithms work, all is opaque, and getting more so.
"We have to have a much clearer sense of how surveillance will be used, whether it's legitimate and the necessary limits on its use," implores Fussey. "We're invited to think that the technology is just too complicated, but actually the standards we need to protect—standards in international law—are basic. The problem is who enforces those standards. We need the right policies, programmes and oversight."
"My concern is that so much surveillance now isn't just about watching where you go and what you do but what information you consume and what thoughts you express," adds Lemieux. "Surveillance can now be used to gauge opinion and so influence opinion too. It's not just about watching us through data but manipulating us through data."
Indeed, the instruments of surveillance only look set to get more invasive, more clever, more wily and devious. The tide might be turning. Lindau argues that after a long period of being "promiscuous with sharing our information", some of us are waking up. With low download rates for various government-driven tracking apps during Covid, the pandemic opened the doors to data collection and tracking on a scale that would have been imaginable just a few years before. Some cities— Portland, Oregon, for example—have banned the use of facial recognition in their stores and restaurants. And there’s a growing academic interest in surveillance overreach too.
And yet the more a surveillance mindset is applied, the more ordinary it seems. "Citizens are allowing greater and greater intrusion, to the point where the distinction between public and private has really broken down at this juncture," suggests Steven Feldstein, a senior fellow at the Carnegie Endowment for International Peace and author of The Rise of Digital Repression. "The smartphone has normalised surveillance but it's a slippery slope. You continue to push at the boundaries and surveillance just becomes more and more acceptable. And there are no concerns about this because there is no political will [to make changes]. And there's no political will because nobody seems to care about it. We're seeing a greater level of omni-surveillance made possible and that needs more push-back."
In fact, we're moving towards TIA or Total Information Awareness. "The goal to know everything about everyone in real-time," as Lindau explains. "And so far all that has limited that most totalitarian of ambitions has been the tools."
The really bad news? The tools are coming. The AI Global Surveillance Index suggests that at least 75 out of 176 countries, many being liberal democracies, use AI for automated surveillance purposes. "All considerations we have about surveillance get put on steroids with AI," Lindau says. The French government, for example, has passed a law allowing the use of AI in mass video surveillance at next year’s summer Olympics in Paris. For AI to work, the data must flow. Your data. Everybody's data. "The ease with which AI will be able to amass and process information, combined with facial recognition, well, that’s ominous," he says.
He cites by way of example his recent experience of returning home from a holiday in Norway. Passing through the notoriously aggressive and prying US Immigration, he expected the typical barrage of questions. Instead, he was just asked to look into a small camera. That was it. Lindau asked if they wanted the usual details about where he had been and for how long and why. No, they said casually, we already know that.
Orchard Road. The once plantation-lined country lane is now a hubbub of shopping. You have your usual great oaks (Ion Orchard; Paragon; TANGS Singapore); the buskers that dot the periphery of the malls; the annual Christmas light-up that encompasses the 2.2km thoroughfare. It is a tree-shaded Babylon. But westerly Cuscaden Road has its own share of flavours. None more than the appearance of its hotels.
There’s St Regis at Tanglin Road and further down, at the corner of Grange Road and Cuscaden Road is JEN Singapore Tanglin. But we are especially excited about the Singapore EDITION, Artyzen Singapore and the Conrad Singapore Orchard. The first two are new to Singapore, while the third took over the building that used to be The Regent, gave it a nip-and-tuck, and is now rebranded as the Conrad Singapore Orchard. (Ah, now it makes sense.)
Three hotels. All opened within the last few months. We look at each of them, what they offer and what to expect from these lodgings.
We’ve heard of the EDITION hotels and how hip and cool it is to stay there. So, colour us excited when we heard that it opened in Singapore.
From the outside, it doesn’t possess many of the trademarks that you see at a conventional hotel. You can’t see through the curtained glass doors; the row of plants that divides the structure and the public sidewalk, furthers obstructs the view of the main entrance.
But once you cross the threshold, it’s like stepping into another world, where hip sounds and new sights flood your senses. The lobby is lined with white marble, which contrasts with a gold-leafed domed ceiling. Windows stretch from floor to ceiling and bathes the space in natural light. And there are plants galore. Not as verdant as a forest but enough to catch your eye.
