
Char kway teow is out, mala is in: And that's still hawker culture, Lifestyle News
It was one of those same-old afternoons when my friend H and I were deciding what to eat. The closest option was a hawker centre where we'd spent many childhood hours sipping lemon barley while our fathers shot the breeze over glass mugs of kopi. In our teenage years, we came here after school to slurp Teochew mee pok and kacang pool.
Those stalls — and many others — have since changed hands. Today, a mala xiang guo stall stands beside the second-generation tau huay chwee sellers. One row down, where the smoky aroma of chai tow kway once filled the air, a pair of ex-restaurant chefs serve wagyu rice bowls garnished with truffle paste and ikura.
[embed]https://www.instagram.com/p/DJxyEhyPK_h/?utm_source=ig_web_copy_link[/embed]
As we scanned the options, H remarked, "Hawker culture is really changing, right?" The hawkers who once served us roti john, putu mayam and char kway teow have long retired. In their places are new stallholders, armed with youth, optimism, and a different menu.
These days, you're more likely to find a solid smash burger, delicate French pastries, or a trendy tornado omelette than an outstanding bowl of bak chor mee at the hawker centre. And not everyone is pleased with this evolution.
It's human nature, after all, to cling to the familiar and mourn the things that once anchored us. It's also hard not to feel bereft when the min jiang kueh you'd eaten every Saturday since childhood quietly disappears. It took me months to get over that.
To some, this shift in hawker centre offerings might feel like the unravelling of our culinary identity. But here's the thing: Hawker culture is alive and evolving — just not in the way we expect or want it to.
[embed]https://www.instagram.com/p/CZ4HsfFJeVu/?utm_source=ig_web_copy_link[/embed] Tradition versus change
Hawker centres were created to provide inexpensive, fuss-free meals for the masses. That mission hasn't changed. What has, and always will, is the food itself. Once upon a time, many hawkers cooked over charcoal, giving their food a distinctive smokiness.
Few do that now. It's too time-consuming, harder to control, and unbearably hot in our ever-warming climate. It's difficult enough waiting more than 30 minutes for a plate of food in an un-airconditioned space during lunchtime, let alone cooking in that oppressive heat for hours on end.
Flavours have changed, too. The animals we eat today are raised on different feeds. Some ingredients, like the lye water once used to soften thick bee hoon, are now banned. Which is why your father's favourite fish noodle soup tastes different today.
Yes, dishes like satay bee hoon and kway chap are harder to find. But while we bemoan their disappearance, who among us is willing to put in the work of preserving them? Perfecting a dish takes time and effort.
Serving up plate after plate of char kway teow requires long hours, physical stamina, and a deftness with the wok that can only be honed with years of practice. Yet the dining public still expects to pay no more than $5 a plate for it. It's not good business and we all know it.
And so the hawker centres attract a different kind of hawker today. Passionate cooks sell dishes like mala xiang guo, Japanese curry, or fusion rice bowls because it makes more business sense. They are relatively scalable, can be batch-prepped, and appeal to younger diners.
And let's not forget the economic pressures of being a hawker. Stall rentals and ingredient costs have risen — blame that on global inflation, supply chain challenges, and climate change, among numerous other factors — while expectations around pricing remain stuck in the early 2000s. Labour is scarce, especially when long hours in a hot stall with few days off is a hard sell for a generation raised on work-life balance and quiet quitting.
Even first-generation hawkers, who like all parents, want a better life for their children, would rather their kids choose white collar vocations. Which leaves the job of hawker-ing to individuals who do what they can to earn a decent living while catering to the need for good, affordable food.
[embed]https://www.instagram.com/p/CatX4FyvuEA/?utm_source=ig_web_copy_link[/embed]
Our hawker centres won't disappear, but they will change. Thirty years from now, 40-somethings will probably have the same lament about hawker culture not being what it used to be. They'll be wistful for their favourite mala xiang guo and wagyu rice bowls that used to define the hawker centres of their youth. They might complain about how bak chor mee now costs a whopping $15 a bowl and that no one makes it the proper way anymore. That's nostalgia in motion. And so the world turns.
It bears remembering that hawker centres are living ecosystems shaped by supply, demand and migration patterns. Indian-Muslim hawkers popularised mamak favourites like mee goreng; Hainanese immigrants gave us chicken rice.
