Prestige Singapore_032025

THE ART ISSUE

SPRING/SUMMER 2025‘S DREAMY ADVENTURE | REGIONAL ARTISTS TO COLLECT | BOUNDARY-PUSHING HAUTE COUTURE

LEADING LIGHT

The Gucci Bamboo 1947 may be hog ging the spotlight this season but there is another house icon that is making a n equally bold statement. On the cover, the Gucci Jackie 1961 electrifies as the perfect hobo-to-go in bright green. It makes the unexpectedly perfect opening shot for our cover spread featuring the house’s Spring/Summer 25 collection inspired by Jackie Kennedy Onassis, the glamorous American icon who lived every moment of her life in style.

Photography JOEL LOW

Fashion Styling JACQUIE ANG Hair GREGO, using KEUNE HAIRCOSMETICS

Makeup KEITH BRYANT LEE, using GUCCI BEAUTY

Photography Assistance EDDIE TEO

Fashion Assistance ISABELLA TEO

Model BRI LYON/AVE

Mini dress, choker, Jackie 1961 bag, bracelet and fingerless gloves, all Gucci

Caban coat, bandeau top, mini tulip skirt and Gucci Diana mini tote, all Gucci

Glow Recipe Watermelon Glow

Tom Ford Beauty Architecture Brow Pencil

Maison Francis Kurkdjian Baccarat Rouge 540 Extrait de Parfum

Rare Beauty Soft Pinch Liquid Contour

JUNE LEE

For over 20 years, June has specialised in writing on the topics of food, wine, spirits and travel for various publications. She completed the WSET Level 3 and Certified Specialist of Wine courses, mainly so that she could dive deeper into her passion. She’d also love to visit every whisky distillery in Scotland, and harbours a secret ambition to forage for woodland botanicals for distilling her own gin some day. This issue, she speaks with winemaker Anne Gros, who is also the

CLARENCE LEE

One of the foremost makeup gurus in Singapore and highly sought-after for private bookings, Clarence started out in 1990, but remains passionate about being on set for production shoots. To him, it is a great feeling making people more beautiful or giving them looks they never thought they could achieve. Boosting a client’s confidence simply makes his day. One of his proudest career moments, he says, was seeing his work on Zhang Ziyi when she presented an award at the 2005 Academy Awards. Saving the environment is also close to his heart, and he’s glad that his eco-consciousness has rubbed off on his friends.

MICKY WONG

Micky borrowed his first camera from a friend at age 15, but it was only four years later – having saved up to buy his own SLR camera – that his love for photography grew. Learning the ropes by assisting renowned fashion photographers and working at commercial studios both here and in Malaysia, Wong has built a This issue, he helms our photoshoot for our personality feature story.

Victoria writes about food and travel for newspapers and magazines around the world. After growing up in South Africa, and spending almost a decade in Hong Kong and several years in India, she’s now based in London – although San Sebastian is one delicious recent reason why she’s hardly ever home. This issue, she writes about the culinary landscape in Armenia.

72 Beauty News

74 Power Femme

Three beauty entrepreneurs share their entrepreneurial journey and perspectives on women empowerment

78 First Protector

Sulwhasoo’s First Care Activating

Serum is the key to tackling the root cause of ageing skin

ATELIER

82 Jewellery News

84 As Nature Intended

These high jewellery creations unveiled at Paris Couture Week are spectacular calls to the wild

90 Watch News

92 Strokes of Creativity

The recent collaborations between artists and designers have resulted in highly desirable creations

96 A Modern Monument

The Richard Mille RM 16-02 is an architectural masterpiece for the wrist

98 Taking Shape

The Baignoire is swiftly coming into its own as a Cartier horological icon

100 Sublime Moments

Artistic crafts elevate fine wristwatches into extraordinary pieces of art LIFE

106 Art for Everyone

Art Basel Hong Kong’s Angelle Siyang-Le on changing the art fair experience

110 Thailand Rising

Patron Marisa Chearavanont and curator Stefano Rabolli Pansera on Thailand being the next art hub

114 Seasoned with Stories Bryan Koh’s Burmese cookbook

captures the enduring soul of a nation through its most authentic flavours

116 Call Her by Her Name Domaine Anne Gros was one of the first eponymous female wine estates in Burgundy

118 From the Ashes In Armenia, a new generation of hospitality entrepreneurs is shaping a vibrant culinary landscape

124 Generation Next Porsche has debuted an entirely new electric Macan SUV

WORD

128 Serpenti Sheds its Skin Bvlgari and MB&F team up to create a powerful new take on the emblematic Serpenti

Boucheron pays tribute to Frédéric Boucheron’s love for flora and fauna with its Untamed Nature collection.

Lynette Koh DEPUTY EDITOR

Jacquie Ang FASHION EDITOR

SINGAPORE

SINGAPORE

Lena Kwek

PUBLISHER & MANAGING DIRECTOR, SINGAPORE AND MALAYSIA

Valerie Leong HEAD OF SALES

Sandra Chua SENIOR ADVERTISING DIRECTOR

Stephanie Tan ADVERTISING DIRECTOR

Elaine Tan ASSOCIATE ADVERTISING DIRECTOR

Jennifer Chen EDITOR-IN-CHIEF

Audrey Chan CONTRIBUTING SENIOR ART DIRECTOR Ng Han Min GROUP EDITOR WATCHES & JEWELLERY

Joseph Low SENIOR FEATURES WRITER

CONTRIBUTORS

Audrey Phoon, Bruce Scott, Candice Chua, Charmaine Chan, Charmian Leong, Clarence Lee, Grego, Joel Low, June Lee, Keith Bryant Lee, Micky Wong, Micheal Chew, Sophia Chia, Victoria Burrows

PRESTIGE ASIA

Stephanie Ip MANAGING EDITOR, HONG KONG

Steve Chen EDITOR-IN-CHIEF, TAIWAN

Oceana Ou PUBLISHER & MANAGING DIRECTOR, HONG KONG

Joyce Cheo BRANDED CONTENT LEAD

Joel Chua

MEDIA MANAGER

Eswary Tariran SENIOR ADVERTISING TRAFFIC MANAGER

Desmond Lee SENIOR MARKETING MANAGER

Peony Lee SENIOR MARKETING EXECUTIVE PRESTIGE ASIA

Ronald Liem PUBLISHER, INDONESIA Natasha Kraal ASSOCIATE PUBLISHER, MALAYSIA

Steve Chen PUBLISHER, TAIWAN Björn Rettig MANAGING DIRECTOR, THAILAND

INTERNATIONAL ADVERTISING SALES REPRESENTATIVES BURDA COMMUNITY NETWORK

Michael Neuwirth

Senior Client Service Manager International Media Tel: +49 (89) 9250 3629 Email: michael.neuwirth@burda.com

FRANCE BENELUX

Marion Badolle-Feick

Head of Sales Region France & Benelux

Tel: +33 (1) 72 71 25 24

Email: marion.badolle-feick@burda.com

Kseniia Komarova Client Service Manager International Media Tel: +49 (89) 9250 3035 Email: kseniia.komarova@burda.com

SWITZERLAND

Regina Essig

Senior Client Service Manager Sales Region Switzerland

Tel: +41 (44) 810 21 46

Email: regina.essig@burda.com

ITALY SCANDINAVIA / SPAIN NETHERLANDS (FASHION) / GREECE / OTHERS

Lena Kölle

Client Service Manager

Tel: +49 (89) 9250 3197

Email: lena.koelle@burda.com

Joezer Methusael Mandagi EDITOR-AT-LARGE, INDONESIA Tengku Zainab Ajlaa EDITOR, MALAYSIA

François Oosthuizen EDITOR-IN-CHIEF, THAILAND

Vuth Sovin Chem EDITOR-IN-CHIEF, CAMBODIA

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Tom Bureau CHIEF EXECUTIVE OFFICER, BURDAINTERNATIONAL

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Christoph Pagel CHIEF OPERATING OFFICER, BURDALUXURY

Simon Clays DIRECTOR OF PRINT OPERATIONS & STRATEGY, ASIA

Ashish Sharma REGIONAL DIRECTOR OF TECHNOLOGY & PRODUCT

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Sonya Shah REGIONAL HR MANAGER

JM Junio REGIONAL TALENT ACQUISITION LEAD

ART AND SOUL

An English period drama devotee, recently re-binged on Cranford a television series adapted from a handful of 19th-century novellas by Elizabeth Gaskell. This was not only to lose myself in the pleasure of watching British acting titans like Judi Dench and Jonathan Pryce strut their stuff, but, to a certain extent, take comfort from how folks from generations past adapt to profound societal changes. In a story about the arrival of a steam-powered train to a traditional village, Dench’s spinster character screws up the courage to shepherd her friends into riding this “horseless carriage”. Their initial disorientation (and fear) are not so different from the reaction of people today to the increasing abilities of AI. Change is relentless.

Perhaps that’s why there’s a growing trend at events of writers producing customised poetry from vintage typewriters. The literary art form is as anachronistic as the device that taps out the words. Who but the dedicated scholar/humanist reads poetry anymore? And how did the writer even secure their dinosaur of a typewriter? Yet, witnessing human ingenuity at work here, without recourse to artificial intelligence is the point. Knowing our own limitations as human beings, we admire those who can achieve the extraordinary, like Usain Bolt in the 100m, Kazuo Ishiguro with language or Michael Jackson with the moonwalk. On the other hand, last month, Christie’s New York faced backlash from thousands protesting against the auction house’s first dedicated sale of art created from artificial intelligence. The issue is copyright infringement. Where is the originality in art created from data sets? Earlier on, I myself cancelled an order of thought-provoking posters upon discovering they were AI-generated.

The results of the Christie’s auction are not available at press time; and the what-is-art debate will continue. In the meantime, as the packed Art SG exhibition in Singapore proves, there’s plenty to explore on the human side of the art creation process. In this issue, we identify the Asian artists to keep your eye on and what to expect at the upcoming Art Basel in Hong Kong. March being a fashion month, we dive into the season’s trending looks and haute couture offerings. Gorgeously realised, sensuous, tactile, and exquisitely handcrafted – in high fashion, the here-and-now doesn’t get more real than slipping into that designer dress.

Jennifer Chen EDITOR-IN-CHIEF jennifer.chen @burdaluxury.com

If you feel extra serene inside the Rolls-Royce Phantom, it may be due to its bespoke fragrance, prosaically named the Rolls-Royce Scent, made from notes of amyris, cedarwood, rosewood and iris and specifically designed to complement the aromas of the cabin’s materials.

AVANT ART

Five hundred kilometres north of Jeddah in Saudi Arabia, in the middle of turquoise waters underlined by pristine beaches, something sparkles. From above, the line of perfect, precise circles looks like a just-begun Yayoi Kusama painting daubed on the ocean, but zoom in and the truth emerges: this isn’t a new pumpkin artwork, but Shebara, a fantastical new resort owned by the government’s Red Sea Global real-estate development company that opened in November. It comprises 73 otherworldly orb-like villas that seem to hover effortlessly above the water, their open decks looking out on a horizon of every shade of blue. As construction technology advances and wealthy governments and individuals create ever-more eye-popping offerings to draw tourism, the boundaries between mere facility and modern art are blurring. The recently launched Romeo Rome – one of the late Zaha Hadid’s final projects, in partnership with owner and Italian multi-millionaire Alfredo Romeo – is another example. The 12-year transformation of a 16th-century palazzo has married antique frescoes with futuristic, curvedglass bathrooms and gleaming modern spaces throughout its 74 suites, while contemporary art from the likes of Mario Schifano, Francesco Clemente and Mimmo Paladino interwoven with relics found during the restoration have transformed the hotel into a living museum.

Prada universe on Orchard Rd • New must-see museums • A S’porean chef in Norway

GUGGENHEIM ABU DHABI

This year, the Guggenheim Abu Dhabi will finally open its Frank Gehrydesigned doors – 14 years after construction began on the cultural district of Saadiyat Island, and more than 20 since the idea of the museum was mooted. At a mammoth 42,000sqm, it will be the biggest of four Guggenheim museums worldwide, reflecting the scale at which many contemporary artists work. The building will house a centre for art and technology, a library, a children’s education facility, a conservation laboratory, and archives, as well as a labyrinth of galleries designed with unconventional shapes, sizes and heights to accommodate all kinds of artworks. That’s much like the exterior, which Gehry says was inspired by the region’s architectural language of minarets, domes and traditional wind towers. While the museum is set to hold pieces by well-known international artists including James Turrell and Ernesto Neto, its true focus will be on art from West and South Asia, and North Africa – making it unique in the Guggenheim stable.