Then, as you walk towards the Lobby Bar, the scene changes and now you’re faced with their oversized display cabinet backlit in pink. (I’d come up with more descriptors of the different shades of pink but I’m a cisman and this is the best I can do at the moment.) You spend a minute there, agog, before you’re offered a drink to make full use of your open maw.
A spiral staircase leads to the lower level where the Punch Room is. Every EDITION has its own Punch Room and Singapore’s version is washed in "Yves Klein blue". Oak panels line the walls and ceilings; stone fan-shaped mosaics cover the floor. In the middle, a sculptural blue ceiling pendant hangs like a dew drop. The Punch Room serves punch (duh) that’s inspired by Southeast Asian spices.
Guests can choose from the hotel’s 204 rooms; each of the rooms is bedecked in shades of mostly white. I’ve a child, a ravenous thing, who wolfed down the welcome chocolate amenity and I was on tenterhooks, trying to keep him from sullying the bedsheets. We stayed at the Garden Premier King, which overlooks the garden courtyard.
The Roof is a semi-al fresco setting with a white-tiled pool. Sure, there’s the towering residential wing but you’ll forget all about them when you do laps in the pool; especially when you swim over the transparent acrylic screen that lets you look into the garden courtyard below. Freaky.
Over at FYSH at EDITION, the main dining room is inspired by a maritime passage from East to West. Nautical elements, while not overt, make their presence felt—a Christian Furr painting of a junk at sea hangs behind the bar; a backlit ceiling panel depicts a celestial navigation map.
Chef Josh Niland handles FYSH at EDITION. This is his first restaurant outside of Australia. Diners are served from a "sustainable seafood-focused steakhouse" menu. All, if not most, of the dishes, tie back to Chef Niland’s fin-to-gill approach. The FYSH egg tart is a decadent delight, with salmon roe on top of French creme fraiche and chives sitting in a shortcrust pastry, and the Brown Clams XO is a serving of Javanese brown clams with noodles made from, get this, cod bones. It’s chewy and goes great with their XO sauce (made of more cod bones and other fishy stuff).
The Singapore EDITION is located at 38 Cuscaden Road.
It used to be the storied Villa Marie, a two-storey colonial-style bungalow, once purchased by Tan Hoon Siang (the great-grandson of Tan Tock Seng). Shun Tak Holdings Limited bought the property in 2016 with plans to redevelop the site into "a five-star hotel facility".
Finally, in the year of our Lord 2024, we see the fruits of Shun Tak’s labour: Artyzen Singapore. This is the first Artyzen hotel outside of Greater China. Inspired by our Straits heritage, Artyzen Singapore presents itself as a contemporary vertical oasis thanks to the architectural savvy of ONG&ONG and the ID-know-how of Nic Graham & Associates.
Given the area it occupies, Artyzen Singapore is built with height in mind. It offers 142 rooms and suites, each boasting high ceilings and ceiling fans, and furnishings that give a sense of spaciousness. Stay at the Terrace Suite and you have your own outdoor Sky Garden to traipse in. You can find a bathtub and a separate rain shower in the ensuite bathroom; the his-and-her bathroom sinks give a sense of closeness and independence (unless you have a kid).
The hotel has Quenino, a dining concept helmed by Chef Victor Liong. Quenino (pronounced as /′ke-ni-nu/), we are told, means "little one" in Malaccan Creole Portuguese. Inspired by the Straits, dishes are a blend of traditional and modern techniques. The restaurant’s interior is something to behold as flora bedecked the space. If you’re uninterested in the beauty within, there’s always the lush outdoor terrace where you can set your peepers at the Orchard Road cityscape.
Other things of note: there’s the Roof Garden, where you can soak or swim in the infinity pool. There is also the fifth floor dedicated to wellness with a 24-hour gym and private treatment rooms. What was really memorable were the elevator walls of Artyzen Singapore. They are artwork created by local artist, Terence Tan. Depicting the outside of a shophouse, the artwork is akin to a stained-glass window. When the doors open and the outside light pours in, it paints the piece in a different... well, light.
Artyzen Singapore is located at 9 Cuscaden Road.