The wave of today's crowd-pleasers — Korean ramyeon, truffle oil everything, or Taiwanese lu rou fan — is just another chapter in a very colourful book of the foods that make Singapore a culinary paradise. Do these dishes belong in a hawker centre? Who's to say they don't?
Preserving hawker culture doesn't mean freezing it in time. It should be about making room for evolution while keeping the spirit intact. It's about supporting good food at fair prices, regardless of whether it's served with sambal or sous vide eggs.
The flavours of a hawker centre will change, but that ritual of chope-ing a table with a packet of tissues, queueing in the heat for your favourite dishes, and ordering way too much food, remains unmistakably Singaporean. That's what's worth protecting.
[[nid:716017]]
This article was first published in Wonderwall.sg .

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Vogue Singapore
6 hours ago
- Vogue Singapore
The Longchamp X Constantin collab presents a new house emblem
For decades, the family-owned house of Longchamp has been the epitome of quiet luxury—a brand that has not just embraced the term but defined it long before it became a fashion buzzword. What began as a humble family business crafting leather-covered pipes has now evolved into a powerhouse of French craftsmanship. Since its inception in 1948, the maison has consistently championed artisanal excellence, with the hand—both of the artisan and the designer remaining central to its one-of-a-kind story and heritage. This commitment to true craftsmanship carries through to each new range, including the house's latest fall 2025 collection, curated in a poetic collaboration with Parisian artist and ceramist Constantin Riant. Courtesy of Longchamp Known for his work rooted in graphic simplicity and manual gestures across illustrations, paintings, and ceramics, Riant draws inspiration from the 'Paris' of local artisans—the upholsterer shops and booksellers that line neighbourhood streets to the luthier and the picture framers. This collection is an ode to the ones that keep the city's creative heart beating. One that feels like a quiet walk through the very soul of Paris—unlike the polished, postcard-perfect version, but the layered, lived-in city one, where art is tucked into every nook and cranny, and there is a certain beauty in the ordinary. The collection comprises of six exclusive pieces, each rendered in a classic palette of cobalt blue and white—a nod to Riant's ceramic roots and the utilitarian charm of traditional workwear. A standout is the 'Les Artisans de Paris' silk scarf, adorned with Riant's hand-drawn illustrations of local shopfronts—from booksellers to florists—each a love letter to the hidden artistic corners of the city. The collection features an array of sturdy cotton jackets and painter-style overalls, graphic T-shirts, and an updated version of the iconic Le Pliage tote bag. And if you look closer, you'll spot the maison's new emblem designed by Riant—a visual story blending symbols of Longchamp's legacy and dedication to craft, from leatherworking tools and the first leather-covered pipes to ships and planes. This emblem appears throughout the collection as a modern seal of craftsmanship and creativity. In an interview with Vogue Singapore , Riant and Longchamp's general manager and creative director Sophie Delafontaine open up about their creative process, shared appreciation for craftsmanship and the making of the fall 2025 collection. Courtesy of Longchamp How did you encounter Constantin's work? What is it about his vision that made him the perfect collaborator for this collection? Sophie Delafontaine: I've known Constantin for several years and have followed his work since the beginning. Our shared passion for craftsmanship and artistry field made this collaboration a natural fit, as our two worlds align perfectly. I wanted to illustrate the beauty of artisans through the eye of a native artist who could capture the city atmosphere and its artisanal heritage. Constantin imagined a poetic universe while celebrating those who bring the capital to life. How does this collaboration reflect Maison's commitment to supporting emerging artists, while also honoring the dynamism of cultural creativity beyond fashion? SD: Maison Longchamp always had a close relationship with art. Supporting emerging artists is a continuation of that bond, allowing us to maintain a kind of freshness in creativity. Our aim is to act as a springboard for these up-and-coming artists—a catalyst for their visibility—helping their talent and work reach the broadest possible audience. Each new collaboration is