FENIX MUSEUM OF MIGRATION, ROTTERDAM

Where have we come from, where will we go, and how do our movements affect how we all live together? The story of human migration is one of the most important in modern history, and it’s what the new Fenix Museum of Migration – the first of its kind – aims to tell via art, history and photography when it opens on May 16. Funded by the billionaire Van der Vorm family through its family foundation and designed by MAD Architects, the museum sits along Rotterdam’s city harbour in one of the world’s biggest warehouses that used to belong to the Holland-America Line, where millions once began their trans-Atlantic journey of migration. At the centre of the building rises a gleaming silver double-helix staircase called the Tornado, a symbol of the unpredictable-ness of migrant journeys around the world, while inside, visitors can experience exhibits like The Suitcase Labyrinth, a giant installation made up of thousands of donated suitcases from 19th century bags to modern Samsonites, all of which come with labels that can be scanned for their individual stories.

DATALAND, LOS ANGELES

It was only a matter of time before the world birthed a museum dedicated to artificial intelligence, and that moment is set to arrive this year with the debut of Dataland. When it opens towards the end of 2025 in downtown Los Angeles’ highly anticipated Grand LA development, Dataland will be the first museum focused on art created by artificial intelligence. Turkish-American new media artist Refik Anadol, who has made a name for himself for algorithmcreated abstract artwork, is the founder behind the 20,000sqft space, which has been a couple of years in the making. He and his studio are also the brains behind the launch exhibition, Large Nature Model, for which the team has collaborated with institutions such as London’s Natural History Museum and the Smithsonian to generate AI works from images of nature. All data has been collected with permission and runs on servers that use only renewable energy – making this, Anadol says, an “ethical AI” show.

V&A EAST STOREHOUSE, LONDON

With limited space, museums can only showcase so many exhibits at a time. So what do you do with the rest of the collection? The new V&A East Storehouse by the Victoria and Albert Museum in London, which will open on May 31, offers a genius response. Covering a space equal to more than 30 basketball courts, the sprawling four-level structure functions not just as a storage facility, but as something of a behind-the-scenes look for the public at pieces that aren’t the focus of current exhibitions. Over half a million wide-ranging works are housed here, from samurai swords to Elton John costumes and Roman antiques, all of which visitors can call up and view during their visit through a pre-arranged Order an Object service. Curated mini displays and an education on how museums collect, take care of, and interpret objects complete the experience that’s free for everyone.

Immerse Universe

Prada’s new ION Orchard boutique elevates the luxury shopping experience with stunning interiors, made-to-measure services – and a first-in-Asia caffè.

Words: CANDICE CHUA

Awell-designed luxury boutique does more than reflect its brand’s ethos – it immerses you in it. Such is the case with Prada’s new boutique at ION Orchard. Located on the first and second floors of the luxury retail destination and spanning over 1,200sqm, the store stands out with its sleek curved glass facade created from panels in the shape of Prada’s signature triangle motif.

Art is boundless

T he Prada story continues inside. The black-and-white chequered marble floor – a nod to the original Prada boutique at the historic Galleria Vittorio Emanuele II in Milan – is complemented by curved walls and glowing ceilings in Prada’s signature pastel green. Lush velvet sofas in soothing green, as well as wooden and metal furnishings inspired by the Italian design scene of the ’50s, complete the intimate and cosy atmosphere.

T he first floor houses the men’s collections, and a walk up the sculptural spiral staircase – also in that signature Prada pastel green – takes you to the women’s collections, the lifestyle collections (where categories span across homeware, sports and pet accessories), and the Prada Eternal Gold fine jewellery collection.

For clients seeking to go bespoke with their Prada pieces, there’s also a made-to-

measure area. And, while you’re on the second floor, take a closer look at the pastel green walls, for they reveal yet another homage to Prada’s history: a threedimensional floral motif, based on a print from the brand’s archives.

Taking a step further to immerse its clientele into the Prada universe, the second floor of the boutique invites the exploration of a new dimension of the brand: the Prada Caffè, where brunch fare, desserts and, of course, coffee await. The first of its kind in Asia, it is also the first Prada Caffè to be nestled in a boutique. 01-01 and 02-15, ION Orchard

Hong Kong Convention and Exhibition Centre

March 28–30, 2025

Nightly Tipples

Nostalgic flavours, Parisian glamour and Japanese artistry define Singapore’s latest must-try cocktail creations.

FRENCH-STYLE COCKTAILS

Madame Claude, the Ann Siang Hill social club and cocktail bar, welcomes new bar manager Farhan Azman, formerly of Set of Six and Lulu’s Lounge. His 12 new cocktails, named after French women, are inspired by the “real-life women” he’s encountered. Guests can enjoy these libations in Madame Claude’s unique, burlesque-inspired space – a red and black playground featuring plush velvet seating, mood lighting and artful details. Highlights include Charlotte, a refreshing after-dinner treat blending berry yog h urt-infused gin with raspberry and apricot eau de vie, topped with citrus foam. Eva combines homemade red wine with mango cordial, rum and A maretto for a fruity, velvety experience. Finally, Michelle mixes cognac, coffee liqueur, crème de cacao blanc, and pistachio-infused bourbon and comes garnished with a pistachio biscuit to finish.

8 Ann Siang Hill

MIDWEEK MYSTIQUE

are often known as Ladies’ Night s and hump day has become a lot more bearable with a t Avenue Lounge, called Midweek Mystique. Set in the same complex as Marquee Marina Bay Sands, the nightclub will have resident DJs spinning tunes that span different genres hip-hop chart-toppers and sing - alongs. The re will also be a dedicated manicure station as well as four newly launched vodka-based cocktails that are exclusive to Wednesday nights.

2 Bayfront Avenue, Basement 3

COMMUNITY SPIRIT

Award-winning Nutmeg & Clove unveils its new cocktail menu, a tribute to 12 of Singapore’s heritage businesses. From tailors and provision shops to pottery workshops and vegetable vendors, each cocktail captures the unique essence of these local artisans and their crafts. For a taste of nostalgia, try Kid Me Not, a gin-based concoction that evokes childhood memories with flavours of hawthorn flakes and Sarsi, a fizzy li qu orice drink, jazzed up with a five-spice blend. F or an invigorating pick-me-up, there’s Dirty Kopi, a coffee-forward cocktail fortified with rum, a hint of cherry, and a touch of berry tea. This bittersweet and fragrant brew is sure to set the mood for the night ahead.

8 Purvis Street

JAPANESE SENSIBILITIES

After various stints in the London bar scene, including The Connaught Hotel and Rosewood London, Marco Maiorano joined modern Japanese restaurant Koma in 2024 as its bar manager. So now, i n addition to the Instagram-famous 20m-long red arched passageway and Japanesestyle dining options, which include sushi, robatayaki, and izakaya, Koma also offers a noteworthy drinking experience Maiorano has introduc ed eight handcrafted cocktails inspired by the classics and infused with a Japanese twist, featuring ingredients such as matcha, dry sparkling sake and umeshu. B1-67 The Shoppes, Marina Bay Sands

ELECTRIFY YOUR SPACE

It’s time to get adventurous and transform your home into a vibrant haven with an eclectic mix of bright colours, bold prints and patterns, and exotic materials.

MOSAIC MASTERPIECE

Designed by Patricia Urquiola, the Remis Console by Glas Italia features a wooden structure enveloped in a mosaic of cast-glass tiles. The varied hues and unique shapes create a stunning surface, reflecting the beauty of geometric projection in an artistic display.

SCULPTURAL SPLENDOUR

From Brazil’s Campana Brothers, the Aguacate Multicolore by Louis Vuitton is a limited-edition hand-woven sculptural object made with leather straps. Configurable in various ways, it’s a vibrant focal piece that won’t escape your guests’ gaze.

FEMININE FORM

The Crinoline armchair by B&B Italia demands attention with its sculptural design and wide hollow base. This stunning outdoor seat features a curved backrest adorned with a floral interlacing motif, providing exceptional support and an extravagant aesthetic.

ARTISAN ELEGANCE

The Hermès Jeu D’Adresse Vase is a hand-painted porcelain masterpiece that features exquisite brushwork and a modern silhouette, creatively displaying bright colours and gold threads that form Hermès 24, a tribute to its Faubourg SaintHonoré store.

CAPTIVATING GLOW

Marset’s Dipping Light is hardly your run- ofthe-mill lamp, with its concentric circles of paint creating a beautiful interplay of light and colour that transforms into a striking multicoloured glass sphere when switched off.

TEXTURED TOUCH

BOConcept’s Moments rug, hand-tufted from a blend of wool and Tencel, combines minimalist aesthetics with modern elegance. Its organic shapes in beige and dusty orange add warmth, character and texture to your living space, creating a cosy yet stylish ambiance.

Culinary Oasis

Singapore’s luxury dining scene shines with a slew of newly opened restaurants featuring international influences, ranging from Japanese to French-Chinese.

ORIENTAL PEARL

Occupying the entire rooftop of Odeon 333 (formerly Odeon Tower), The Black Pearl is a Chinese fine dining restaurant by Gaia Lifestyle Group, which also owns Social Place and Gyutan-Tan. Named for the beauty of a pearl and inspired by imperial banquets during the Qing dynasty, it is led by executive chef Dee Chan, a familiar face in local culinary shows with previous experiences at Tung Lok Seafood and Mott 32. The 112-seater offers a contemporary take on Cantonese cuisine, featuring flavours from Guangzhou, Hong Kong, Chaoshan, Dongjiang and Shunde. Alongside an a la carte menu of classics like double-boiled soups and steamed fish, the restaurant offers a five-course experience menu, with one course served omakase-style at the six-seat Chef’s Table for an intimate, up-close dining experience. #07-11/12 Odeon 333 333 North Bridge Road

SENSE AND SENSIBILITIES

Situated on the 38th floor of CapitaGreen along the Raffles Place financial district, Japaneseinspired steakhouse Enso, part of the new lifestyle and entertainment hub C.O.T.U (Centre Of The Universe), offers stunning panoramic views of the Marina Bay skyline. Chef Alex Cracium leads the kitchen, having trained under culinary masters like Seijo Yamamoto of RyuGin and Michelin-starred chefs such as Gordon Ramsay. The menu features impressive dishes, including the A4 Wagyu Ribeye, which is dry-aged on-site, and highlights like the Press Sushi, combining seasoned rice with sliced fresh fish. With a seating capacity of 76, the restaurant also offers an intimate private dining room for up to 10 guests, great for a mini get-together.

Levels 38 and 39 CapitaGreen, 138 Market Street

BON BROTH

Eight years after closing the two-Michelin-starred Restaurant André in early 2018, Taiwanese chef-owner André Chiang returns to Singapore’s culinary scene with a new concept: a hotpot dining experience focused on exceptional broths. The 40-seater Bon Broth, located on level 3 of Raffles City, offers guests the “finesse of French bone broths combined with the nourishing tradition of Chinese double-boiled soup s ”, resulting in eight flavourful soups inspired by his culinary journey s and travels. Highlights include the Sichuan Green Pepper Signature, featuring Taiwanese pickled chilli and Sichuan green pepper; and Satay (Sha Cha), a savoury Taiwanese classic made with butter, shallots, garlic and chilli. All the broths are served with a variety of fresh vegetables, meats and seafoods for an authentic hotpot experience. #03- 01 Raffles City , 252 North Bridge Road

LUSH NOOK

The folks at Grand Hyatt Singapore couldn’t have chosen a more apt name for its Level 5 dining area. Oasis is tucked into an expansive renovated terrace so dense with greenery that guests will be hard pressed to find it, even if they are told that it’s behind the hotel’s renowned Damai spa. This makes the discovery of the restaurant –designed to be part indoor garden setting part al fresco – so rewarding. It’s the perfect spot to hide re charge, or have an intimate tête-à-tête Service extends to guests on the sunbeds and in the poolside cabanas, covered pavilions or outdoor pods The menu focuses on grilled dishes –specialising in steak and fries –and includ es sandwiches, burgers and a selection of popular local items such as satay, nasi goreng and laksa More importantly, it’s a place that inspires guests to put away their phone, and just be , a glass of win e or cocktail in hand . Level 5, Terrace Wing, Grand Hyatt Singapore 10 Scotts Road

Leong’s Bocuse d’Or creation, Aurora of Flavours: A Seato-Garden Voyage, is packed with oceanic flavours derived from stone bass and lobster.

TO SINGAPORE, WITH LOVE

From clinching sixth place at Bocuse d’Or to helming a three-Michelin-starred restaurant, chef MATHEW LEONG has racked up many accomplishments. He shares his experience at the competition and tells us what’s next for him.

