Daily roundup: Burnt Ends in top 5 of World's 101 Best Steak Restaurants 2025 list, 3 other Singapore steakhouses make the cut — and other top stories today
Stay in the know with a recap of our top stories today.
1. Burnt Ends in top 5 of World's 101 Best Steak Restaurants 2025 list, 3 other Singapore steakhouses make the cut
Singapore's restaurants are no strangers to international accolades — having been featured on several prestigious lists and dining guides over the years such as Asia's 50 Best Restaurants, World's 50 Best Bars and La Liste's Top 1,000 Restaurants... » READ MORE
2. Singaporean William Goh among 133 cardinals worldwide choosing the new pope
Cardinal William Goh is one of 133 cardinals from about 70 countries — and the first Singaporean — choosing the new pope in the papal election that starts on May 7 at the Vatican... » READ MORE
3. 'My wife told me I'm not as agile as before': Christopher Lee recalls Fann Wong's warning prior to bike trip with brother around Taiwan
There are many risks that come with going abroad — let alone travelling across foreign land on a motorbike... » READ MORE
4. Isetan at Tampines Mall to shutter in November after almost 30 years
For almost 30 years, Isetan stood as a familiar sight in Tampines Mall — but soon, there's going to be a change... » READ MORE
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AsiaOne
18 hours ago
- AsiaOne
50% savings, bigger house: Shaun Chen shares more on why he moved family to JB, Entertainment News
PUBLISHED ON June 10, 2025 9:50 AM By Candice Cai Shaun Chen made headlines last year when he revealed he'd packed his bags and moved back to Malaysia with his family. His wife Celine, who's also Malaysian, and their daughters Nellie, nine, and Neia, seven, have reportedly been living in a rented home in Johor Bahru's (JB) Eco Botanic City since Aug 1. In a recent interview with actor-host Allan Wu on the latter's podcast Call Us Daddy, the 46-year-old actor shared more about his lifestyle now and reasons for the move. As a Malaysian citizen, Shaun shared that it was a "natural and logical choice" to return to the country eventually, coupled with the fact that they also have extended family there. He added that the cost of education and expenditure in Singapore was also a factor. "So one day I thought, since we already had the plan to make the move, why not make it earlier," he added. His wife was positive about it, said Shaun, and was the one who suggested that they live in JB so that he can commute to Singapore for work. Not a 'downgrade' Citing the various pull factors for moving, he stated that the main reason was their Malaysian citizenship. "Because we're Malaysians, we have an advantage; we can reduce our living costs as well and stay in a bigger house," said Shaun, whose hometown is in Negeri Sembilan. He added that both he and his wife had lived in bigger houses, compared to in Singapore, when they were growing up. "If we stayed in Singapore, I don't know if I'll have a chance to stay in landed [property]. I don't think so, because I'm not a Singaporean." When asked for a rough figure on how much they are able to save, Shaun shared that it would be between "30 per cent and 50 per cent". [embed] Despite being comfortable living in Malaysia, he noted during the interview that he does not rule out the possibility of staying in Singapore in the future — for instance, if his kids were to study here. Reflecting on comments from netizens about his move, he shared that while most were encouraging, some wondered if he was facing any difficulties or if it was a "downgrade". "I don't think it's a downgrade, I've upgraded my lifestyle," he quipped, while making sure to emphasise: "Doesn't mean living here (in Singapore) is not good". "I love the Singapore lifestyle, it's just different," he said. "Malaysia has a bigger space, and it's my country, that's the main thing," he added, giving the decision a solid rating of "eight upon 10". Later on in the interview, he also estimated that the cost of a year's public school fees and after-school care in Singapore for a permanent resident to be almost equivalent to an international school education in Malaysia, which is about RM32,000 (S$9,700) annually. Becoming 'an ambassador for JB' Interestingly, he noted that following the move, friends and acquaintances he hadn't met for some time began contacting him to ask about his lifestyle now, "as if I'm the ambassador [for JB]", he joked. "I thought, 'Oh no, do I have to make a list of what we have here in Iskandar Puteri'," he said, revealing earlier that the district near the Second Link is "more spacious and less congested". On his commute for shoots in Singapore, Shaun shared that it is typically a 45-minute drive from home and 1.5 hours if there's a jam, but it can take up to two to three hours if it's "a really bad jam", which he said doesn't happen often. Elaborating more on the family's lifestyle in Malaysia, Shaun added that they live in a landed home within a gated community where there's more space for his two daughters. It's "very safe", so the children are able to play with their friends freely within the compound, said Shaun. He added that the Malaysian capital of Kuala Lumpur is also easily accessible via a flight from Senai Airport or by car. "Wow, I'm really becoming the ambassador of JB," he joked. While he's accustomed to being recognised by fans both in Singapore and across the Causeway, he acknowledged that Malaysians are more enthusiastic. But a note to fans who happen to spot him in public, he's happy to pose for photographs as long as they ask. "If you ask, I'll definitely say yes, just don't take photos in secret," he stated good-naturedly. [[nid:674060]] candicecai@ This website is best viewed using the latest versions of web browsers.