The Conrad Singapore Orchard is the second property of the Conrad brand. When news of it taking over the space from The Regent broke, many were worried that perennial favourites like Manhattan, Basilico and the Michelin-starred Summer Palace might relocate to another place. But after a meticulous refurbishment, the restaurants and bar remain where they were before.
Originally envisioned by the architect John Portman, and infused with the creativity of local artists, Conrad Singapore Orchard extolls Singapore’s garden city ethos through its design and programmes.
The hotel has 445 newly renovated rooms that are spacious and that blend botanical-inspired aesthetics with natural hues. The floor-to-ceiling windows with plantation shutters allow for natural light to stream in.
While we could go on about the room stay (excellent, by the way), we want to dive into the “Conrad Experiences”. These are tailor- made programmes that residents could partake in. It’s all part of the brand’s commitment to redefine luxury through impactful experiences. With a curated programme, guests get to have that purposeful interaction, that deepens this connection with the place that they are in. We applied for the Cheese Infusion Workshop in Basilico’s Cheese Room. There, we were taught how to infuse our own cheeses (while stuffing our faces with said cheese).
And while, cheese always filled the emptiness in our souls, it was the Edible Garden Walk activity that took the cake. This is a guided tour that took us from the hotel to the UNESCO World Heritage Site, Singapore Botanical Gardens. As we hoofed it, we were taught about the plants that could be eaten along the way. Now, you’d think that we could eat them but no, we can’t because it is verboten under the Parks and Trees Act.
But even with this restriction, our guide brought along the cuttings of the same plants from his garden. It was an illuminating excursion that culminated with a sit-down at the Botanical Gardens as we dig into a packed lunch with ingredients made from these found botanicals.
Conrad Singapore Orchard is located at 1 Cuscaden Road.
I recently had a suit made at Marlo Bespoke on Club Street. Wanting to do something uniquely Singaporean, I decided to juxtapose a cloth that reflected this city’s position as a financial hub—banker-style navy pinstripes—with a vibrant tropical-motif lining, a nod to Singapore’s ‘garden city’ status.
The idea was to sartorially balance business and pleasure, sobriety and whimsy. I’m far from the first to have had this thought. Vishal Advani, managing director of Officine Paladino, the Singaporean cloth merchants responsible for the bold bird-emblazoned internal fabric I selected, says his range of splashy graphic linings have proven to be a tremendous success.
“We wanted to give sartorial enthusiasts a way to express their individuality and their passions, whether that be golf, fishing or tennis, travel, automobiles or cryptocurrency, whatever the case may be,” Advani says. “It’s an opportunity they’ve really embraced—sales of our more outré designs have been brisk.”
In addition to its Italian-made viscose linings, Officine Paladino also traffics in an array of audacious suiting cloths, for those who fancy a more overt expression of maximalism. “Being from Singapore and dealing with a lot of tailors around Southeast Asia, we take inspiration from the situations and people around us,” Advani says. “In this environment, colour and pattern just come naturally.”
That’s a statement prominent hotel interior designer Bill Bensley would most certainly agree with. Since establishing his studio in Bangkok in 1989, Bensley says, “I have evolved into a serious maximalist. My personal taste craves layer upon layer of quirkiness and colour.”
Arguably the leading name in sustainable hospitality design today, Bensley (who was initially trained in landscape architecture) may seek maximum impact visually, but he always aims for minimal impact environmentally. His own Shinta Mani Wild luxury eco-resort in the jungles of Cambodia was built without cutting down a single tree, and at sibling property Shinta Mani Angkor in Siem Reap, greenery is just as important a part of the décor as the plush furnishings and glitzy fittings.
“Many of our projects are in lush, tropical places, and over the years tropical maximalism has become a way of life, especially in terms of gardens. This climate lends itself so easily to gorgeous, overflowing gardens,” Bensley says. “And being a landscape architect, one must always put nature first—the architecture and interiors follow.”
In building an urban Bangkok outpost of her family’s Chiang Mai luxury resort, 137 Pillars, Nida ‘Natty’ Wongphanlert referenced elements of the original property’s heritage aesthetic, traditional handcrafted touches and verdant setting within the new high-rise hotel. “We didn’t consider a minimalistic approach for our property,” she says. Instead, the goal was to provide guests with “a visually stunning and memorable experience,” Wongphanlert says, “combining boldness and elegance.”