Few culinary competitions are as gruelling as the Bocuse d’Or, often called the “gastronomy Olympics”, and clinching a spot in the top 10 list is no small feat. Singaporean chef Mathew Leong who helms the three-Michelin-starred Re-naa in Norway, came in sixth in the 2025 edition, effectively beating his fellow competitors from Asia.

From orchestrating a seamless performance in the high-stakes arena to

making split-second decisions, his Bocuse d’Or experience speaks volumes about his discipline, passion, and ability to thrive in the world’s most demanding kitchens.

For the competition, Leong and commis chef Synva Knapstad Gjerde creat ed two dishes within five hours and 30 minutes. T he first , Aurora of Flavours: A Sea-to-Garden Voyage featured oceanic flavours with crispy rice-coated stone bass and yuzuscented lobster, complemented by green

celery, apple, Asiatic-spiced lobster sabayon (a sauce made with egg yolks, sugar and wine), and tomato “caviar” for acidity and umami.

The second dish honoured both Singapore and Norway. C alled Blossoms of Tropical & Forest , it comprised roe deer saddle, braised roe deer shoulder, and flower “dumplings” in smoked tea consommé. Southeast Asian influences sh o ne through Singapore-spiced green

mango and candied pomelo, adding vibran cy. We reach ed out to the chef, who’s back in Singapore for a five-day pop-up at Dusk @ Mount Faber Peak, to learn about the challenges of the competition, how his Singaporean roots shape his culinary philosophy, and what’s next on his ambitious horizon.

Congratulations on your incredible sixth-place finish at the 2025 Bocuse d’Or! What was the most challenging moment for you during the competition, and how did you push through it?

Thank you! Bocuse d’Or pushes you to your absolute limits, and there were plenty of intense moments. The biggest challenge was maintaining absolute precision under the immense pressure of the competition. With so many moving parts, everything had to be flawless, from technique to timing. At one point, we were actually behind time by almost half an hour, but we managed to catch up. When we hit a critical moment where

adjustments had to be made at the last minute, it was all about staying calm and making split-second decisions without hesitation. I relied on my training, my commis chef, and the mindset that I was not just cooking for myself, but the team. Everyone had so much faith in me and could not let them down. That drive kept me pushing forward, and I couldn’t be prouder of what we achieved, even though it wasn’t the result we had hoped for.

You are a Singaporean chef helming a three-Michelin starred restaurant in Norway. Do you feel the pressure to represent your country? To what extent do your Singapore experiences and sensibilities creep into the dishes that you create at Re-naa? don’t see it as pressure but an honour. Being a Singaporean chef at the helm of a three-Michelin-starred restaurant in Norway is a unique position, and I take great pride in bringing a part of Singapore with me. My experiences back home have been instrumental in shaping my culinary identity, from my obsession with flavour balance to my ability to adapt and innovate. My cuisine is rooted in Nordic and French traditions, but also infused with my Asian heritage.

As a Singaporean chef helming a renowned restaurant so far away, how do you react upon seeing Singaporean guests?

Norway isn’t typically a top travel destination for Singaporeans, and even among those who do visit, most tend to explore places like Oslo or the fjords rather than Stavanger. Stavanger is a beautiful city with stunning landscapes and a strong culinary scene, but it’s not on the usual tourist radar for many Singaporeans. That’s why, when we do have Singaporean guests dining at Re-naa, it’s often because they’ve specifically heard or read about a fellow Singaporean helming the restaurant. It’s always humbling to know that my role here has sparked their curiosity and brought them all the way to Stavanger for a dining experience. Many have shared that they made a special detour just to visit, which makes it

even more meaningful for me to welcome them and share what we do at Re-naa.

Tell us more about the pop-up at Dusk @ Mount Faber Peak. What sparked this collaboration.

The pop-up at Dusk @ Mount Faber Peak offers a unique opportunity to showcase my culinary vision at one of Singapore’s most iconic hilltop locations, right by the Singapore Cable Car, which celebrated its 50th anniversary last year. With stunning views of Harbourfront, Dusk @ Mount Faber Peak creates a setting that enhances both the food and the overall experience. I wanted to choose a place where the surroundings complement the flavours on the plate, taking guests on a multi-sensory journey that connects them to the story behind each dish. The restaurant also just completed renovations last year and I’m happy to be the first guest chef to hold a pop-up since it reopened.

The quail is the highlight of the event because it embodies both tradition and innovation and is prepared with techniques that respect its natural tenderness and flavour. The Jerusalem artichoke adds a touch of sweetness and nuttiness, while the watercress provides a fresh contrast. The warm-spiced quail jus is where my roots shine through – it is infused with a subtle blend of spices inspired by my Singaporean heritage, which enhances the dish’s umami flavour and gives it depth, taking every diner on a journey of flavour.

What’s next for you after the Bocuse d’Or and earning a Michelin star? Any big dreams or projects on the horizon? My next focus is on expanding my culinary footprint, starting with opening a fine dining restaurant and a bistro in Norway. The fine dining concept will allow me to push creative boundaries, refining techniques and storytelling through food, while the bistro will be a space where I can showcase bold, honest flavours in a more accessible setting. But my ambitions don’t stop there. I want to expand internationally and bring my style of cooking to different parts of the world.

TWICE THE BLESSINGS

The first two months of the year were joy doubled for lawyer and philanthropist Susan Peh and her husband Adrian. On Jan 25, they celebrated the wedding of their son Bertrand to Tessa Koh at The Ritz-Carlton Millenia Singapore. Halfway through the sumptuous dinner, where each delectable dish was thoughtfully named with a blessing – Bountiful Treasures, Love’s Embrace, Happily Ever After, and so on – over 500 guests toasted the grinning couple, with the loudest and longest “Yum Seng” saved for (what else?) wishing them children. In his groom’s speech, Bertrand revealed that he had been on the verge of giving up on dating when he met Tessa. The couple even postponed their first date , not once but twice. But, as their nuptials proved, love won the day.

look at Susan’s handiwork – a dining table-sized green serpent fashioned from lohei ingredients – and not want to gobble up the auspicious salad. Guests supped on char kway teow chicken rice, laksa and other Singapore goodies from the food carts lining the driveway, downed customised cocktails – we loved the delicious Ssspring Fang-tasy, a mixture of gin, organic apricot and lychee – and enjoyed performances by Singapore jazz great Jeremy Monteiro and young jazz vocalists; violin master Alexander Souptel and his partner Masako; and other family and friends. The Year of the Snake was indeed off to a joyous start for Susan and her family.

Local delights being served up.

Florence and Stephen Tan, and Mervin and Jean Wee

Beatrice Chia-Richmond and Jeremy Monteiro

Andrea De Cruz, Mark Leong and Pierre Png

Teggy and Albert Chiu

Adrian and Susan Peh

CK Ong, Lars and Serene Sorenson, Susan Peh, Nina Ng, Alvin Soon, Melissa Peh, Adrian Peh, Wendy Long, Marilyn Lum, Jennifer Chen and Chan Kwai Sum

Back row: Alvin Soon, Melissa Peh, Susan Peh, Adrian Peh and Desiree Peh. Front row: Bertrand Peh and Tessa Koh

LaDolce Vita

Reflecting a “casual grandeur” that’s inherently Gucci, the maison’s Spring/ Summer ’25 collection is a masterclass in effortless Jackie O-esque glamour, presenting the Gucci Bamboo 1947 in a myriad of exquisite ways.

Gucci Bamboo Diva mini top-handle bag, bomber jacket, bandeau top, mini tulip skirt, all Gucci Opposite: Mini jumpsuit, choker, Double G buckle belt and boots with Horsebit detail, all Gucci

Evening halterneck dress with Bamboo-inspired hardware and Gucci Bamboo 1947 mini top-handle bag, both Gucci

Horsebit motif dress and Gucci Bamboo 1947 mini top-handle bag with gold-tone hardware and crystals, both Gucci

Caban coat, bandeau top, mini tulip skirt and Gucci Diana mini tote, all Gucci

Trench coat, tank top, jeans, Double G buckle belt and boots with Horsebit detail, all Gucci

ARTISTS TO WATCH 2025

As the Prestige team geared up for Hong Kong’s annual art-athon, we also set ourselves the task of identifying the emerging talents from eight East Asian countries, who should all be registering on your cultural radar this year. The following 16 virtuosi made our final cut.

SINGAPORE

TIFFANY LOY

Drawn to textiles as an industrial designer, in particular the innate contradictions of thread that both demand microscopic attention and reward macroscopic vision, Tiffany Loy delved into weaving at Kyoto’s Kawashima Textile School and the Royal College of Art in London. Her works have since been exhibited in Singapore and internationally, in venues such as the Singapore Art Museum, the Kyoto Municipal Museum of Art and La Triennale di Milano, as well as Milan Design Week and Dubai Art Week. At this year’s contemporary art showcase, SEA Focus in Singapore, Loy presented a new collection made up of pliable sculptures. Constructed from intricately designed interlocking strands that transition into other shades and patterns, they invite viewers to visually trace the threads, examining the details that make up the poetic whole. The largest piece, Plied Colour IV 2048 , which is almost 1.7m high, continues Loy’s exploration of tension and depth through the braiding of 2,048 strands of hand-dyed abaca, a fibre made from banana-tree bark; the number of strands refers to a single

prime number multiplied by itself 10 times. Loy seeks to test viewers’ perception in her upcoming works. “I’m curious about the limitations of our eyes,” she says. How will she be able to convey a concept if it can’t be seen? It’s a challenge, but Loy says, “It’s something I’m quite excited to explore.” Loy is currently represented by the fine art gallery Sullivan+Strumpf.

KHAIRULDDIN WAHAB

At the heart of Khairulddin Wahab’s art is his research into colonial history, global trade routes, indigenous culture and how each of these intersect with the natural world. That interdisciplinary focus is evident in earlier works, such as Rite of Passage which depicts a ghostly group of men waiting for a hot oil-bath ritual that would give them strength – it was the UOB Painting of the Year in 2018 – and in his more recent Grand Conjuration in which tangible and incorporeal realms are blended. In Grand Conjuration Khairulddin asks viewers to reconsider the artificial divide between humans and the natural world, an idea that plays into his overarching artistic philosophy of enchantment – viewers are invited to be re-enchanted by nature, to counter any disillusionment they may feel with the modern world. Currently represented

by Cuturi Gallery, Khairulddin has had solo shows in Singapore and group exhibitions in London, Shanghai and Jakarta, with a New York showing later this year. He’s currently studying Southeast Asia’s maritime history, examining how the region’s bodies of water are both a barrier and a global highway influencing its history, culture and understanding of its landscapes. Last year, Khairulddin was selected as one of the world’s 100 Early Career Artists by the art market Artcube.

Khairulddin Wahab

Tiffany Loy

Khairulddin Wahab, Grand Conjuration (2024)

Tiffany Loy, Plied Colour IV 2048 (2024)

MICHELE CHU

Multi-disciplinary artist Michele Chu uses various materials to investigate subjects of intimacy, ritual and human connection, and the ways in which the body responds to public tension or private introspection.

Her Inti Gym installation at Tai Kwun in 2023 encouraged visitors to sit on either side of a division and read questions to each other from a prompt as a way of starting conversation, and getting to know each other by revealing more of themselves in a form of “intimacy training”. In residence in London as part of the Delfina Foundation’s Performance as Process programme in 2023, she further explored notions of loss and grief through the medium of food and multisensory performance. Her 2023 debut solo exhibition, You, Trickling at PHD Group in Hong Kong, which dealt with confronting loss, was widely acknowledged. An ensemble of tunnels and passageways, the space enclosed the visitor in umbilical recollections of birth, menstruation, excretion and death in pieces imbued with intimacy and vulnerability. It’s a ritualistic masterpiece of a meditative journey that cleanses, soothes and unsettles by turns. Again showing with PHD at Art Basel Hong Kong 2025, she promises an interactive installation that mimics a domestic kitchen to explore themes of cooking and mourning.

