The Straits Times wins two awards at annual Inma Global Media Awards
SINGAPORE - The Straits Times bagged two awards at the annual International News Media Association (Inma) Global Media Awards in New York on May 23 (Singapore time).
Winners across 20 categories were announced during a ceremony at the Edison Ballroom in New York City, with the Association of Independent Regional Press Publishers of Ukraine taking the top honour of global best in show .
ST's interactive audio feature Sounds of Singapore was awarded first place in the Best New Audio/Voice Product or Feature (National Brands) category. S econd place went to Swedish daily Svenska Dagbladet, while News Corp Australia took third place.
The feature, which was published ahead of National Day 2024, captured nine sounds that resonate with the Singaporean experience.
For the project, team members visited areas such as Marsiling, Orchard Road and Toa Payoh to find sounds and sceneries to record.
They built three programs that detect and illustrate different aspects of sound – rhythm, texture and musical tones. The programs use sound waves and pitch data to generate animated shapes.
The recorded audio, animated shapes and video footage were then combined into collages. Each collage opens with a poem and then followed by the animated shapes, before segments of the footage gradually appear on the screen.
The 15-second clips are presented as interactive quizzes, challenging readers to identify the sounds as quickly as possible before the complete video is revealed.
The project was led by digital graphics designer Shannon Teoh and featured contributions from journalists Shawn Hoo and Cherie Lok, as well as senior video producer Shawn Lee Miller.
'The team is very happy and honoured that our love letter to Singapore is getting international recognition,' said Mr Teoh, 29.
'Having came back recently after living abroad for four years, I've come to further appreciate how lovely our Singaporean sounds and sceneries are. This was only possible with the editors encouraging the spirit of pushing the envelope in terms of design, creativity, coding.'
Separately, a nine-part infographic chronicling American popstar Taylor Swift's musical career won second place in the Best Use of Print (National Brands) category.
ST INFOGRAPHIC: YAMINI CHINNUSWAMY, BILLY KER
The infographics were published over nine days, ahead of the Singapore leg of Swift's record-breaking Eras Tour. Each represented one of the singer's albums - commonly referred to by fans as a music era - covered in the concert's setlist, from Fearless (2008) to Midnights (2022).
It featured photographs, hand-drawn illustrations and information such as factoids, achievements and note-worthy news from each era.
When combined, all nine infographics will form a composite image of Swift.
Correspondent Yamini Chinnuswamy and executive infographics journalist Billy Ker helmed the project, which also involved editors and sub-editors from various desks across the newsroom. ST executive infographics journalist Celestino Gulapa contributed two large drawings of Swift from the Folklore and Evermore eras.
'This was a project that could only work in print, and which ST was uniquely positioned to work on, not just because we are one of the few print media outlets left in Singapore, but also because we continue to maintain a dedicated lifestyle desk and a dedicated art team with strong expertise in the fine art of infographic journalism,' said Ms Chinnuswamy, 37.
'This was so gratifying, and shows that if you can execute innovative ideas at the right moment in time, there is still space for print media to be relevant and impactful to the culture.'
Mr Ker, 37, added: 'I was genuinely excited by the idea that our team's hard work might be acknowledged and celebrated.
'The thought of receiving recognition not just for the final product, but for the collective effort, creativity, and dedication that went into it from every member of the team, was incredibly rewarding. It felt like a validation of all the long hours, brainstorming sessions, and attention to detail that made the project what it was.'
The top prize for the category was won by Hong Kong's South China Morning Post, while Croatia's Hanza Media took third place.
'To innovate, newsrooms need the space for experimentation,' said ST editor Jaime Ho. 'We already have the talent.
'These awards are the highest recognition of this ST's brave blending of our creativity, collaboration and courage in bringing new forms of journalism to our audiences. It will continue to inspire us to do more and better.'
Other SPH Media titles also received accolades at the annual awards.
Tamil Murasu's Daily News mobile app, launched in October 2024, won second place in the Best New Digital Product (National Brands) category.
Berita Harian, meanwhile, clinched third place in the Best Innovation in Newsroom Transformation (National Brands) category for its digital transformation.