both a discovery and a challenge—entering the artist's world, understanding their aspirations, and transforming it all into a Longchamp product that is both aspirational and respectful of our heritage and DNA. For this collection, Constantin Riant—as Parisian, young artist and a highly creative spirit—embodied many values reflecting Longchamp's spirit. Courtesy of Longchamp Let's talk about the emblem—given that it's such a crucial part of the house. What were the guidelines given to Riant with the new design? SD: Constantin did a great work translating Longchamp's codes into a single emblem—from the first leather-covered pipes to the iconic 'Le Pliage' bag, leatherworker's tools as well as a plane and a boat symbolising the brand's international expansion. The idea was to use these symbols to express the connection between past and present in a very visual way—with placed on pieces inspired by artisans' workwear wardrobe such as a painter vest. This emblem truly finds its meaning and brings a more authentic twist to the collection. The scarf is described as the 'star piece' of the collection. Why did you decide to spotlight such a classic accessory, and what does it symbolise? SD: The collaboration is meant as a complete set of six exclusive pieces (bags and ready-to-wear) all reflecting Constantin's universe with his very distinctive blue and white colour palette. The scarf 'Les Artisans de Paris' holds great meaning as it embodies the quintessential Parisian 'flâneur' spirit. It pays tribute to the artisans and their charming shopfronts found throughout the city—an upholsterer, a bookseller, a florist, among others. I love the idea of taking time to explore the city and neighbourhood, and rediscovering the details that make Paris such a unique and inspiring destination. Courtesy of Longchamp Constantin, you've have described this project as exploring Paris like a tourist. What parts of the city inspired you the most during this creative journey? Constantin Riant : I'm often most inspired by the hidden or secluded corners of the city, though I also love the historical centre of Paris like all Parisians. What makes Paris truly remarkable is that each neighbourhood has its own distinct identity, aesthetic, and community. It's this diversity that gives the city its unique charm and richness. Walking along the river Seine banks, whatever the weather is one of my favourites. Courtesy of Longchamp The colours cobalt and white have become your signature as an artist. What do they symbolise to you? CR: Cobalt blue and white are closely tied to my ceramic practice. When I first began working with ceramics, I wanted to use a recognisable colour palette that echoed the tradition of ceramic arts, from Chinese and Japanese vases to Portuguese azulejos and classic French tableware. I found inspiration from traditional slip glazes such as Delft blue and the Bleu de Sèvres, as well as the bright white of porcelain and faience. These tones have since become an integral part of my artistic identity. Longchamp is known for heritage and craftsmanship. How did reimagining the Le Pliage bag for this collection allow you to merge tradition with innovation? CR: I'm very grateful to have had the opportunity to create a new version of the Le Pliage bag by preserving its iconic shape and silhouette, while infusing it with my colour codes, illustrations, and aesthetic. This fusion allowed us a balance between tradition and creative innovation, that resonates with my work. Courtesy of Longchamp You've designed a new logo for the maison. Can you share the story and inspiration behind its design? CR: I loved looking into Longchamp's archives, savoir-faire and craftsmanship to identify key visual elements that would reflect the brand's rich heritage. From there, I created a design that pays tribute to that legacy, reinterpreted with my visual language. Fashion and art have a symbiotic relationship. What kind of dialogue did you and Longchamp aim to create between these two overarching disciplines? CR: I believe that artists offer fashion a fresh perspective, a unique vision and universe to explore. Fashion allows artists to work within new formats and constraints, pushing their creativity in different directions. I think these two disciplines constantly inspire one another and often serve as powerful indicators of future trends and creative movements. It was an incredible opportunity to work on fashion pieces that reflect my own vision, pieces that not only embody my artistic language but also exist within a wearable, living format. Longchamp X Constantin fall 2025 capsule collection is now available in stores.