Vogue Singapore
2 days ago
- Vogue Singapore
Meet the trailblazers: Hunn Wai on cultivating the future of Singapore design
When DesignSingapore Council brought the third iteration of its Future Impact showcase to Milan Design Week this year, the exhibition saw the involvement of a Singaporean co-curator for the first time. As the director and co-founder of internationally renowned Singapore-and Milan-based creative studio Lanzavecchia + Wai, Hunn Wai is a prominent name in the design world—a designer, educator and thought leader in the field. Spotlighting future-forward works dreamt up by rising Singaporean creatives in response to today's important global challenges, the exhibition is a reflection and extension of Wai's belief that the most vital designs of all are meaningful ones shaped by intention, authenticity and thoughtfulness. Tell us your origin story. How did you first fall in love with design? I must've been five or six when I declared that I wanted to be a car designer. Even then, I wasn't just interested in how things looked. I was fascinated by why they looked a certain way, and how colours, proportions and forms came together logically and beautifully. Art became a core part of my identity, but pursuing art or design was seen as uncertain and less stable then. I was all set to pursue architecture—what felt like the 'acceptable creative profession'—when I saw that NUS (National University of Singapore) was offering industrial design as a brand-new degree. In my first year there, something clicked. I discovered that design had the vocabulary, the frameworks and the tools to help me make sense of everything I was curious about, from engineering and anthropology to psychology and aesthetics. That was the moment I truly fell in love with design, not just as a profession, but as a philosophy and a way of understanding the world. How has your relationship with design evolved over the years? A pivotal moment came when I pursued my Master's in the Netherlands, at a time when the Droog design movement was making waves globally. Droog, which is Dutch for 'dry', was less about designing for utility and more about embedding narrative and wit into everyday objects. As my practice matured, I sought to combine the two worlds of critical, story-rich design and grounded, user-centred industrial design. In the last 12 years, my connection to design has evolved even further through teaching. I now see design not just as the creation of products, but as the shaping of people: of mindsets, values and ways of seeing. Today, my relationship with design is less about creating more objects, and more about enabling deeper thinking. 'Too often, innovation is framed around metrics, but I believe we also need to design for the spirit of society.' What is the biggest challenge you have faced throughout your career and how did you overcome it? One of the biggest challenges is the ongoing tension of how to make sense of it all while wearing many hats and still staying true to myself. As a designer, studio co-founder, educator, cultural contributor and now curator, the gear- shifting can be creatively energising, but also deeply draining. What helped me begin to overcome this wasn't a single breakthrough, but a series of shifts in mindset and practice. I stopped designing to prove something and started designing to contribute something. I began designing my life with the same care I would apply to a product—protecting deep focus hours, making space for reflection and building teams where strengths complemented each other. Teaching has played a big role in this evolution. Mentoring younger designers reminded me that design isn't just about output. It's about mindset, process and intention. Often, the challenges we face become the tools that make us better collaborators, better thinkers and more grounded human beings. As a leader in the scene, what do you think is the importance of mentorship and building a community? Mentorship is incredibly important to me because the path of a designer is rarely straightforward. It's not just about having a portfolio or a process. It's about how you navigate ambiguity, align your values with your work and sustain yourself emotionally, mentally and creatively through it all. When I mentor, I try to share not just the polished highlights, but the real behind-the-scenes journey which includes messiness, doubt and pivots. As for community, it's everything. Design isn't a solo act. A strong community multiplies intention, energy and impact. It also creates a shared culture where we feel less alone, where we can learn from each other's stories and support each other's growth. Looking forward, what is one change you hope to spark in the design scene in Singapore and how does this align with your vision for the industry? To bring more humanity into the innovation we create in Singapore. Too often, innovation is framed around metrics—productivity gains, KPIs, scale—but I believe we also need to design for the spirit of society. In a world that's rapidly flattening, this kind of cultural nuance and emotional resonance becomes not just valuable, but essential. I want to see more humanistic solutions—those that might make someone pause and say: 'Yes, this reflects who we are' or 'That helps me live more beautifully and thoughtfully'. To make that shift, I believe we need to reinvest in the arts, culture and the social sciences. The future won't be short on technology. But what's at risk of being neglected (because it's harder to measure) is our imagination, emotional intelligence and sense of purpose. My hope is to help shape a design culture in Singapore that values both technical excellence and soulful expression—a culture where innovation is not just about what's next, but about what's meaningful. Pre-order your copy of the Vogue Man 'Gold' issue online or pick it up on newsstands from 13 June 2025.