The Business Times' thrive initiative, which aims to attract a younger audience such as Gen Zs and fresh graduates, was given an Honourable Mention in the Best Initiative to Bolster Next-Generation Readership (National Brands) category.
Join ST's WhatsApp Channel and get the latest news and must-reads.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Vogue Singapore
a day ago
- Vogue Singapore
A fashion legacy: How Studio HHFZ brings soul to bespoke garments
Studio HHFZ began as a quiet passion project by designer Hu Ruixian, who fell in love with the art of dressmaking during her fashion studies. Today, the label specialises in bespoke bridalwear shaped by Singapore's layered identity. Hu's designs reflect the intimate stories of her clients—from cross-cultural weddings to everyday moments worth celebrating. Much of the label's growth has come through word of mouth, a reminder of the care and thought put into every design. Studio HHFZ is known for thoughtful touches like reimagined mandarin collars and subtle heritage nods, balancing familiar silhouettes with the needs of today's style sensibilities and even climate, creating meaningful garments that endure. Melding the traditional elements of the cheongsam with a modern silhouette fit for today, this ensemble illustrates the label's fresh take on heritage designs. How did you start your journey into fashion? What sparked your entry and what continues to drive your work today? Since I was young, I knew I wanted to be a fashion designer. I worked my way up to earning a diploma in Fashion Design and Merchandising at Temasek Poly. That's where I fell in love with the art of dressmaking. It's truly the satisfaction of transforming an idea into a finished garment that motivated me to start my own studio. It's been 7 years since I launched Studio HHFZ, and I am incredibly grateful for the clients who entrust us with dressing them—from wedding days to Lunar New Year celebrations, and even just for workdays. These connections and relationships with each individual inspire my work because everyone's style and requirements are unique. What are the biggest challenges you've faced as a designer in Singapore and how have they shaped your creative direction? I think getting the public to recognise the value of bespoke services has been a challenging journey for me, and unfortunately, it remains an ongoing struggle. We're often told that our pricing is 'too expensive,' but people don't always see the amount of effort involved. It's not only hard work but heart work. When I encounter such hesitations, I make a point to break down the entire process—ideation, drafting, pattern cutting, sewing, fitting, and hand stitching of the finishing touches. Transparency is key, and clients understand exactly where their money is going. I hope that, ultimately, people see how much time and effort it takes to craft just one dress. A bespoke Chinese-Vietnamese fusion-inspired piece for the bride, featuring a flowy, detachable train @bridelopeproductions How does Singaporean culture shape your designs and how has your work evolved over the years? Our Singaporean culture, heritage, and way of life have a strong influence on our designs. I'd say the majority of our pieces are made for brides, and with the growing number of mixed-race marriages—something very reflective of the Singaporean identity—our work often celebrates this diversity. The whole point of creating a bespoke dress is to offer something deeply personal, which is why blending elements from different cultures has become our forte. Over the years, people have also become more experimental, giving Studio HHFZ the opportunity to explore different techniques and fabrics. It's been such a fun and fulfilling journey! What does 'home' mean to you and how does it influence your creative process? As cliché as it sounds, I've always believed in the phrase, 'Home is where the heart is.' That's exactly how I feel about my brand—it's my heart work, and where we create our dresses (a humble studio at King George's Ave) is where my heart truly lies. It's also the place where I can let my ideas run wild. Hopefully, that's how people see our brand too: as a passionate and creative force. In what ways do you see your work contributing to Singapore's design heritage? I do hope that many of the pieces we create contribute to our cultural and design heritage, even though I can honestly say that creating a legacy isn't something I actively think about. But perhaps, years down the road, when people look back at Singaporean wedding ceremonies, there'll be glimpses or references to the bridal dresses we've made—maybe even pieces that have become heirlooms, passed down from one generation to the next. 