Sample Korean street fare and other foods at Esplanade's Studios season
In August, they will get a chance to feed Singapore audiences their gastronomical and theatrical fare. As part of the
Esplanade's The Studios season, Sobelle and Koo are serving up two interactive shows in the form of an elaborate dinner party and a Korean street stall respectively – with real food for select audience members.
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Vogue Singapore
12 hours ago
- Vogue Singapore
High jewellery encounters Singapore's cultural heritage
Emily, that famed matriarch of Emerald Hill, is one of Singapore's great literary and stage icons. The Stella Kon play has been staged many times, and is an iconic expression of Peranakan culture and identity. An indelible part of the nyonya expression is the sarong kebaya, a style of clothing that conjures a sense of heritage and tradition. Here, a sarong kebaya created by Raymond Wong, the designer at Rumah Kim Choo who also contributed bespoke costumes for this year's hit television series Emerald Hill – The Little Nyonya Story. That series features, as it happens, the dual cover stars of Vogue Singapore's 'Home' issue: television legend Zoe Tay, and ingenue of the moment Tasha Low. This costume was commissioned by Ivan Heng, a luminary of Singapore theatre, who has stepped into the beaded shoes of the play's titular Emily Gan over 100 times. Its meanings are subtly coded: peony and phoenix motifs, as well as a vibrant palette, that allude to rebirth and blossoming in spring. Sarong kebaya costume by Raymond Wong. Cotton, batik; 2019; Singapore. Collection of the Peranakan Museum, gift of Ivan Heng, founder and artistic director of Wild Rice and Cultural Medallion 2013 honouree. Courtesy of the Peranakan Museum The Parisian jeweller Frédéric Boucheron was a maverick in his time. While his contemporaries thought of jewels as standalone objects, he was thinking of them as part of a complete stylistic message. Hence his invention in 1879 of the Question Mark necklace, a liberated jewel without a clasp that could be worn without assistance. That expression and philosophy evolved by 1883 into peacock feather, or plume de paon , designs that aimed to evoke the fluttery lightness of its inspiration. Most recently, the house's creative director Claire Choisne has taken the feather motif and given it brilliant chromatic life, by fusing white gold with coloured titanium to give her peacock feathers even more nuanced gradations of colour. Boucheron Plume de Paon earrings. Titanium, white gold, white diamonds, brown diamonds, tanzanites, sapphires, tsavorites; 21st century; Paris, France. Ching Lee Function and flair Traditional Peranakan terrace houses tend to feature pintu pagar , a Baba Malay term for which the literal English translation is 'fence door'. Constructed at half height, these doors are meant to provide ventilation, as well as a little privacy and security during the day when they are left open. This one from the Asian Civilisations Museum's collection is a rare and unusually ornate example. Fine carving and gilt work are present on both sides, as opposed to the usual one, and it features an eclectic mix of Chinese and European motifs—a symbol of status, displayed to visitors, for what was perhaps a wealthy Peranakan family. Outer gates (pintu pagar). Teak, gilt paint, glass; late 19th to early 20th centuries; Singapore. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Van Cleef & Arpels is deeply feminine and romantic, but some of its most inventive and enduring creations were born out of functional, industrial advances. In 1934, amid burgeoning serialised production and the Bauhaus school's design philosophy of replicability, the Parisian maison embarked on a creative quest. It designed the Ludo (a nickname of Louis Arpels), inspired ostensibly by the wraparound function of a belt, with a supple, new-at-the-time gold mesh technique. It has endured as a Van Cleef & Arpels signature, taking on stylistic evolutions in keeping with its time. This modern example is crafted with classic details: hexagonal briquette links, star-set round rubies and a functional twisting jewelled clasp. Van Cleef & Arpels Ludo bracelet. Rose gold, rubies, diamonds, coral; 21st century; Paris, France. Ching Lee Artistic roads Tiles are one of the more unassuming but vibrant expressions of a culture's artistic heritage. Geometric motifs, for instance, are one of the core modes of artistic expression in the Islamic world. Some scholars posit that the repeatable infinity of geometric designs connects with the infinite nature of the divine. Twelve-pointed stars, arabesques and diamond-shaped motifs, which feature on these tiles, are elements of this rich visual canon which has had a wide and lasting influence. Pair of geometric tiles. Ceramic; 15th century; Multan, Pakistan. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Hexagonal tile with central quatrefoil motif. Ceramic; late 16th to early 17th centuries; Bijapur, India. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Hexagonal tile with central diamond motif. Ceramic; late 16th to early 17th centuries; Bijapur, India. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum The simplest of design motifs has also a way of travelling across cultures, escaping boundaries and finding its way into artistic heritages the world over. Rosettes, which are a graphical representation of the leaves of a flower, can be found as far back as ancient Mesopotamia. This motif travelled and was adopted in Renaissance Italy, where it featured as a decorative architectural element. The Milanese jeweller Buccellati, which has an abiding love for Renaissance-era craftsmanship and an ornate, old-world look, uses these in many of its designs. In these Tulle watches, the rosette compositions on the dial, as well as the articulated bracelets, are filled with coloured enamel for a stained-glass effect. Buccellati Tulle watches. White gold, diamonds, enamel; 21st century; Milan, Italy. Ching Lee Summer Splendour The auspicious, blooming colours and motifs of flora and fauna on this circa 1920s beaded tablecloth are thought to be part of the 'spring table' of a Peranakan wedding chamber. Crafted so that it can be appreciated from all sides, the designs draw inspiration and influence from the colours and compositions of Chinese embroidery as well as bird and flower elements from Europe. It is crafted with over a million glass beads, some of them faceted, and said to be one of the largest and most important pieces of Peranakan beadwork in existence. Table cover. Cotton needlepoint canvas and European glass seed beads; around 1920; Penang. Collection of the Asian Civilisations Museum, restoration sponsored by BNP Paribas Foundation and BNP Paribas Singapore Branch. Courtesy of the Asian Civilisations Museum Tablecloth. Beadwork; early 20th century; Penang. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Cartier's Anansi necklace is named after a trickster deity from African folklore who is often portrayed as a spider. This creation comes from the Parisian jeweller's [Sur]naturel high jewellery collection, which is themed around creative abstractions of nature. It is set with a rare sequence of eight hexagonal peridots, composed with fine diamond and platinum lines and faceted peridot beads to resemble light glistening off a spider's web—perhaps after a summer rain. Cartier Anansi earrings and necklace. Platinum, peridots, diamonds; 21st century; Paris, France. Ching Lee Treasures of the old world One of the more remarkable qualities of jewellery, viewed historically, is that it lasts. Metal and stones are hardy materials, and surviving jewels can tell us a lot about the tastes and styles of a different time. That much is obvious in this magnificent 1900s jewelled peacock belt, one of the Peranakan Museum's prized artefacts. It is made of 18 linked panels of gold, set with a central diamond weighing over five carats. Each of these panels features peacock designs, decorated with white, yellow, brown and orange-pink diamonds. Peacock belt. Gold, diamonds; early 20th century; Singapore or Straits Settlements. Collection of the Peranakan Museum, Peacock belt, gift of Edmond Chin. Courtesy of the Peranakan Museum Tiffany & Co. is relishing the legacy of Jean Schlumberger, the talented midcentury designer whose works for the New York jeweller helped advance and define a modern look of jewellery. With time, Schlumberger's design codes have acquired the lustrous patina of an older, rarer and more refined world. Glamour, after all, is often more tantalising when it's just out of reach. The Fringe necklace, based on a celebrated 1956 design, references Schlumberger's origins in a family of Alsatian textile merchants. Each 'fringe' of hand-twisted gold rope is articulated, and dotted with diamonds set on platinum so it looks as though they are floating. The paillonné enamel Croisillon bracelet, first introduced in 1962, is meanwhile one of the jewellery world's icons of design history. The ancient technique of enamelling is enhanced with sheets of gold foil, laid in layers, to create colours that are deep, vibrant and luminous. Schlumberger by Tiffany & Co. Fringe necklace and Croisillon bracelet. Yellow gold, platinum, diamonds; 21st century, New York, the US. Yellow gold, paillonné enamel; 21st century; New York, the US. Ching Lee Photography Ching Lee Styling Lance Aeron Vogue Singapore's July/August 'Home' issue is available on newsstands and online.
Straits Times
2 days ago
- Straits Times
Fun With Kids: Peranakan-inspired workshops, $4 cable car rides for two, new Monopoly S'pore edition
Sign up now: Get ST's newsletters delivered to your inbox Until Aug 31, local residents can enjoy a round-trip cable car ride for two people at $4 on the Sentosa Line, where the cabins are adorned with Peranankan-inspired designs. SINGAPORE – Make family time all the more special with these ideas and activities. Peranakan-inspired workshops; $2 cable car ride Learn to make ang ku kueh, ondeh-ondeh and kuih dadar – using polymer clay, that is. Join artist Nur Rashidah Khalid, known for her miniature food crafts on Instagram account Sherry's Minis, for the Tiny Traditions workshop. You and your children will create non-edible miniature clay kueh to take home as a magnet or brooch. Rashidah's two sessions on Aug 30 are part of a Peranakan-inspired workshop series curated by Mount Faber Leisure Group to celebrate the 10th anniversary of Singapore Cable Car's Sentosa Line. Held at the Siloso Point Cable Car Station, each hands-on class is 90 minutes and costs $40.50 a person, which includes a round trip on the Sentosa Line. Kids must be at least six years old and accompanied by a paying adult. Learn to create non-edible miniature clay kueh from artist Nur Rashidah Khalid. PHOTO: SHERRY'S MINIS The Gunong Sayang Association, which promotes Peranakan culture, will also lead two different classes on Aug 31. At its Manek Magic workshop, you will learn the time-honoured art of embellishing the kasut manek (beaded slippers). Alternatively, engage your senses in Scents Of Sayang, a session focused on crafting bunga rampay. This potpourri of flowers, pandan leaves and herbs is a traditional gift at Peranakan and Malay weddings. Artisans of Gunong Sayang Association will guide you and your kids on the traditional art of Peranakan beading. PHOTO: GUNONG SAYANG ASSOCIATION To mark its 10th anniversary, cable car cabins on the Sentosa Line are adorned with