WU JIARU

Few young painters seem to channel as many references as Guangdong-born Wu, who spent much of her childhood growing up in her mother’s restaurant absorbing cultural and economic influences. Her bold, kinetic, saturated canvases resonate with

echoes of Francis Bacon, Alice Neel, Dan Flavin, Kandinsky, Carl Jung, Virginia Woolf a n d Jadé Fadjutomi – and there’s even a portrait of Kobe Bryant – but somehow at a more accelerated pace. Then there’s the disparate media she uses: digital, video and 16mm film to ready-mades, sculptures and paintings. Her works explore issues such as identity, boundaries, celebrity, technology, beauty, fetish, folklore and the individualisation of history from the perspective of mythology, literature and intimate relationships. Wu has a master ’ s degree in creative media from CityU Hong Kong, and a BA in fine arts and English from Tsinghua University. She was awarded the Asian Cultural Council New York Fellowship in 2022. Recent solo exhibitions include

PHILIPPINES

NICOLE COSON

A Brief Digression at HART Haus, Hong Kong; Secrets with an Abundance of Foreign Lines at Flowers Projects in New York; To the Naiad’s House with Flowers Gallery, Hong Kong and Emotional Device at P21 in Seoul. In Hong Kong, she’s also previously shown with Axel Vervoodt, Tai Kwun, Para Site and 10 Chancery Lane. Fresh off her latest solo, Maigré S ea B lessures , at the Mangrove Gallery X Nature Art Centre artist residency programme in Shenzhen , she’s showing Apollo Center with Flowers Gallery during Art Basel Hong Kong 2025, which explores themes of alienation, individuality and the impact of modernisation, and intriguingly includes a monumental painting installation from which viewers are invited to cut out pieces and keep. Yet another Wu coup.

Manila-born, London-based Filipino artist Nicole Coson works across printmaking, video and sculpture, exploring the process of image-making as it pertains to personal memory, history and material culture. She tells stories of family, society and coloniality, but never in explicit political form, more through privacy, secrecy and intimacy. At last year’s Art Basel Hong Kong, Coson showed her signature shipping crates, to which she applies black paint and then prints to form labyrinthine networks that resemble the backs of transistor radios, aerial views of cities and armaments compounds – and even echo of the layouts of Nazi concentration camps. Repetition and seriality are hallmarks of her process, and the conceptual matrixes for questioning the durability of traces across geographies and time. We also vibe keyboards, fretboards, Japanese sa-an teahouses and the stage at La Scala. Ultimately, Coson’s canvases – at the time of writing they were lost in shipping between London and Art Basel Hong Kong, but fingers crossed! – are invitations to linger in these urban materialities, which point to the lived lives of its denizens. Just as the density of cities is an endless source of storytelling, one can get lost pondering the origin of the objects that journey across the global supply chain, its people and its commodities forever on the move. Coson is showing with Manila- and London-based Silverlens Gallery at Art Basel Hong Kong.

DEMI PADUA

Demi Padua is a master of the trompé-l’œil technique, with which he creates provocative 3D portraits that combine realism, geometric abstractions and montagelike treatments. His work is known for its hyper-contrasting colour palette, using subtle tones alongside saturated colours to achieve a dichotomy open to a spectators’ own interpretations. Born in Calapan, Oriental Mindoro, Padua began his career with figurative art but later ventured into abstraction, inspired by Filipino abstract master Lao Lianben. Drawn to 2D and 3D expressions, he pursued painting and

sculpting, allowing him to freely create visual art in the trompé-l’œil style, while also injecting his knowledge and experience in theatrical production and design. The result is a compelling series of collage-like images that “conceal and reveal” the subject beneath layers of photo-realistic materials. Padua’s

featured in

most ambitious yet.

works have been prominently

Nicole Coson

Nicole Coson, Circuit (2024)

leading exhibitions, galleries, art fairs, and auction houses in the Philippines and abroad, notably in London, New York, Paris, Venice and Tokyo. He’s currently preparing for a solo exhibition in June this year, to be followed by a major show in August, which is touted to be his

Demi Padua

Demi Padua, Farm Girl (2024)

Michele Chu

Michele Chu, You, Trickling installation view (2023)

Wu Jiaru

Wu Jiaru, Docile Body MIII (2024)

THAILAND

KAWITA VATANAJYANGKUR

Although still relatively young, emerging artist Kawita Vatanajyankur has already earned for herself a high profile in the contemporary art firmament. Her provocative pieces see her transformed into a machine/organism hybrid – set against vibrant coloured backdrops – forcing her body into arduous positions while performing repetitive actions in endless video loops. She becomes a lowly cog in the machine, simultaneously exposing the inhumane underbelly of hyper-consumption and the oppressive nature of female labour in a patriarchal society. Kanachai “Kit” Bencharongkul, managing director of the Museum of Contemporary Art Bangkok, calls her “a true trailblazer. Her works captivate at first glance while confronting some of the most deeply rooted issues of our time.” Vatanajyankur’s work has already been exhibited in Australia, Hong Kong, New Zealand, Singapore, Switzerland, Germany, France, Taiwan, the

USA and Japan, as well as Thailand. In 2024 her video, A Symphony Dyed Blue was shown in Venice, during the Biennale, while her work The Scale of Injustice was featured at Neka Art Museum in Bali during Indonesia Bertutur 2024. Represented by the Bangkok gallery Nova Contemporary, Vatanajyankur has videos in the permanent collections of both MOCA Bangkok and the Maiiam Contemporary Art Museum in Chiang Mai. Her The Machine Ghost in a Human Shell (cyber labour series) is now on display at the 11th Asia Pacific Triennial of Contemporary Art in Queensland until April 27.

NAKROB MOONMANAS

Nakrob Moonmanas studied Thai language and literature at Chulalongkorn University in Bangkok, and this scholastic element is reflected in his highly detailed collages that poetically explore history and memory. In 2020-21 he was a laureate of the Cité Internationale des Arts in Paris, where his artist residency was supported by the Institut Français and French Embassy in Thailand. Since then he’s been shown at art centres and institutions around Thailand, and in Singapore (most recently at this year’s Art SG). In 2024, he was thrust into the international spotlight as a featured artist at both the Venice Biennale and Bangkok Art

MOHD FAIRUZ

BIN PAISAN (POOI)

Biennale. In addition to his fine art career, Moonmanas is a sought-after illustrator whose ornate designs appear on books, posters, product packaging and even a Jim Thompson clothing line. “His work captured my attention right away,” remarks Be Inthavong, creative director at Jim Thompson. “It’s very pleasing to the eye but looks deeper and it has a lot to say. It’s a reflection of the time, and it’s his narrative. He’s speaking through a proud Thai lens, and a lot of companies want to associate themselves with him. He’s one to watch and one to collect, definitely. mean, he didn’t reinvent the wheel with collage, but he very much has his own look.” Nakrob is represented by the Bangkok gallery La Lanta Fine Art, and there are plans for a major exhibition in Thailand later this year.

Mohd Fairuz bin Paisan, aka PoOi, is a sculptor who intertwines personal narrative with cultural commentary. An early influence was his master craftsman grandfather, who built several structures typical of the Minangkabau people of Sumatra and, by doing so, helped lay the foundations for PoOi’s own fascination with issues of identity and heritage. These were articulated in his solo exhibition Am PoOi a series of wall-based sculptures fashioned from planks of wood salvaged from Minangkabau homes slated for destruction. Showcasing his technical prowess while offering viewers a window into his own reflections as a Muslim Malay male, each piece resonated with personal introspection and collective cultural experiences. More recently he’s mixed reclaimed wood with resin and autopaint to create visual juxtapositions that mirror the ways in which Malaysia reconciles heritage with progress. PoOi has shown in several international fairs, including Art Busan 2022 in South Korea and the Bangkok Hotel Art

Fair 2022. His works are celebrated for their depth, inviting viewers to embark on a journey of reflection and discovery, while critics and collectors have lauded his ability to convey complex ideas through his sculptures. As his art continues to evolve, PoOi remains a compelling figure whose distinctive oeuvre offers deep insights into the Malaysian experience.

Nakrob Moonmanas, Adoration of the Magi (2021)

Nakrob Moonmanas

PoOi, Circle Within a Circle – Yellow Is Principled (2024)

Mohd Fairuz Bin Paisan, aka PoOi

MALAYSIA

Kawita Vatanajyangkur

Kawita Vatanajyangkur, Performing Textiles Series (2018-19)

NASRUL ROKES

Some artists paint with oils, others with acrylics, but the medium of choice for Nasrul Rokes is sand. Rokes is making waves with his striking, textured canvases that feel like snapshots of shifting landscapes, both otherworldly and deeply personal. His fascination with the material began in his childhood while growing up near a cement factory, where silicates and oxides were in constant motion. Two decades later, he’s channelling those early memories into abstract works that are as much about feeling as form. His unique vision, unmistakable aesthetic and signature technique of layering droplets of pigmented sand with acrylic result in mesmerising compositions that oscillate between chaos and control, natural beauty and urban decay, in a discourse on the physical changes to his country he’s witnessed during his lifetime. His hugely successful debut solo show, Kontekstura at TAKSU Kuala Lumpur in 2023, cemented his status as a rising star, with collectors snapping up his

SUJIN

work – his pieces can now be found in collections in Malaysia, Singapore and China, while TAKSU gallery remains the best place to catch him in action. As if to prove Rokes’s art is as coveted as a designer It-bag, a recent work, Luna , hangs inside Louis Vuitton’s Pavilion Kuala Lumpur boutique, though in an age when sustainability and environmental awareness are key concerns, his themes of nature’s fragility seem especially timely.

Born on Jeju, Sujin Lee now lives in Seoul, whose bustle contrasts sharply with the relaxed pace of her island home. Her work depicts poignant explorations of female friendship, sisterhood, and the dynamics that exist within these relationships. The tranquillity of Jeju heavily influences Lee’s work, often infusing her pieces with lush backdrops of cityscapes enveloped by thick, leafy plants, elements she hopes will enhance the themes of connection and introspection that permeate her art. Sometimes incorporating seemingly mundane objects into her compositions, Lee evokes an unsettling psychological urgency. This integration, coupled with her masterful use of chiaroscuro, adds layers of mystery and intrigue to her work, compelling viewers to look deeper into what may appear ordinary. Lee’s conceptual approach to art is often viewed as therapeutic, with a strong emphasis on visual articulation. She was awarded the Selected Artist Prize at the 47th Grand Art Exhibition of Jeju in 2019; her notable shows include Glad to Me at Carlos Queso Gallery in Los Angeles in 2016, One Page at Lotte Gallery in Seoul in 2017 and Art in My Mouth at Manila’s Secret Fresh Gallery in 2019. She’s also set to showcase her work in the exhibition Became You at H Queen’s this year. Her work is held in permanent collections, including the

Boghossian Foundation in Brussels and the Museu Inima De Paula in Brazil.

HEJUM BÄ

Born in 1987, Hejum Bä is an abstract painter based in Seoul whose artistic practice can be described as hugely influenced by her astute observations of reality that are heavily influenced by modern communication mechanisms. Bä relinquishes strict adherence to forms and conventional shapes, and her vibrant paintings often reflect layered representations and reflections of interactions and movements, rather than any singular messages. “We’re surrounded by bodies of images that represent information and cause disruptions to the conventional assumptions about what constitutes truth,” she says. “I consider the ability to think abstractly to be essential to survival.” Bä has held several solo exhibitions with Massimo de Carlo, most recently Want to Buy Unseen Eyes , her first solo show in Hong Kong. She’s also presented in Frieze Seoul, Kumho Museum of Art, SeMA Storage and OCI Museum of Art, as

well as in multiple group shows. “I hope my paintings not only provide intellectual joy for viewers to follow my perspective, but also allow them to comfortably remain in a cryptic state, without having to guess what they directly or correctly mean,” she says of her work. “I believe this kind of estrangement from a certain pressure to find an answer is at the core of abstract painting and intend to continue telling stories like this.”