'We see each piece we create as something meant to last—an enduring design that won't go out of style.' Do you think about legacy when creating collections? How do you navigate heritage and modernity? I don't really see it as a tension, but rather a synergy—both elements working hand in hand. We're always exploring new ideas and materials, but at the same time, we like to keep things classic. We see each piece we create as something meant to last—an enduring design that won't go out of style. How do you preserve traditional elements while making them relevant for today? The thing about fashion is that it's always evolving—and so are our skills and craftsmanship. Not every piece we create sticks strictly to traditional elements, but when a design calls for it, we do our best to respect how it was originally done, while making thoughtful adjustments to suit the wearer. Take the mandarin collar, for example. It's quite different from how it was made in the past. To honour the traditional shape, we retain its silhouette but lower the height slightly to make it more breathable and comfortable, especially in our humid climate. Using glass beads on the collar to craft the bride's favourite flower—the bird of paradise—a nod to her Peranakan heritage. @ Do you think fashion can be a form of cultural storytelling in Singapore? Yes, why not! Fashion is a form of art, and it's definitely a powerful medium to tell our Singaporean story. Beyond the love stories I've mentioned, I hope my designs also reflect how diverse Singapore is. And that even though life here moves at a fast pace, we still appreciate moments of slow living when we can. And we have such a vibrant and interesting creative industry—that's something I'm proud to be part of. If your design ethos were a Singaporean dish, what would it be and why? Rojak! It's the perfect blend of different flavours you'd never expect to go so well together—refreshing and simply delightful to have! Vogue Singapore's July/August 'Home' issue is out on newsstands now and available to order online.
New Paper
2 days ago
- New Paper
Actress Eleanor Lee wins lawsuit against ex-assistant who doctored her audio recording
China-based Eleanor Lee has won a lawsuit against a former assistant who edited an audio recording which got the Singaporean actress into hot water with Chinese netizens. The 25-year-old daughter of local Taiwan-born host Quan Yifeng was in the news in May for allegedly making derogatory comments about the people of China, which she denied. On May 21, a netizen claiming to be her former assistant posted an apology on Chinese social media platform Weibo and admitted to posting the edited recording. On July 29, Lee's agency wrote on Weibo that it had received the Chinese court's Certificate of Judgment Enforcement and attached the document. "Eleanor Lee has always loved and respected Chinese culture and stood firm in her position," the agency wrote. "We firmly defend her legal rights and urge everyone to refrain from believing or spreading rumours, to jointly resist false information and build a clean cyberspace." The agency also shared a post from Mr Yang Shuguang, a senior partner from Hai Run Law Firm, who shared a legal statement on the progress of the case. The statement said the court had issued a ruling on June 23, with the ruling taking effect on July 17. It also noted that the false content posted online by the former assistant had damaged Lee's reputation, causing her mental distress and affecting her business activities. "The court ordered the defendant to run a statement of apology to Eleanor Lee on the defendant's Weibo account for 60 consecutive days, and to pay damages to her for mental stress, legal costs and other financial losses," said the statement. It also said the legal firm has identified several social media accounts which maliciously fabricated and spread false information, and stated that it will continue to monitor these users. "If the relevant network users still fail to promptly delete the infringing content they have posted after the release of this statement, or continue to commit the infringing acts, our lawyers will promptly collect additional evidence and file a lawsuit in court with the client's authorisation." The furore began when a netizen claiming to be Lee's former assistant released a poor-quality audio recording that lasted about 30 seconds on Weibo in April. In the recording, which features much background noise and some muffled words, a woman is heard saying she is "doing this not for fame, but for money" and that "most people in China are idiots". The incident gained traction after the media in China and Taiwan reported on it in May. Lee has not updated her social media accounts since posting a video clip on May 21, in which she gave her side of the story. There is no word if her role in the upcoming Chinese period drama, The Journey Of Legend, will be affected by the saga. Shi Hang Law Firm, which is representing the producers of the show, said in a statement posted on Weibo on July 29 that it is planning to take legal action against certain online users who have been spreading false information and continuously posting defamatory content about the series.