Peranakan-inspired designs, featuring colourful motifs reminiscent of Koon Seng Road's iconic shophouses. Until Aug 31, Singapore citizens and local residents can enjoy promotions on the Sentosa Line: a round-trip ride for two people costs $4 (usual price: $17 an adult) and one-day unlimited rides for two are at $14 (usual price: $27 an adult). Sentosa island admission is not included. Go to for details. New Monopoly Singapore edition Landmarks such as Jewel Changi Airport and Bird Paradise have made their way onto the revamped Monopoly Singapore edition board game. PHOTO: HASBRO The Monopoly Singapore edition gets a reboot, aligning with the nation's progress. This latest version of the classic board game introduces new landmarks such as Jewel Changi Airport and Bird Paradise, and updated MRT stations such as Marine Parade on the Thomson-East Coast Line. Pity that while S.E.A. Aquarium is included, it has not yet been updated with its new name Singapore Oceanarium, which opened on July 24. The Monopoly Singapore edition was released in 2006, followed by a second update in 2016. Globally, Monopoly has also unveiled a fresh look for its board game as it celebrates its 90th anniversary. The new Singapore edition, like others, features larger tokens, houses and hotels, making them easier for players to handle and move around the board. The packaging has also been redesigned into a more compact square box, saving space compared with the previous rectangular version. In addition to the visual revamp, the company has introduced three new expansion packs, injecting new life into the gameplay. For instance, the Free Parking Jackpot expansion pack transforms the existing 'free parking' space into a jackpot, allowing players to draw bonus cards and acquire free properties. The new Monopoly Singapore edition retails for $49.90 at major retailers and online stores. Expansion packs can be purchased separately for $16.90 each.
Straits Times
3 days ago
- Straits Times
Theatre review: Jaha Koo's Haribo Kimchi cooks up hearty serving of themes
Jaha Koo Esplanade Theatre Studio Aug 1, 8pm The enduring image of this bittersweet telling of migration and the ways food both suffocates and stays on people's tongues may be its finale of a livestreamed gyrating robotic eel smartly shot from floor level. Or it could be of theatremaker Jaha Koo sprinting across the Esplanade Theatre Studio to hand out free Somaek (a mix of soju and beer). The preceding mood the work conjures is damper, more controlled and meditative, reminiscent of an Edward Hopper painting or Ryan Gosling steering the wheel in the film Drive (2011), with a toothpick in his mouth, backed by electronic synth music. Koo turns mechanised overall loneliness and sadness into something more cosy with the setting of a South Korean late-night streetside food stall, or pojangmacha. Under its kimchi-red canopy and armed with a row of sauces, he is the stall operator – preparing a four-course meal for two members of the audience – in exchange for their listening ear. The stall doubles as a confessional , not for sins but the frustrating search for 'bliss point', used in food engineering to refer to that elusive perfect blend of flavours. The pacing for this work is so well done that it manages to pack what feels like three-hours worth of material into its run-time at just slightly over a third of that, while still moving unflustered in that dilative ether night owls are familiar with. Koo, in his amiable way, alternates his easy, direct narration in English with pre-recorded voiceovers in Korean, during which he cooks. There is high-key surrealism and absurdism throughout – he starts his story with finding a snail in his Costco bag which he duly takes home to ease his lonesomeness. Cue close-ups of the writhing molluscs on two portrait monitors he has set up next to the stall, which frequently displays footage of events from his point of view, including walking through airports and shutting taxi doors. And so begins his irrepressible desire to uproot, to Berlin where the pungency of kimchi haunts him, and on to Brussels where he instinctively apologises and develops a sweet tooth for Haribo gummy bears. Koo never belabours, offering only potent vignettes. He allows the dreamy videos and soundscapes to do a lot of the heavy-lifting. A composer, he also flexes his synth muscles in effective humorous interludes sung philosophically by the snail and the Haribo bear – both CGI-ed to move their lips – and the itinerant eel that lives in perpetual discomfort between fresh and salt water currents. The lighting up of the eel's head here in song is entirely analogue, delivering the all-important line that 'You can carry your roots with you/ routes are more important than roots'. Where Haribo Kimchi is brilliant is in Koo's instinctive understanding of the need for bigger perspectives, and he gives food that gravity beyond the personal – kimchi turning red as a result of mediaeval changes in global temperatures, the proliferation of fried chicken stalls after the financial crisis reminding his father of the smell of corpses during the Gwangju democratic demonstrations in 1980. Koo is also quite willing to allow the conversational lull for audiences to digest instead of the frantic pace of other one-person acts. Within this quiet familiar to the East Asian urbanite, food is repressed emotion, labour, history, curse, and quirk – and just a dash of presentation and present circumstance. When the audience member eating his food praises his sauce, Koo replies: 'I bought it from the supermarket actually.' In wielding theatre and its different tastes so easily, Koo himself comes dangerously close to bliss point. Even if he is still too proud to tackle fusion cuisines. Book It/ Haribo Kimchi