Hejum Bä, Go (2023)

Right: Hejum Bä

Sujin Lee, People (2021)

Nasrul Rokes, Sweet Explosions (2023)

Nasrul Rokes

Sujin Lee

SOUTH KOREA

LEE

INDONESIA

NATASHA TONTEY

CHINA

JI XIN

ROBY DWI ANTONO

Born in Central Java, Roby Dwi Antono draws inspiration from his background to express Javanese cultural motifs through painting with a surrealist perspective. Both Renaissance art and contemporary pop culture influence his distinct depiction of melancholic figures amid dreamlike landscapes. This expression is often described as a harmonious fusion of the whimsical and the macabre, capturing the complexities of human emotion. Antono has been featured in numerous solo and group

Among the many emerging Indonesian artists gaining global recognition, Natasha Tontey stands out for her distinctive approach to contemporary art. Tontey’s work delves into historical narratives and myths, particularly elements that infuse manufactured fear. As her mediums span digital animations, performances and installations, she’s constantly divulging her audience with fresh perspectives on ancestral knowledge and how it pertains to modern life. Her recent exhibition at Jakarta’s Museum MACAN, Primate Visions: Macaque Macabre depicted her exploration of the intricate relationship between humans and the animal kingdom, particularly the critically endangered crested macaque from Sulawesi. Through a multi-screen video installation complemented by elaborate props and costumes, she envisions a speculative future where interspecies communication flourishes. Says Denis Pernet, curator of the Audemars Piguet Contemporary programme, which commissioned her recent work, “Natasha creates a science fiction-like future in which she asks: ‘How can we renew our relationship with the natural world and non-human creatures like macaques?’” Tontey’s innovative approach has garnered attention from enthusiasts and curators, who often highlight her ability to blend rigorous research with imaginative storytelling. This fusion of academic depth and creative flair positions her as a compelling new presence.

exhibitions, including the Yogyakarta Biennale, Nanzuka Underground in Tokyo and Gallery Droste in Paris. One of the shows that propelled him on to the international stage was his solo exhibit To See for Oneself at Galerie Stephanie in Manila, where pieces delving into themes of identity and existentialism, such as Affection #1 and Argyanti , received critical acclaim. These pieces exemplified his skill in blending the fantastical with the familiar, inviting viewers into an enchanting and unsettling world. As Antono continues to evolve artistically, his work is sought-after by collectors. His unique approach to storytelling through art solidifies his position as a compelling figure in the contemporary art scene.

Based in Hangzhou and Shanghai, Ji Xin explores the convergence of traditional Eastern modelling methods and Western oil-painting techniques with classical aesthetics through his large portraits of ethereal women in timeless, graceful states. His imposing canvases often depict life-size models with elongated limbs and enlarged eyes, set in elegant Art Deco interiors. Drawing inspiration from the Italian Renaissance and Song dynasty painting, his works are characterised by serene, pastel palettes, promoting introspection and delving into themes of self-reflection and poetic contemplation. These tranquil pieces invite viewers to engage with the enigmatic figures depicted, and even invoke visions of Ingres and Modigliani. Although his worlds may seem idealised, he plays with surrealism and detachment while keeping a clear link to reality in his work. He showed at last year’s Frieze London, as well as with Almine Rech in London. With BA and MA degrees in oil painting from the China Academy of Art, he also studied in Paris. His works are included in the collections of ICA Miami, the Museu Inimá de Paula in Brazil, the Long Museum in Shanghai and the Hong Kong Art Museum. Most recently, he showed at Tel Aviv’s Nassima Landau.

LI HEI DI

Li Hei Di is living the moment. The Shenyang-born, London-based artist first came to our attention at London’s Pippy

Holdsworth gallery in a solo show, with work that straddles a line somewhere between figuration, abstraction and the biomorphic. Influences from the worlds of film, literature and music abound, as works resonate and echo with wuxia films of the 1980s and ’90s, such as Ching Siu-tung’s A Chinese Ghost Story and Tsui Hark’s Green Snake . Li spent time on a student exchange programme in California before graduating in 2022 with a BA from the Chelsea College of Art, London and an MA from the Royal College of Art. Her work resists rigid notions of gender and sexuality, drawing queer associations and mining tropes of raw desire

and instinctive urges both repressed and fulfilled – and all in ambient reds, oranges, pinks, purples, greens and blues. She also sculpts and creates performance pieces. She’s shown with Linseed Projects in Shanghai, Michael Korn in Los Angeles, X Museum Triennial in Beijing, Yuz Museum in Shanghai, the Metropolitan Museum of Manila, Le Consortium in Dijon and GRIMM in New York. Her work has also been acquired by the Los Angeles County Museum of Art; the Columbus Museum of Art in Ohio and Miami’s Institute of Contemporary Art, among others. And expect a major show in May with Pace Hong Kong.

Ji Xin

Li Hei Di, Unquenchable Laughter, Inescapable Desert (2023)

Nataasha Tontey

Roby Dwi Antono

Roby Dwi Antono, The Colossus (2016)

FAMILY VALUES

All it took was a book. Adeline Sim’s calling to help others was indirectly formed by her father, Peter Sim, founder of mainboardlisted recruitment agency HRnetGroup, when he gifted her The Trials of David Marshall at the age of nine.

“ The book really stuck in my head,” says Adeline. “The idea that you can stand up for people who cannot help themselves.” She would eventually practise law but cut her career short after becoming a mother. Joining the family business soon after, in 2009, was more a matter of good timing than a planned move. When she was asked for hiring leads by HRnetGroup’s HR director, a family friend, they both realised that an obvious candidate was Adeline herself. Her father asked her into his office for a “talk” a week after she stepped through the door as group legal counsel. Adeline recounts with a laugh, “He said, “Hello! You’re here to facilitate the business, not kill it!’” She had brought her policing frame of mind from her previous career, telling people what they were doing wrong. “He said, ‘You have to find solutions. Don’t just tell people, ‘No’.”

Now, 16 years into HRnetGroup, which has about 1,000 consultants and a presence in 13 cities across the Asia Pacific, she brings a next-generation perspective that aligns with the times and the company’s younger workforce. “I’m more authoritative and consultative than authoritarian,” say Adeline, on her leadership style.

“I am more aware of having to integrate work with life for my people, because whether it’s millennials or Gen Z’s, they want the experience of parenting their kids. It wasn’t so in my father’s time. As long as someone was looking after the children, it was okay.”

She sees the value in being accommodating. “People will need flexibility at different times in their lives, whether it’s caring for their children or their parents, but if we can find a way to make it work, it’s win-win. Every person hire is a six-month

investment. So, if they come and go, it’s my loss. I’d rather find a way to make it work.”

Now in her 40s and a mother of two teenagers, Adeline is still channeling the ambitions of her fired-up, nine-year-old self.

“It’s very meaningful when candidates we placed tell us how we made a difference in their lives. People who have a 70 per cent pay increase, they and their families enjoy a different quality of life. And the recruiting we do for our clients, when done well, is a gift that keeps on giving. Because when a well-matched talent works for a company for five, 10, 15 years, the contribution is continual.”

Here, Adeline reveals the lessons she’s learned from her family in navigating next-generation leadership, family dynamics and even parenthood.

WORKING IN A FAMILY BUSINESS

Both my father and my uncle (HRnetGroup executive director Sim Joo Siang) give me psychological safety; know that they have my back. Sure, there are times when we have differences in opinion, but fundamentally, I know they want me to succeed. Recently, when there were some resignations, my uncle told me, “Don’t second guess yourself. Just keep going and look for people who want to work and thrive with you.” At the end of the day, people want to work with a leader who is positive and moving forward.

LEADERSHIP BASICS: VALUE PEOPLE

One thing my father always told me was to be genuinely interested in people. If someone crosses your path, they should be the better for it. His core team has literally made millions by working with him. He really cares about each person. Once, when one of my colleagues was talking about a candidate in Mandarin, he said, ‘ Na ta qu mai (to sell the person).’ My father was furious. “How can you ‘sell’ a person!” Being deeply interested in people is a big thing for him. Sometimes it comes down to experiences.

After our family holidayed on Crystal Cruises, for example, he took 100 of our colleagues on it the next year. And when I told him that racing on the rooftop of the Hyundai Motor Group Innovation Centre at 80kmh was quite the experience, he straight away reminded me to include our colleagues.

CONTROL YOUR OWN TIME

My father does not ha ve a personal assistant. In fact, no one in our entire company does He manages his own calendar, which means he has a very agile schedule. If he wants to change an appointment, he just does it. I actually think it gives control back to the person. If my schedule was run by somebody else, I would have to turn up. Now I decide what to fit in.

COMMUNICATION WITHIN THE FAMILY

With my kids, I want to build the same relationship capital that my dad has done with me. There are times when he has to make decisions that are difficult and that I may not agree with. How can I be certain that he has my best interest at heart? That’s relationship capital. It’s partly due to the one thing that he did, without fail, as long as he was in Singapore: He would send me to school every morning. There was time in the car when we could talk about anything. I believe that’s what allows us to have easy conversations until today. Following his example, I, too, drive my kids to school.

TRAIN

KIDS BY PASS ING THE DECISION-MAKING BALL

My dad let me make decisions from young. When I was 13 or 14, I would plan the family holidays, and he would just follow. For me, that would involve a lot of ice cream stops! (laughs) He’s big on saying, “You do it, you are responsible, you live with the consequences.” Now, I let my children plan the family trips. Last year, my 17-year son did it with some help from my mum. He was responsible if we were not happy, (laughs) “Why is the bus ride so long?”

BOUTIQUE

Spring/Summer 2025’s dreamy looks • Haute couture report • Faces of the beauty business

HELLO MOTOR

For Louis Vuitton’s Spring/Summer 25 collection, artistic director Nicolas Ghesquière sought to explore the paradoxical concept of a woman’s “soft power”, where her delicacy and strength come together to form her femininity. And the accessory Ghesquiere imagines for such a woman?

Louis Vuitton’s next signature bag, the LV Biker. Structured yet supple – its foldable silhouette recalls the iconic Speedy and Keepall bags – and edgy yet elegant, the LV Biker is a statement of contrasts. A top-handle, clutch and crossbody bag in one, it also marks a first for the house – the introduction of Pixel lambskin leather. Created by layering colours on grained leather, the result is an intriguing two-tone effect such as the gravel-looking accent as seen on th is LV Biker in the Dark Denim colourway.

Clash Course

Mix, don’t match – take it as a fashion dare. A reflection of the moment’s anything-goes attitude, experimental dressing is major for Spring/Summer ’25 as designers juxtapose different elements to create head-turning looks.

Valentino

Coach

Ralph Lauren

Balenciaga

Dior

Tod’s

Burberry

Miu Miu

Chanel

SOFT CORE

JUXTAPOSED AGAINST A PLAY ON CONTRASTS, AN OTHERWORLDLY SENSUALITY BRINGS A DREAMY DIMENSION TO SPRING/SUMMER 2025.

Embellished top, CELINE by Hedi Slimane Opposite: Dress, boots, earring, cuff and ring, all Dior

Jacket, brassiere and knickers, all Hermès

Dress, Dolce & Gabbana

Embellished trench coat, dress, earrings and ring, all Burberry

Shirt, embellished skirt, knickers, earrings, bag with charms and shoes, all Fendi

Cape, denim shirt, jeans, earrings, belt and shoes, all Chanel

Shirt and bermuda shorts, Loro Piana; mules, Tod’s

Spectacles, bag and skirt, all Prada; knickers, stylist’s own

Dress, collar, turban and belt, all Valentino

Shirt, Bottega Veneta

Printed dress and embellished dress, both Louis Vuitton

LA LA LAND

ALL’S WELL IN THE REALM OF HAUTE COUTURE, WHERE QUESTIONS OF WEARABILITY ARE HARDLY THE MOST PRESSING. JANUARY’S REALITY-SUSPENDING SPRING/SUMMER 2025 COLLECTIONS COMBINED OUT-OF-THIS-WORLD TECHNIQUES TO PUSH THE BOUNDARIES OF THE HANDMADE EVEN FURTHER. PRESTIGE REPORTS FROM THE FRONT ROW.

CHANEL IN COLOUR

Chanel’s president of fashion, Bruno Pavlovsky, was jovially greeting guests as they arrived at the Grand Palais ahead of the Chanel spring/summer 2025 Haute Couture show. Although there aren’t many fashion executives with a sunny disposition right now, as economic headwinds continue to cast a dark shadow over the industry, Pavlovsky has reason to be cheerful. Despite Chanel lacking a creative director since the departure of Virginie Viard last June, it’s been business as usual for the French maison , whose couture operation celebrates its 110th anniversary this year. While for some brands the absence of a creative leader might represent a sorry state of limbo, choosing presentations over shows or holding off on the execution of grand ideas, Chanel has been on a winning streak, presenting some of its best collections for years, even as it awaits Matthieu Blazy’s arrival next month. And speaking of grand, scenographerdesigner Willo Perron created a curved white stage formed of two interlocking Cs

whose centres were raised to create a sloped runway, reflecting the collection’s starting point: the chromatic scale. Paying tribute to the “great colourist”, Gabrielle Chanel herself, all 55 looks followed the progression of hues from day to night, starting with white, yellows, gold and pastels before bright tones, midnight blue and black. Unexpected combinations, such as violet and light pink or fuchsia and champagne, felt new and youthful, as did the short hemlines and frothy cuffs. Highlights included a dramatic blue satin opera cape, a couture iteration of the pastel feathered number from September’s ready-to-wear show, which was worn by global ambassador Jennie Kim for her arrival, and a shimmery champagne floor-length coat with a golden yellow lining. The all-star cast of models, which included Alex Cosani and Mona Tougaard, even rivalled high-wattage front-row guests Pamela Anderson and Kylie Jenner. And this season’s Chanel bride was American supermodel Lulu Tenney, who closed the show in a drop-waisted skirt and train worn under a sequined jacket. The mesmerising collection had all the precision, discipline and exceptional craftsmanship you’d expect of Chanel, but with greater lightness, airiness and youthful appeal than previously. But there’s always room for magic. That’s where Blazy comes in. His first collection is in October. The industry awaits with bated breath.