Straits Times
2 days ago
- Straits Times
Pixar film-maker, We Bare Bears creator Daniel Chong on the lessons his S'porean parents taught him
Sign up now: Get ST's newsletters delivered to your inbox Daniel Chong is the writer and director of Pixar comedy-adventure Hoppers, which is expected to open in Singapore cinemas in March 2026. LOS ANGELES – In the upcoming Pixar adventure comedy Hoppers, a young scientist uses a new technology that lets her mind 'hop' into the body of a lifelike robotic beaver. Now able to communicate with real beavers and other animals, she discovers the surprising 'pond rules', or rules of life, that creatures live by. The animated tale features the voices of American actors Piper Curda as animal-loving protagonist Mabel and Jon Hamm as the mayor trying to destroy the animals' habitat. The film's writer-director Daniel Chong, whose parents migrated from Singapore to the United States before he was born, says the 'pond rules' taught to him by his Singaporean parents shaped his childhood in the US. Due to open in Singapore cinemas on March 5, 2026, Hoppers is the big-screen feature debut of Chong, a Chinese-American animator known for creating the beloved Cartoon Network series We Bare Bears (2015 to 2019) and its spin-off, We Bare Bears: The Movie (2020). Chong, 46, was born in North Dakota and grew up in southern California, where he still lives today. Speaking to The Straits Times over Zoom, he says his immigrant parents' Singaporean values 'almost certainly' rubbed off on him as a child. His father, who worked as an engineer before becoming a professor of business management, and his mother, a stay-at-home parent who later worked as a nurse, were both 'very strict with me and understandably so', Chong recalls. And like many first-generation Asian immigrants in the US, they did not understand their son's dream of becoming an artist. 'They didn't quite know what it meant to have an art career, although that was something I kind of wanted pretty young,' says the film-maker, who attended the prestigious California Institute of the Arts and worked as a storyboard artist on animated hits such as Inside Out (2015) and Cars 2 (2011). 'So, I would say, if they had 'pond rules', it was definitely, like, 'Focus on studies, make sure you play your piano and do all the prerequisites before you do the fun stuff like drawing.' 'And as long as I did that – as, I think, most Asian parents would demand – I was okay,' Chong says. The animator's Singapore connection has also inspired his work on at least one occasion. 'The one time we did a shout-out for Singapore was after I had visited there doing some press for We Bare Bears. They took me to see the Merlion, which I know is probably the most cliched thing in Singapore, but we actually put that in an episode,' he says of the animated sitcom, which follows three adoptive brothers – a panda, grizzly and polar bear – as they navigate human society. Praised for its understated humour and charm, the show – based on Chong's 2010 webcomic The Three Bare Bears – went on to win an Annie award for Best Animated Television Production for Children and pick up an Emmy nomination for Outstanding Short Form Animated Programme. Released in July 2025, the first trailer for Hoppers hints at another charming and unique story about animals, which Chong says he has always been drawn to. 'I've always loved animals. I love drawing them, and that was really my entry point to art. I had this encyclopaedia of animals as a kid, and every day, I would open it up and just copy pictures from it.' In Hoppers, he wants to tell 'a story about humans' relationship with animals – and what animals think about us, which is a big mystery'. Animal-loving scientist Mabel (left, voiced by Piper Curda) lets her mind "hop" into the body of a lifelike robotic beaver in the Pixar film Hoppers. PHOTO: PIXAR While developing the movie, he also learnt beavers are 'incredible animals – a keystone species that creates an ecosystem for a whole array of other animals'. In 2024, an article in entertainment magazine The Hollywood Reporter quoted an unnamed former Pixar artist who claimed the animation studio's bosses had forced the Hoppers team to 'downplay its planned message of environmentalism'. But Chong, who reportedly began working on Hoppers at the end of 2020, says 'that's not entirely true'. 'All movies here go through so many changes, and this movie just changed a lot over the time period that we made it, because it's hard to be articulate right away with how you want to frame it. 'But we were very aligned with the studio and with (parent company) Disney about what this movie was about, and they never questioned it,' he adds. 'I'm very happy with how the movie came out and nothing got toned down, nor were we ever told to.' Hoppers opens in Singapore cinemas on March 5, 2026.