AsiaOne
2 days ago
- AsiaOne
Char kway teow is out, mala is in: And that's still hawker culture, Lifestyle News
It was one of those same-old afternoons when my friend H and I were deciding what to eat. The closest option was a hawker centre where we'd spent many childhood hours sipping lemon barley while our fathers shot the breeze over glass mugs of kopi. In our teenage years, we came here after school to slurp Teochew mee pok and kacang pool. Those stalls — and many others — have since changed hands. Today, a mala xiang guo stall stands beside the second-generation tau huay chwee sellers. One row down, where the smoky aroma of chai tow kway once filled the air, a pair of ex-restaurant chefs serve wagyu rice bowls garnished with truffle paste and ikura. [embed] As we scanned the options, H remarked, "Hawker culture is really changing, right?" The hawkers who once served us roti john, putu mayam and char kway teow have long retired. In their places are new stallholders, armed with youth, optimism, and a different menu. These days, you're more likely to find a solid smash burger, delicate French pastries, or a trendy tornado omelette than an outstanding bowl of bak chor mee at the hawker centre. And not everyone is pleased with this evolution. It's human nature, after all, to cling to the familiar and mourn the things that once anchored us. It's also hard not to feel bereft when the min jiang kueh you'd eaten every Saturday since childhood quietly disappears. It took me months to get over that. To some, this shift in hawker centre offerings might feel like the unravelling of our culinary identity. But here's the thing: Hawker culture is alive and evolving — just not in the way we expect or want it to. [embed] Tradition versus change Hawker centres were created to provide inexpensive, fuss-free meals for the masses. That mission hasn't changed. What has, and always will, is the food itself. Once upon a time, many hawkers cooked over charcoal, giving their food a distinctive smokiness. Few do that now. It's too time-consuming, harder to control, and unbearably hot in our ever-warming climate. It's difficult enough waiting more than 30 minutes for a plate of food in an un-airconditioned space during lunchtime, let alone cooking in that oppressive heat for hours on end. Flavours have changed, too. The animals we eat today are raised on different feeds. Some ingredients, like the lye water once used to soften thick bee hoon, are now banned. Which is why your father's favourite fish noodle soup tastes different today. Yes, dishes like satay bee hoon and kway chap are harder to find. But while we bemoan their disappearance, who among us is willing to put in the work of preserving them? Perfecting a dish takes time and effort. Serving up plate after plate of char kway teow requires long hours, physical stamina, and a deftness with the wok that can only be honed with years of practice. Yet the dining public still expects to pay no more than $5 a plate for it. It's not good business and we all know it. And so the hawker centres attract a different kind of hawker today. Passionate cooks sell dishes like mala xiang guo, Japanese curry, or fusion rice bowls because it makes more business sense. They are relatively scalable, can be batch-prepped, and appeal to younger diners. And let's not forget the economic pressures of being a hawker. Stall rentals and ingredient costs have risen — blame that on global inflation, supply chain challenges, and climate change, among numerous other factors — while expectations around pricing remain stuck in the early 2000s. Labour is scarce, especially when long hours in a hot stall with few days off is a hard sell for a generation raised on work-life balance and quiet quitting. Even first-generation hawkers, who like all parents, want a better life for their children, would rather their kids choose white collar vocations. Which leaves the job of hawker-ing to individuals who do what they can to earn a decent living while catering to the need for good, affordable food. [embed] Our hawker centres won't disappear, but they will change. Thirty years from now, 40-somethings will probably have the same lament about hawker culture not being what it used to be. They'll be wistful for their favourite mala xiang guo and wagyu rice bowls that used to define the hawker centres of their youth. They might complain about how bak chor mee now costs a whopping $15 a bowl and that no one makes it the proper way anymore. That's nostalgia in motion. And so the world turns. It bears remembering that hawker centres are living ecosystems shaped by supply, demand and migration patterns. Indian-Muslim hawkers popularised mamak favourites like mee goreng; Hainanese immigrants gave us chicken rice. The wave of today's crowd-pleasers — Korean ramyeon, truffle oil everything, or Taiwanese lu rou fan — is just another chapter in a very colourful book of the foods that make Singapore a culinary paradise. Do these dishes belong in a hawker centre? Who's to say they don't? Preserving hawker culture doesn't mean freezing it in time. It should be about making room for evolution while keeping the spirit intact. It's about supporting good food at fair prices, regardless of whether it's served with sambal or sous vide eggs. The flavours of a hawker centre will change, but that ritual of chope-ing a table with a packet of tissues, queueing in the heat for your favourite dishes, and ordering way too much food, remains unmistakably Singaporean. That's what's worth protecting. [[nid:716017]] This article was first published in .