Vogue Singapore
2 days ago
- Vogue Singapore
Meet the trailblazers: How SRT's Gaurav Kripalani has shaped Singapore's theatre scene
In his 29 years with Singapore Repertory Theatre (SRT), artistic director Gaurav Kripalani has produced over 150 works. His portfolio spans a diverse range, from original local scripts to theatre's biggest classics. Under his helm, SRT was the first Singaporean theatre company on Broadway—as associate producer of the play Golden Child in 1998, which would then go on to be nominated for three Tony Awards. In addition, the importance that Kripalani places on arts education has seen SRT become one of the most prominent producers and commissioners of children's theatre in Southeast Asia. A theatre veteran who has always championed the local arts scene, he was also the festival director of the Singapore International Festival of Arts from 2018 to 2021. Tell us your origin story. How did you first fall in love with theatre? I was seven or eight when I acted in my first play, and that was it. I was hooked. From that moment, I knew theatre was what I wanted to dedicate my life to. I pursued it in school, earned a degree in acting, and eventually, the opportunity at SRT came along. I count myself incredibly fortunate. Most people spend years searching for their calling, but I found mine early and never looked back. How has your relationship with theatre evolved over the years? These days, my role as artistic director doesn't leave much time for acting, ironically, even though I could technically cast myself. But the evolution has been meaningful. I taught myself how to be a producer back when there wasn't a playbook. Everything was trial and error. I had a mantra: if we were going to crash and burn, we'd do it in style. We took bold financial risks and thankfully, many of them paid off. That passion is still the same, but now it's channelled through empowering others and building something larger than myself. 'We're doing our part to shape a renaissance city, one where we not only feed minds but nourish souls.' What is the biggest challenge you have faced throughout your career and how did you overcome it? Working in the non-profit arts sector means challenges are a daily affair, but that's part of the thrill. In the early days, we had no money at SRT. We'd use ticket revenue from one show to pay the debts of the previous one. If a production underperformed, creditors would chase us for months. Every morning, from 10am to noon, I was on the phone pleading for extensions. It was humbling and character-building. The turning point came in 2002 with Forbidden City: Portrait of an Empress, the opening musical at the then brand-new Esplanade Theatre. It was a huge leap of faith and it paid off. For the first time, we turned a profit. From then on, I made a promise: we would never operate in debt again and every actor, supplier and collaborator would be paid promptly. That commitment has never wavered. As a leader in the scene, what do you think is the importance of mentorship and building a community? Though I see myself as something of a maverick, I've reached an age—and a point in my career—where I'm probably considered a veteran in the Singapore theatre scene. SRT has grown into one of the country's largest theatre companies, but our vision extends beyond the stage. A few years ago, we launched the Centre for Creative Learning to house all our education initiatives. We work with students and teachers in schools, train young actors and offer year-long paid residencies to those exploring different facets of theatre-making. It's clear to us that investing in the next generation is as important as producing great theatre. Building a sustainable, inclusive and inspired community is now one of the core pillars of our work. Looking forward, what is one change you hope to spark in the theatre scene in Singapore and how does this align with your vision for the industry? My vision is simple: that one day, when people in Singapore have a free evening, their first thought isn't, 'What should I watch on Netflix?', but rather, 'Which play or musical should I see tonight?'. One way we're working towards that is through The Little Company (TLC), our dedicated children's theatre division. We believe passionately that if you introduce children to high-quality theatre at a young age, they'll become arts lovers for life. Children who came to see our shows two decades ago are now buying tickets to Shakespeare in the Park and some are even bringing their own kids to TLC performances. It's a long game, but a vital one. I like to think we're doing our part to shape a renaissance city, one where we not only feed minds but nourish souls. Pre-order your copy of the Vogue Man 'Gold' issue online or pick it up on newsstands from 13 June 2025.