She explains, “We utilised luxurious materials such as marble, silk, and brass finishes. We integrated authentic Thai elements, like Jim Thompson curtains and pillow cases, to pay homage to local craftsmanship. To add warmth and depth, we incorporated dark, rich wooden tones along with a navy colour palette, as well as small areas of strong contrasting colours, such as red, and decorative ornaments like our elephant lamps.”
The overall effect could best be described as ‘tastefully maximalist’. “Material selection was incredibly important, aiming for a luxurious feel while incorporating local design in a modern and sophisticated manner,” Wongphanlert says. “Additionally, we wanted to showcase the works of local artists throughout the property, immersing guests in the vibrant local art scene.”
Eye-catching art is a core element of the lavish tableaux created at Singapore’s new Mondrian Duxton hotel by US-based interior designer, Robbyn Carter. She reckons the secret to crafting a maximalist space that bursts with visual interest, without warping the viewer’s mind, lies in “meticulous curation and intentional composition.”
Carter says, “While it may appear chaotic, each element should have a purpose and place within the design. I ensure that there’s a unifying theme or colour palette that threads through the space, anchoring it and preventing it from feeling disjointed.” Success lies in thoughtfully layering textures, patterns and colours to maintain a harmonious balance, she suggests.
“Ultimately, it’s about orchestrating controlled chaos, where every element contributes to the overall narrative, resulting in a vibrant and captivating space that never overwhelms, but continually surprises and delights,” Carter advises. Just as the layout of these magazine pages tempers rather hectic images with plenty of serene white emptiness, Carter says expertly executed maximalist design provides “areas of negative space that allow the eye to rest, preventing sensory overload.”
Chef Ivan Brehm of Michelin-starred Nouri restaurant is responsible for some of Singapore’s most visually stimulating cuisine. (It tends to taste pretty good, too.) Asked how he manages to create dishes that are aesthetically impactful, without being overly fussy or bombastic, he replies, “Obviously that’s the golden ratio, isn’t it? If it was easy, everybody’d be doing it. For me, content—the substance of what you’re doing—leads the way.”
In crafting a meal that is a visual feast and yet, aesthetically balanced, he says, “When done correctly, all of the elements are there to promote a particular idea; they are very much in agreement with one another.” Doing maximalism well requires you to ask yourself, “Are all the elements purposeful? Are they there for a reason? Are they driving a singular message in what you’re trying to express?” Picture perfect as his creations may be, Brehm decries our Insta-driven obsession with the look of food, reminding us that while the eyes eat first, it’s our tastebuds and gullets that savour a dish’s deeper beauty.
An international, multicultural melange he describes as ‘crossroads cuisine,’ Brehm’s cooking is difficult to pin down or categorise. This Brazilian with a German surname is inspired by the cacophony of colours and flavours, sights and sounds, spiritualities and philosophies, of the Mediterranean and North Africa, the Middle East and India, Europe and Scandinavia, South America and Southeast Asia, and beyond.
“When cultures interact, the tendency is for some form of aggregate to take place, which manifests visually, religiously, musically—all of those things start to become more complex,” Brehm says. “And the result is greater than the sum of its parts.” In Brehm’s view, it is the clash of opposing forces and the friction between different approaches that creates something of singular beauty.
“Every movement starts in opposition to another, and it’s because of that opposition that each moves forward,” he says. In much the same way that there can be no light without darkness, maximalism only exists in contrast to minimalism. Yet despite their stark differences, the two ends of the spectrum actually have much in common.
“It’s like a snake eating its own tail,” Brehm says. He gives the example of the type of severe, ascetic, unadorned churches designed by architects like Tadao Ando and John Pawson. “Those spaces are totally overwhelming,” he says. “What could be more maximalist than that?”
As the Lunar New Year approaches, adidas sets the stage for a blazing start to the Year of the Dragon with the release of the SS24 Originals Key City Tee. Collaborating with local artist Erika Tay (@erikartoon), adidas brings forth a celebration of local culture and childhood nostalgia through her character inspired by a local icon.