VIKTOR&ROLF

“ Trench beige en gazar de soie, chemise blanche en gazar de soie, pantalon bleu en gazar de soie ... ” So went the looped AI soundtrack in the Westin Paris Vendôme grand ballroom at the Viktor&Rolf haute couture spring/summer 2025 show. By the third look, the point of the collection –named Couture Prompt – became clear: the show was based on variations on the theme of a beige trench, a white shirt and blue trousers, made solely from silk gazar, the stiff couture fabric invented for Cristóbal Balenciaga himself. The designers’ starting point this season was a 40-year-old quote from Karl Lagerfeld, “I am like a computer, plugged into Chanel mode,” and aimed to explore “a fashion brand’s heritage as a

collection of data, ready for processing”. The 24 looks presented wildly diverse interpretations of the humble wardrobe staples, sculpted into voluminous wavy folds, or adorned with a multitude of bows or baroque-style ruffles. Showing how creativity flourishes under limitations, in one look the shrunken fabric turned the trousers into teeny shorts; the finale was a five-tier trench ballgown. The Dutch duo are known for incorporating humour into their work, but the fact this playful collection veered towards fatuous at times was exactly the point. They described it as “a whimsical, human clin d’œil to the boundless possibilities of artificial intelligence”, though the rigorous couture techniques on display were no laughing matter. This was serious skill.

VALENTINO

If you were to hazard a guess as to what Alessandro Michele’s first-ever couture collection might look like, you’d probably be right on the money. If there w ere ever a likelihood that Michele’s new gig at Valentino, or indeed his entrance into the rarefied world of haute couture, would shake off his reputation as the industry’s great freewheeling maximalist, that certainly wasn’t the case: in fact, just how bonkers and outlandish – even by Michele’s elevated standards – the show turned out to be took everyone by surprise. Named Vertigineux, the collection – it references Italian philosopher Umberto Eco – is inspired by humankind’s “fascination with lists” aimed “not to tame the chaos, [but] rather to contemplate it”. Michele also compared exploring the infinite Valentino archives to the feeling of vertigo.

Held at the Palais Brongniart, the show’s 48 looks were each accompanied by a list of bright red words that moved across the digital backstage wall with speed. From eras –Middle Ages and Baroque – to people –Henry James, Emily Dickinson and Aristotle – to colours, techniques, fabrics, Commedia Dell’Arte and Swan Lake the words showcased the infinite references that make up a couture gown. The result of such imaginative free-flow was an era-traversing collection that melded Michele’s passion for historical costume with the Valentino archives. Marie Antoinette-style crinolines, panniers and 17th-century ruff collars met Valentino signatures such as red, ruffles and frills. Looks ran the gamut from a multicoloured harlequin pattern ruched-tulle gown with billowing sleeves to an antiquefloral chiffon robe à la française The dizzying

variety of adornments came in the forms of couture Venetian masks, dramatic feathered headdresses, and tights embellished with gems and pearls. Although by default haute couture is worlds away from reality – and even the realm of luxury ready-to-wear – it’s hard to see the collection’s outré pieces being taken up by even the most flamboyant of red-carpet dressers , where most couture gowns end up. After all, couture is couture, and costume is costume. Michele would do well to learn the difference.

STEPHANE ROLLAND

If the world of luxury fashion has a reputation for being exclusive, then you can bet the realm of haute couture is even more elite. However, in a first, French couturier Stephane Rolland opened up his spring/ summer 2025 show to 700 members of the public, with ticket proceeds going towards the Fondation des Hôpitaux, a charity that supports disadvantaged French youth. In the past six months, the designer has also held workshops, inviting teenage girls to come and learn from a French couture house (the charity’s president, Brigitte Macron, sat in the show’s front row). In the same philanthropic vein, this season Rolland was inspired by the late American singer, dancer and humanitarian Joséphine Baker, who moved from Saint Louis to France and, during her lifetime, adopted 12 children from around the world. Rolland compared her avant-garde spirit with that of her contemporary, the sculptor and visionary

Constantin Brancusi, calling them “two beings [who] conquered the world with their freedom of expression” and adding, “Joséphine dances and sings, Brancusi sculpts and Paris is set ablaze.” Named Origines, de Brancusi à Baker, the collection came to life in white porcelain, ivory, ebony, silver and black. Sculpted gowns with broad shoulders and geometric details evoked the forms of the modernist sculptor’s oeuvre, while the movement of a flowing long dress with ebony organza leaves suggested Baker’s free spirit. A black chiffon draped gown featuring gold cubist-like jewellery referenced Brancusi’s most famous work, Bird in Space. Supermodel Coco Rocha closed the show in the bridal Joséphine gown in white crepe and white gazar embroidered with a myriad of plumes, moving to the musical backdrop of cellist Mischa Maisky’s interpretation of Poulenc’s Les Chemins de l’Amour. It’s fitting that the show took place at the grand Salle Pleyel concert hall, because this was pure theatre.

ASHI STUDIO

In 2023 Mohammed Ashi of Ashi Studio became the first designer from the Persian Gulf to be invited by the Chambre Syndicale to show during Couture Week. Since then, the Saudi Arabian has not only become the region’s fashion poster boy – he even designed Riyadh Air’s cabin-crew uniform –but his shows are now among the most anticipated of the week. This season Ashi, who’s been living in the French capital since 2018, explored a lesser-known part of his adopted city’s history: the boudoirs of the Parisian bourgeoisie during the 1960s. In his words, “the secretive, sophisticated women who dreamed of a bourgeois life while remaining the mistresses of their own fate”. Held at the Hotel Solomon de Rothschild, the mesmerising collection, Velvet Underground, took its audience into the clandestine world of hushed curtained rooms lit by candlelight. The opening look, a lingerie-inspired lace corset with horns jutting from its hips, set the dark romantic tone. Other standouts, such as a beige chinoiserie corset paired with a ruby-red velvet tulip-shaped skirt or a sumptuous white-satin bubble skirt paired with a baroque-style embellished jacket, showed the breadth of Ashi’s talents. This season the designer worked with Polish movement director Pat Boguslawski – the man behind the theatricality of last year’s Margiela Artisanal show – who explored the push-pull between emancipation and seduction through the models’ spellbinding movements and gestures. If Ashi’s name is yet to be up there with couture’s big dogs , it surely will soon be.

GAURAV GUPTA

Last summer Indian couturier Gaurav Gupta was involved in a devastating fire that broke out at a party he attended in Delhi. The near-fatal incident left his life partner, Navkirat Sodhi, with half of her body burn ed . In a double blow, Gupta, who’d just become the second-ever Indian designer to be invited by the Chambre Syndicale as a couture guest designer, was forced to cancel his show in June. Finding strength in vulnerability and light in the darkness was the theme of this deeply personal collection, named Across the Flame, which was inspired by Gupta and Sodhi’s healing journey. The fact that said journey took a turn towards the spiritual was evident from the collection’s live tabla drums and the meditation sound bowl that arrived with each invitation. If at times the show veered towards the intense, well, that’s all part of the cathartic act of creation. Sodhi opened the show recounting her experience through a poem and wearing a dress that visibly showed her scars. This season Gupta, who’s known for his signature sculpted wave technique, added new colours and materials to his repertoire that spoke of his experience: gowns in ochre referenced flames, while deep purples and blues alluded to bruises. New metal-casted sculpted details appeared on dresses and even covered half of a model’s face, suggesting armour and protection. In one look, named Twin Flame, two models joined by jewellery walked side by side, referencing Gupta and Sodhi’s bond. In the audience was rapper Megan Thee Stallion, who dazzled in one of Gupta’s tribal chainmail creations; only a week before, he was the designer of choice for Usha Vance, wife of the newly install ed US Vice President, for the pre-inauguration candlelit dinner. While his outlook on life may have been forever altered, his designs still carry universal appeal.

Art of Beauty

From a 24K gold serum to couture lipsticks, these luxury beauty debuts are the ultimate treat s for yourself.

GO FOR GOLD

Cle de Peau Beaute’s latest addition to the Precious Gold Vitality Series could be your skin’s ultimate upgrade for 2025. This ultra-luxurious serum features 24K Gold Infusion, the highest grade of gold known for its antioxidant properties and improvement of skin luminosity, alongside Retinol A.C.E, a vitamin A derivative that boosts cell renewal and collagen production for firmer skin. Completing the formula is a lily extract, which deeply hydrates and strengthens the skin barrier, shielding it from environmental damage and signs of ageing.

CELINE LIPS

Celine debut ed its makeup line last year with the perfect red lipstick, Le Rouge Celine in Rouge Triomphe. Now, the brand expands its range with 14 new shades, ranging from peachy nude and brick red to fuchsia pink and deep purple. Formulated with mostly naturally derived ingredients, each lipstick delivers intense colour with a luxurious satin finish and a creamy texture inspired by Hedi Slimane’s love for couture fabrics. Housed in an ultra-chic gold case, th is lipstick is the ultimate accessory for beauty lovers.

NIGHT REPAIR

GREEN MAGNOLIA

Following last summer’s launch of Virere, a citrusy, green tea-infused scent, Aesop begins the year with a bold new addition: Aurner. Defying the conventions of delicate florals, it harnesses the aromatic intensity of magnolia leaf – green, luminous, and subtly metallic – rather than the bloom itself. A vibrant prelude of cardamom, pink pepper and Roman chamomile unfolds into a deeply nuanced heart, where geranium amplifies its herbal depth. Anchored by a warm, woody base of sandalwood, cypriol, and cedar, Aurner leaves a bold and lasting impression.

Singaporean skincare brand Allies of Skin has gained a cult following in the US, with A-listers like Kaia Gerber and Hailey Bieber among its fans. Its Peptides Advanced Repair Night Cream is a staple for many, and this month, the brand debuts a stronger 0.1 per cent retin o l formula, which is an upgrade from the original 0.05 per cent. This time-released, encapsulated retinol is 30 per cent gentler than traditional retinol yet boosts collagen production, smooths wrinkles, and clears blemishes. A blend of six peptides firms and refines, while amino acids and antioxidants protect against environmental stressors like pollution and ultraviolet rays. Lightweight and easily absorbed, it deeply nourishes, soothes, and leaves skin visibly rejuvenated.

Power Femme

Three local female beauty entrepreneurs share what moved them to start their own businesses and how they hope to empower women in Singapore.

Words: JOSEPH LOW

As we step into March, a month to celebrate the resilience, vision and determination of women, it seems apt to highlight three trailblazing businesswomen who are influencing beauty and wellness in Singapore.

There is Cheryl Wee, whose Company of Wellness takes a holistic approach to self-care; Xenia Wong, who prioritises scientifically informed skincare at Sigi Skin; and Sahur Saleim , who champions diversity with her make - up brand, Sahur’s Art. These ladies are not merely making waves in the business – they’re inspiring others to discover confidence, individuality and self-acceptance. In an age where beauty is more than skin-deep, their stories remind us that inner light is where the real glow comes from.

CHERYL WEE

38, founder of Company of Wellness

Company of Wellness (CW) focuses on the connection between internal health and external beauty. What inspired you to create a brand that bridges wellness and beauty, and how does your personal journey reflect this philosophy? This philosophy stems from both my personal journey and my family’s deeprooted beliefs. It began to take shape in my 20s, when I was navigating societal beauty standards. As a child, I dreamt of becoming an artiste, which led me to fixate on conventional ideals – weight, body shape, facial structure, and skin clarity. In my pursuit of achieving this “perfect” appearance, I experimented with many methods to achieve this “perfection”, but it was all at the expense of my health and overall wellbeing.

My sister Rachel, a pharmacist, and I combined our expertise to establish Company of Wellness – an ecosystem designed to support and empower individuals on their journey to inner health and outer beauty. My husband Roy is another pillar at CW – he pushed us to think beyond the therapeutic part of this equation and towards more science-backed products, by incorporating things like DNA testing. Our goal is to create products that are wholesome and effective; that can seamlessly integrate into modern lifestyles.

How do you think CW can help women in Singapore prioritise their wellbeing in a society that often emphasises productivity over self-care?