Straits Times
4 days ago
- Straits Times
Singapore's Odette is No. 25 on World's 50 Best Restaurants list
Odette's team with its French chef Julien Royer (centre). The French fine-dining restaurant has been ranked No. 25 on The World's 50 Best Restaurants 2025 list. PHOTO: THE WORLD'S 50 BEST RESTAURANTS Singapore's Odette is No. 25 on World's 50 Best Restaurants list SINGAPORE – French fine-dining restaurant Odette at the National Gallery Singapore has slipped a notch to No. 25 on The World's 50 Best Restaurants 2025 list. It remains Singapore's only restaurant on the prestigious list of gastronomic talent, announced at a ceremony in Piedmont's Turin city in northern Italy on June 19. The three-Michelin-starred establishment, ranked No. 24 in 2024, has been on the top 50 list since 2018. Odette's chef Julien Royer, 42, who attended the ceremony, said in a statement: 'This year marks 10 years of Odette, and it is an honour to once again be recognised among some of the finest restaurants around the world. 'I'm incredibly proud of my team – many of whom have been on this journey with us since the very beginning. Their dedication and consistency have been key in shaping Odette into what it is today.' The statement added that, regardless of the placing, Odette's entire team is immensely proud of what it has accomplished over the years to represent Singapore on the world culinary stage. Two other Singapore establishments made it to the list of top 100 restaurants, which was announced on June 5. Chef Dave Pynt of Burnt Ends, ranked No. 93 in 2025. PHOTO: ST FILE Modern barbecue restaurant Burnt Ends in Dempsey dropped to No. 93 (from No. 68 in 2024), while modern Singaporean Restaurant Labyrinth at Esplanade Mall slid to No. 97 (from No. 92 in 2024). Chef Han Liguang helms Restaurant Labyrinth, ranked No. 97 in 2025. PHOTO: ST FILE Contemporary Korean restaurant Meta in Mohamed Sultan Road, ranked No. 95 in 2024, did not make the cut. Topping the list was Lima's Maido restaurant (from No. 5 in 2024), which also held on to its Best Restaurant in South America title that was awarded in 2024. Lima's Maido restaurant takes top spot, helmed by Peruvian chef-owner Mitsuharu 'Micha' Tsumura (centre). PHOTO: THE WORLD'S 50 BEST RESTAURANTS Run by Peruvian chef-owner Mitsuharu 'Micha' Tsumura, the restaurant is named after the Japanese greeting 'Maido' that is used to welcome diners. Maido, which was established in 2009, specialises in Nikkei cuisine – blending meticulous Japanese techniques with vibrant Peruvian ingredients for an innovative dining experience. Spain's Asador Etxebarri and Diverxo – at No. 2 and No. 4 respectively – maintained their rankings from 2024. Inching their way into the top five are Mexico City's Quintonil at No. 3 (from No. 7 in 2024) and Copenhagen's Alchemist at No. 5 (from No. 8 in 2024). Barcelona's Disfrutar, which was the top restaurant in 2024, joins the Best of the Best hall of fame of establishments that attained No. 1 in previous years. These include Lima's Central, New York's Eleven Madison Park and Copenhagen's Geranium and Noma. Bangkok's restaurants had a strong showing, with two new entries cracking into the top 50. Nusara came in at No. 35 (from No. 74 in 2024) and Potong, at No. 13 (from No. 57 in 2024), also received the Highest New Entry and The World's Best Female Chef accolades for its chef Pichaya 'Pam' Soontornyanakij. The Thai capital's other restaurants all climbed the ranks, with Gaggan at No. 6 (from No. 9 in 2024) retaining its Best Restaurant in Asia title. Sorn placed at No. 17 (from No. 38 in 2024), Suhring at No. 22 (from No. 23 in 2024) and Le Du at No. 30 (from No. 40 in 2024). In Japan, the rankings for its restaurants fluctuated. Tokyo's Sezanne climbed to No. 7 (from No. 15 in 2024), while Florilege slid to No. 36 (from No. 21 in 2024). Den is now part of the 51-to-100 restaurants list at No. 53 (from No. 32 in 2024). Re-entries into the World's 50 Best list include Tokyo's Narisawa at No. 21 (from No. 56 in 2024) and Osaka's La Cime at No. 44 (from No. 66 in 2024). The award recipients at The World's 50 Best Restaurants ceremony in Turin. PHOTO: THE WORLD'S 50 BEST RESTAURANTS Several Asian restaurants also fared well, including Hong Kong's Wing at No. 11 (from No. 20 in 2024) and The Chairman at No. 19 (from No. 26 in 2024); and Seoul's Mingles at No. 29 (from No. 44 in 2024). Other chef awards went to Maxime Frederic from Plenitude at the Cheval Blanc Paris Hotel in Paris (No. 14), who was named The World's Best Pastry Chef; and chef-owner Albert Adria of Barcelona's Enigma (No. 34), who won the peer-voted Chefs' Choice Award. The annual list is produced by British media company William Reed. It is based on voting by a panel of 1,120 international restaurant industry experts from 28 regions around the world. Eunice Quek is STFood online editor at The Straits Times. She covers all things trending in the food and beverage scene. Check out ST's Food Guide for the latest foodie recommendations in Singapore.