In Chinese legends, the dragon symbolises power and authority, and Tay's artistic vision transforms the mythical beast into a contemporary streetwear masterpiece. Tay, who previously left her artistic mark on adidas' AW23 Performance Key City Tee "Ultraboost by the Bay," takes inspiration from the famed Dragon Playground for the latest design. Breathing new life into the dragon character, Tay's localised interpretation sports sleek adidas Originals gear, shoes, and accessories, while incorporating the vibrant mosaic tiles of the playground drawn on its head.
"The Dragon Playground at Ang Mo Kio, in particular, has held many cherished memories of my childhood spent at my grandparents' house. Those memories have sparked my inspiration to bring the Dragon character to life," shares Tay. This personal connection adds a layer of authenticity to the design, making it not just a piece of apparel but a nostalgic journey into the artist's own history.
The Dragon Key City Tee (SGD69) is now available at Brand Centre Orchard, Bugis+, Bugis Junction, Changi Terminal 1, ION Orchard, Jewel, Marina Bay Sands, Suntec City, VivoCity Originals, VivoCity Performance adidas stores.
This article was created in partnership with the Oval Partnership.
The Kampong Spirit has long been a part of Singapore’s history. Used to describe a positive communal attitude and solidarity of people, there seems to be a common consensus that the Kampong Spirit has been slowly chipping away as Singapore elevates its status from what used to be a small fishing port during the colonial era to its current standing as one of Asia’s most developed countries. The term has long been a part of our past, stemming from the period before Dutch and Portuguese traders landed on our shores. Prior to Western influences, our little red dot was a sleepy fishing village that contributed to Malaysian seafaring and trading.
The story of our island’s humble beginnings with trading may be common knowledge, but less is known about the time before colonial influencers took rein. What was the way of life before the rapid growth of Singapore, and how can our past and present interact meaningfully? That’s precisely what the Oval Partnership and several university research groups from Singapore Management University (SMU) and Singapore Institute of Technology (SIT) sought to answer in the Lost Cities exhibition.
The Lost Cities exhibition is a purposeful stray away from your typical replication of Singapore’s pre-colonial kampong, but a unique display that showcases the pre-colonial urbanism in Asia from a past-meets-present perspective. Guided by exploratory trips to Pulau Ubin and Lorong Buangkok—the two earliest settlements on our island, and now the last two kampongs known to Singapore, the Oval Partnership and researchers took to the local culture and its inhabitants to document and collect first-hand experience of living the kampong life, a cultural gem unbeknownst to most Singaporeans.
Mr Chris Law, Founding Director of The Oval Partnership and visionary behind the exhibition shared, “this event recreates the experience of a bygone age, and enables attendees to explore how life was lived then,” he said. “Now we have a clearer sight of where we came from, and how we were shaped. It deepens our understanding of the giants whose shoulders we stand on, so we can build a better world for the generations that come after us.”
Debuting an experiential exhibition with three key zones, each guided by a reinterpretation of kampong living—The Lost Cities exhibition takes one through a fictional journey of a 14th century kampong through a contemporary lens of the three key themes of heritage, sustainability and community. The highly curated exhibition explores the world of a fictional kampong lead by the visionary female Chief Esah, as their thriving society lives in perfect harmony with nature and progressive cultural practices rooted in equality.
Members of the public can not only expect a refreshing perspective of our island’s past, but also an admirable display of sustainably sourced exhibit materials such as locally sourced wood from ethical wood-makers and non-profit environmental organisations. From interactive displays to creative experiences rooted in cultural kampong practices, exhibit-goers can expect an engaging and unforgettable journey through a reimagined city.
In addition to the research driven exhibits, the Oval Partnership has also tapped into the talents of three multidisciplinary artists—Gilles Massot, Marc Nair and Zen Teh, to contribute their take on Singapore’s kampong heritage.
An immersive experience through time, the Lost Cities exhibition will be taking place from 18 August – 1 October, 2023 in Fort Canning Centre for all members of the public to journey through Singapore’s earliest Kampong cities and dive into the past and present of Kampong heritage.
The Lost Cities Series: Kampong Port Cities of the Pre-colonial Era Exhibition
When: 18th August – 1st October, 2023 (Weekdays: 10am – 6pm, Weekends: 10am – 10pm)
Where: Fort Canning Centre, Singapore