We hope CW encourages women to prioritise their wellbeing in a way that feels practical and achievable. Living in this fast-paced society, it’s easy for women to neglect their own needs as they juggle career, family and daily responsibilities.

One key aspect of self-care is exercise. Not just for weight management, but for mental clarity and longevity. However, finding time for a gym session or committing to the conventional “30-minute workout five times a week” can feel impossible. That’s why we created the CW1-2-3 home workout plan together with physical trainers. It is a flexible programme with three videos per week,

available in 10-, 20-, and 30-minute versions, and offers beginner to intermediate levels.

Beyond fitness, we also aim to build a supportive community of like-minded women who uplift one another on their wellness journeys. This is a marathon, and we’re here to walk this path together.

What unique challenges have you faced as a woman building a wellness brand in Singapore, and how have these experiences shaped your approach to leadership and business?

One of the biggest challenges is balancing work and family. As a mother of three, my responsibilities extend beyond the business. I manage my children’s schedules, adapt when they fall sick, handle school logistics, and run a household, all while

Cheryl Wee (second from right) with her family. Opposite page, clockwise from top: Cheryl Wee, Xenia Wong and Sahur Saleim.

growing CW and contributing to the family business. Thankfully, I have an incredible support system.

Another challenge is standing out in the highly competitive wellness industry. With so many established brands and new entrants, we are constantly seeking ways to differentiate ourselves. This has pushed me to keep learning. I earned my health coach certification last year, and this year, I’m diving deeper into perinatal wellness to better support our mummy customers.

As a successful female entrepreneur, what advice would you give to young women in Singapore who aspire to start their own businesses, especially in the wellness or beauty space?

Find your purpose and passion, embrace resilience and keep learning and evolving.

XENIA WONG

30, founder of Sigi Skin

Sigi Skin is deeply rooted in clean, science-backed skincare. As a female founder, how did your personal experiences as a woman in Singapore inspire you to create a brand that caters to the unique needs of women in tropical climates?

My personal experiences as a woman in Singapore played a huge role in shaping Sigi Skin. Living in a tropical climate, I’ve personally faced common skincare challenges like humidity-induced breakouts, excess oil production, and sun exposure, which can lead to premature ageing and pigmentation. I noticed that many skincare products available were either too harsh, causing irritation, or too rich, leading to

clogged pores – there wasn’t a perfect balance tailored for our climate.

This inspired me to create a brand that combines clean, science-backed formulations with superfood actives that are lightweight, with highly effective ingredients suited for humid weather. Sigi Skin is designed to provide nourishment without heaviness, ensuring that skin stays hydrated, radiant, and protected, even in this challenging tropical environment.

At its core, Sigi Skin reflects my personal journey of finding balance in skincare — gentle yet powerful, clean yet results-driven, and always tailored for the real needs of women in tropical climates.

How can your brand empower women to feel confident and comfortable in their own skin, especially in a society where beauty standards can often feel overwhelming?

Our mission is to empower women by promoting healthy, radiant skin that doesn’t need to be hidden under layers of make - up. We believe that skincare should be a form of self-love rather than a means to chase unrealistic ideals. Our products are designed to enhance the skin’s natural glow, making women feel confident in their own skin, whether they choose to wear make-up or not.

By using clean, science-backed formulations that nourish and protect, we help women achieve real, long-term results rather than temporary fixes.

Beyond skincare, we also want to foster a positive beauty culture – one that embraces individuality and diversity. Through our brand messaging and community engagement, we encourage women to celebrate their unique beauty and take pride in their skincare journey.

What unique challenges have you faced as a woman building a business in Singapore’s beauty industry, and how did you overcome them or turn them into an opportunity for the brand?

One of the biggest challenges was breaking into a highly competitive market dominated by global brands with massive resources. As a local, independent brand, we had to work twice as hard to gain credibility and consumer trust.

I wanted Sigi Skin to be more than just another skincare brand. I wanted it to be a

movement that educates and empowers women to embrace clean, effective skincare. To tackle this, I focused on transparency, science-backed formulations, and creating products that truly deliver results. By staying true to these values, we were able to carve out a strong niche and build a loyal community.

What’s next for Sigi Skin?

We’re excited to bring our community even closer through more pop-up events, where customers can experience our products first-hand and immerse themselves in the Sigi Skin philosophy of clean, science-backed skincare.

One of the highlights of the year will be the launch of a new limited-edition lip shade of our viral Butter Glaze Lip Jelly – our first-ever shimmery shade!

SAHUR S ALEIM

28, make-up artist and founder of Sahur’s Art

Sahur’s Art is one of the few local make-up brands in Singapore. How did your cultural and personal values inspire you to create your brand, and how do you see it empowering women in your community?

My goal for Sahur’s Art was always to blend beauty, self-expression and formulations to empower women. When was a teenager, my family moved to Dubai for three years so grew up in a vivid make-up environment. When we moved back to Singapore, especially at that time, I found the options for medium- to deeptoned skin in make-up really limited, so felt like was missing something.

That is why my own brand celebrates diversity and individuality, proving that confidence and cultural identity can go hand in hand. For every product launch, it’s a priority for us to incorporate models from different cultures so our customers know what to expect when they buy the products.

Your brand name, Sahur’s Art, suggests a strong connection between beauty and creativity. How do your products encourage women to use make-up as a form of self-expression, and how does this align with your vision of beauty in Singapore’s diverse society?

As a Singaporean make-up brand, the diversity in Singapore is one of our biggest considerations when formulating a new product. We make sure to cater to all skin tones in our development.

Beyond that, we really believe that make-up is an art and encourage our customers to try different colours and styles of make -up to express themselves boldly.

Sahur’s Art challenges traditional beauty norms by celebrating individuality. What stereotypes about beauty in Singapore do you hope to break, and how do your products and campaigns reflect this mission?

Part of being a make-up artist is to accept individuality in beauty. The exact same products and techniques can look totally different on two different people because of their features. And so, we love to encourage our customers to find the right type of glam and coverage for them.

In this era of clean girl make-up and with the tough weather conditions in Singapore, people really have a “less is more” outlook when it comes to make-up which can help you save a lot of time. But for special occasions, trying a new style of eyeliner or a new shade of lipstick can be a fun way to express yourself.

What message do you hope to send to young women in Singapore who aspire to start their own businesses, especially in industries where they might feel underrepresented?

How do you hope Sahur’s Art will inspire them?

I would say, be the representation you want to see. Everything doesn’t have to be perfect, but little steps add up to a lot. Especially in Singapore, running an independent business can be scary because of high operating costs but it’s super worth it, so don’t let the what-ifs stop you.

FIRST PROTECTOR

Sulwhasoo’s First Care Activating Serum is the key to tackling the root cause of ageing skin.

Glowing, youthful skin isn’t solely about hydration, but also skin rejuvenation, which can only be achieved when there is healthy flow in the skin. South Korean luxury skincare brand Sulwhasoo identifies skin stagnation as the root cause of ageing. When the skin experiences poor flow, it struggles to defend itself against internal and external stressors like dehydration and pollution, it becomes prone to inflammation and sluggish in eliminating impurities, accelerating visible signs of ageing. Fine lines, wrinkles and general dullness become common concerns that can haunt even people younger in age.

By addressing stagnation at its core, Sulwhasoo’s approach, which is based on traditional Korean medicine, promotes optimal skin circulation, restoring the natural flow of energy for a radiant, healthy complexion. This is achieved through the brand’s star product: First Care Activating Serum. An all-time cult favourite in its sixth generation, one bottle is reportedly sold every 10 seconds in South Korea. The secret sauce to the serum’s success? Undoubtedly its star

ingredients – the Jaum Activator and Lymphanax. An ingredient exclusive to Sulwhasoo, the Jaum Activator is created using a combination of Korean herbal wisdom and modern science, which together boosts the efficacy of the First Care Activating Serum. This complex improves the skin’s defence mechanism, resulting in a stronger skin barrier and increased levels of moisturising elements that in turn combat ageing.

Lymphanax, meanwhile, is a naturally fermented ginseng that has been aged for 500 hours. With over 60 years of expertise in ginseng science, Sulwhasoo has discovered that Lymphanax accelerates skin turnover, promoting the formation of a new skin layer.

It also improves lymphatic circulation, which is essential for a more radiant skin because it brings about a healthier flow of energy in the complexion. By activating the skin’s natural powers, this ingredient is able to visibly enhance the complexion, and results in healthy and youthful skin that glows from within.

LUCKY DAYS AHEAD

Regardless of the time of year, a glittering accessory from Van Cleef & Arpels c an hardly be seen as anything but a good sign. Nonetheless, the French jewellery brand makes it a point around this time each year to celebrate the arrival of spring and new beginnings with a range inspired by two cherished house codes, luck and nature.

This season, four new creations have been added to the brand’s Lucky Spring collection – united by that adorable emblem of good luck, the ladybug. Two pendants, a bracelet, and a Between the Finger ring join the existing collection, which comprise delicate pieces accented with motifs of ladybugs, plum blossoms and lily-of-the-valley buds.

These elements are brought to life with skilfully worked carnelian and onyx (for the ladybug’s body), as well as white mother-of-pearl for the flora. Beads of gold, another Van Cleef & Arpels signature, outline the motifs to sparkling effect. Watches

Van Cleef & Arpels welcomes the season of renewal with fresh creations embodying luck and nature.

NATURE STUDIES

The natural world is an enduring source of inspiration for jewellers, but some definitely t ake this muse a lot more seriously. Back in the 19th century, Frédéric Boucheron, determined to accurately capture the essence of plants like thistles and clovers, as well as insects like bees and beetles, amassed a library of more than 600 works that includ ed scientific treatises.

For the house’s latest Histoire de Style high-jewellery collection, Untamed Nature, creative director Claire Choisne pays homage to this spirit.

Unveiled in January at Paris Haute Couture Week, the 28 new pieces are designed to blur the boundaries between the human body and nature.

One of the highlight pieces is the Airelles (“lingonberries” in French) multi-wear necklace. It features an intricately articulated system of stems that freely mould s to the contours of the body when worn. Even more charming, like a real plant, stems can be detached at certain places to form brooches of varying lengths. Each of the 84 leaves features delicate teardrop-shaped cut-outs, and are snow-set with diamonds.

WORDS: LYNETTE KOH

WEAVING A TALE

Expertly weaving influences from the world of Dior, Victoire de Castellane combines lace and the verdant landscape of Christian Dior’s home in Milly-la-Forêt for her latest high jewellery outing, he 76 pieces in this collection depict dreamlike tableaus with intricate lacework-inspired outlines crafted from a mix of white, yellow and pink gold. They are accented, of course, with all manner of precious gemstones, as well as timeless pearls.

ASIAN ELEGANCE

Whetting our appetites for a bigger naturalistic collection to come, Chaumet introduces the 10-piece Bamboo capsule collection. A tribute to Asian culture, the Bamboo collection includes stunners such as a necklace that intersperses cascading diamond-set strips, representing stems, with “leaves” that are either solid gold, or set with diamonds and tsavorite garnets. A 13.19-carat Australian black opal and 12.91-carat tsavorite garnet give it even greater oomph. These precious stems and leaves also feature prominently on a tiara, which dazzles in white and yellow gold, and an abundance of brilliant-cut diamonds.

CHANGE AGENTS

Louis Vuitton continues the journey through 19th-century France that it began last year with its high-jewellery collection Awakened Hands, Awakened Minds. Comprising 50 new pieces, the second chapter tells the tale of the craftmanship and scientific breakthroughs that swept the country then. One standout is the Vision necklace, a highly graphic creation featuring the use of links and rivets to give the elements in the multiple-strand necklace exceptional flexibility. These components pay homage to the mechanisation of rail travel, while the radiating structure of the necklace reflects the cascading effects of the era’s innovations.

Taking

With

AS NATURE INTENDED

THESE HIGH JEWELLERY CREATIONS UNVEILED AT PARIS COUTURE WEEK IN JANUARY ARE SPECTACULAR CALLS TO THE WILD.

Words LYNETTE KOH Art Direction: AUDREY CHAN

BOUCHERON

inspiration from beetles, bugs and wild foliage, Boucheron pays tribute to Frédéric Boucheron’s love for flora and fauna with its Untamed Nature collection.

Opposite: CARTIER

this creation from the third drop of its Nature Sauvage collection, Cartier puts its distinctive graphic spin on a necklace featuring melon-cut emerald beads that evoke images of sea urchins.

GRAFF

The Gift of Love necklace channels a diamond feather, with two sparrows – symbols of love, hope and togetherness – at the ends. The bird on the right bears a stunning gift: a 13.51-carat fancy intense yellow pear-shaped diamond.

CHAUMET

Bamboo takes centre stage as creative muse for Chaumet’s latest capsule collection. This tiara mixes brilliant-cut diamonds and hand-engraved goldwork in a design that is more regal than rustic.

PIAGET

DIOR

Intricate lacework and Christian Dior’s verdant home in Milly-la-

Forȇt inspired creations such as this necklace from the Dior Milly Dentelle collection. The openwork design is set with white and yellow diamonds, and cultured pearls.

Yves Piaget had such a passion for roses that one is named after him.

Glittering with emeralds and snow-set diamonds, these earrings (top) and ring (bottom) pay homage to these generously sized blooms.

COUNTDOWN TO WINTER

With the recent unveiling of its new Countdown Clock in Milan, Omega is counting down the days to the Olympic and Paralympic Winter Games that will take place across the Italian cities of Milan and Cortina d’Ampezzo next February and March.

The Countdown Clock – which looks like a gigantic glass box with swirling snowflakes within it, and which features digital displays on the outside counting down the days,

hours, minutes and seconds to Milano Cortina 2026 – is just one of the timepieces that Omega is producing for the sporting occasion. Luckily for Omega collectors, the second one is meant for wearing.

Cased in Omega’s Moonshine Gold, the Seamaster 37mm Milano Cortina 2026 is inspired by a heritage timepiece that first appeared at the Summer Olympic Games in Melbourne in 1956. The new timepiece

features a polished symmetrical case, white Grand Feu enamel dial, Moonshine Gold hour markers, polished and faceted hands, and a commemorative motif on its caseback. Powering the watch is the self-winding Co-Axial Master Chronometer Calibre 8807, which possesses Master Chronometer certification , attesting to its superior precision, performance and magnetic resistance.

TIME AND SPACE

SEASONAL HIGHLIGHTS

Grand Seiko’s two new additions to its Heritage Collection celebrate Japan’s seasonal calendar with vibrantly coloured, textured dials. The bright green dial of the SBGH351 pays tribute to Rikka, the seventh of Japan’s 24 sekki or seasonal divisions, which marks the transition from spring to summer. The deep blue dial of the SBGH353 celebrates Shubun, the 16th sekki that occurs around the time of the autumn equinox. Both timepieces are housed in 40mm Zaratsu-polished steel cases, and are powered by the self-winding high-frequency Calibre 9685.

Audemars Piguet fans here now have a new place to gather. In January, the Swiss luxury watch brand opened the first AP House in Singapore. Currently, there are more than 20 AP Houses in cities worldwide, including Bangkok, Madrid and Los Angeles. Locally, AP House occupies the 1,000sqm space of the well-known Bar and Billiard Room at Raffles Hotel. Within the space are nooks including dining spaces, a bar, private rooms, a caf e and more. Elegant and contemporary, while still warm, the interiors are inspired by the brand’s home town of Le Brassus as well as Singapore. Specially curated watch displays allow guests to learn more about the brand’s timepieces past and present. Foodies will not be disappointed either – the space also houses the world’s first AP Café which offers Swiss-Singaporean dish es

FLYING HIGH

In 2013, Chopard presented the L.U.C Perpetual T, its first watch combining a tourbillon with a perpetual calendar. Six years after, it unveiled the L.U.C Flying Twin, its first flying tourbillon watch that was also equipped with two mainspring barrels. The new L.U.C Flying T Twin Perpetual combines all this horological goodness into a 40.5mm yellow - gold package. It unites a perpetual calendar and a flying tourbillon with a gold hand-guilloche dial with a Forest Green PVD and Chopard’s twin-barrel self-winding energy system that gives the watch 65 hours of power reserve.

STROKES OF CREATIVITY

The fine watchmaking world can be a very serious one. But as these recent collaborations show, putting artists and designers in charge can lead to some very inspired – and very covetable – creations.

Words: LYNETTE KOH

Hublot: Big Bang Tourbillon Carbon SR_A by Samuel Ross

With its ongoing partnerships with Takashi Murakami, Daniel Arsham and Richard Orlinski, Hublot has cemented itself as one of the luxury watch brands most closely allied with art and artists. At Miami Design Week last December, the company took the lid off the new Big Bang Tourbillon Carbon SR_A by Samuel Ross. This watch takes its cues from the Big Bang Tourbillon Samuel Ross, which was launched in 2022 as Hublot’s first collaborati on with the titular British contemporary artist and fashion designer (Ross is also the founder of A-Cold-Wall and

Audemars Piguet: Royal Oak Concept Tourbillon “Companion”

There’s only one thing to do when a watch brand teams up with the creators of one of the most iconic characters from the world of pop art: Put it front and centre on a watch. Famous contemporary artist Kaws put a miniature titanium version of Companion – his dystopian Mickey Mouse-like character – in the middle of the 43mm Royal Oak Concept Tourbillon, and Audemars Piguet rose to the technical challenge by literally pushing time to the side locating the hours and minutes hands of the watch at the edge of the dial.

SR_A) Taking the form of sculpture s and painting s , Ross’ artworks typically feature bold colours, geometric shapes and unusual materials As do his watches with Hublot. With its distinctive details and imposing size (44mm by 13.75mm), the Big Bang Tourbillon Caron SR_A by Samuel Ross stands out even among Hublot’s stable of can’t-miss-’em timepieces. Its titanium case boasts a striking honeycomb pattern finished in a new grey hue that also colours the movement, which is in turn surrounded by flanks and lugs crafted from forged carbon. Two different shades of blue accent its minute hand, hour markers, crown moulding and rubber strap.

Franck Muller: Cintrée Curvex Ryoko Kaneta

Dragon Limited Edition

Franck Muller has been doing a great job of working with creatives on Chinese astrology-themed watches with appeal that goes way beyond a season. Two years ago, it worked with Japanese streetwear label #FR2 on a timepiece with playful rabbit illustrations. Last year, it presented a dragon-themed watch made in collaboration with Japanese artist Ryoko Kaneta. Here, he mythical creature takes on a kawaii form, anthropomorphised as girlish figures that interact with each of the numerals on the dial. These are set against a turquoise background created using 25 layers of lacquer.

Louis Erard: Le Régulateur Louis Erard x Sylvie Fleury Palette of Shadows

Working with a slew of artists and artisans, Louis Erard has quickly established itself as the go-to brand for accessibly priced artistic timepieces. Its latest partnership with Swiss artist Sylvie Fleury sees Louis Erard’s signature regulator layout, with its two subdials, perfectly meld with the makeup palette motifs that are one of Fleury’s artistic signatures. In her series Palettes of Shadows, she turn s makeup palettes into huge artworks, exploring themes of femininity and masculinity, and art and fashion in the context of modern consumption.

Chanel Mademoiselle

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Ulysse

Nardin: Blast

[Amoureuxpeintre]

Kyrgystan-born designer and entrepreneur

Vsevolod Sever Cherepanov, who goes by the artistic name of Amoureuxpeintre, imparts his penchant for broody minimalism and reinterpreting traditional codes to his new collaborative timepiece with Ulysse Nardin. Aside from partnerships with behemoths such as Nike and a working stint for high-end streetwear label Alyx, Cherepanov also has his own clothing lines, and a production and design agency.

Inspired by frosted glass panes, the Blast

[Amoureuxpeintre] sees one of Ulysse Nardin’s signature timepieces, the Blast, take on a stripped-down new guise. Beneath the time-telling sword-shaped hands, a blurred sapphire skeleton dial subtly reveals the skeleton movement UN-371 beneath it. The frosted look of this glass was achieved using laser, while its smoky fumé effect was created using fine metallisation. This 29-piece limited edition comes in a 42mm case made from sandblasted titanium with an anthracite PVD finish, and is presented with a grey Alcantara strap.

Zenith: Defy Skyline Tourbillon Felipe Pantone

Since 2021, Argentine-Spanish contemporary artist Felipe Pantone has put his vibrant gradient hues and optical art motifs on several watches by Zenith. Most recently, he reimagined his first Defy Skyline model, with the Defy Skyline Tourbillon Felipe Pantone. Framed by the watch’s 12-sided bezel, the dial has an entrancing iridescence, which is made possible by microengraved concentric circles, coupled with a mirrored metallic finish on the back of the sapphire dial. The hands and most of the hour indexes have also been “distorted”, and finished with rainbowgradient tones. This multi-coloured gradient is also found on the tourbillon bridge, which is shaped like a lightning bolt as another nod to Pantone’s work.

Frederique Constant: Slimline Moonphase Date Manufacture Limited Editions

French artist Romaric André, who is also known as seconde/ seconde/, got his start in the watch world by by swapping out the seconds hands of vintage watches with custom-made, tongue-in-cheek motifs. (One of his earliest pieces saw him replacing the seconds hand on a Zenith chronograph watch with a tiny Millennium Falcon.)

Since then, André has added a touch of humour to the wares of many brands in official collaborations. A recent one was his partnership with Frederique Constant, where he shook up the placement of the Slimline Moonphase Date’s stick hour indexes, and also subverted the dial typography – an irreverent way of highlighting the fact that the Swiss brand assembles its watches by hand and makes its own movements.

Vacheron Constantin: Patrimony Self-winding “Simplexity” is a philosophy that French designer Ora Ito lives by, and one of its tenets is giving a simple appearance to an object whose complexity is hidden. Vacheron Constantin’s ‘50s-inspired dress watch, the Patrimony, certainly can be described as such. In designing the Patrimony Self-winding model marking the model’s 20th anniversary last year, Ito took inspiration from the Baily’s beads phenomenon – where beads of sunlight shine along the edge of the moon’s silhouette during an annular eclipse. Concentric circles ripple outwards on a goldcoloured dial, bringing vintage flair to a timepiece synonymous with timeless elegance.

A Modern Monument

With the RM 16-02, Richard Mille’s quintessential rectangular watch embraces sharp, unyielding lines for an architectural masterpiece for the wrist.

Words: CHARMIAN LEONG

When Richard Mille isn’t channelling high-speed cars and elite athletes, it seems to find its muses from other surprising sources. But whether it’s candy or graffiti, the brand has always managed to make these seemingly incongruent

influences fit into its unmistakable DNA – a clever way to keep long-time fans engaged and newcomers curious. The latest departure from its precision-engineered blueprint is the RM 16-02 Automatic Extraflat, a bold, Brutalist-inspired reimagining of its rectangular watch.

Brutalist architecture, while divisive in its appeal thanks to its hard-edged, saturnine silhouettes and indifferent approach to subtlety, works wonderfully as a template for a skeletonised movement. Enter the brand-new automatic Calibre CRMA9 –Richard Mille’s 15th in-house creation –

designed exclusively for the RM 16-02. Crafted from grade 5 titanium, the movement is treated with grey electroplasma across its structure, except for the minute bridge, which stands out in black PVD.

All 67 openings in the movement boast chamfered edges, thus requiring almost two hours of milling and other manual operations for each baseplate. This angular design optimises both lightness and transparency, creating dynamic plays of shape and depth. Even the platinum oscillating weight breaks tradition with a geometric design in place of the usual semicircle. Despite their delicate

appearance, the bridges undergo 10-year ageing and shock-resistance tests to ensure durability in daily wear. The movement is powered by a bidirectional rotor with titanium inertia blocks, mounted on ceramic ball bearings for enhanced winding efficiency, and delivers a 50-hour power reserve.

The RM 16-02’s 36mm by 45.65mm case, 10 per cent smaller than its predecessor, is available in two variations: full titanium or Terracotta Quartz TPT. The latter, a new colour for the brand, is crafted from 45-micron-wide silica threads infused

with a colo u r matrix, stacked at 45-degree angles, and cured at 120 degrees Celsius under six bars of pressure. Complementing the warm hue, the case band for this model is fashioned from Creamy White Quartz TPT.

The structural look of the movement, as well as the beige and terracotta rubber straps for the respective titanium and Quartz TPT models, provide the otherwise straightforward RM 16 line with a fashionable alternative that is still familiar enough to win over even the most selective Richard Mille fans.

Chanel Mademoiselle

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TAKING SHAPE

It might not be as instantly recognisable as the Tank or Santos, but the petite oval Baignoire is swiftly coming into its own as a Cartier horological icon.

Words: LYNETTE KOH

In the Cartier horological pantheon, the Baignoire might not enjoy the instant recognition of its fellow models such as the Tank and the Santos, but that might just be part of the if-you-know-you-know, niche charm of the brand’s petite, oval timepiece. And with its recent iterations finding favour not just with women but male watch collectors as well, its lesser-known status might not last very much longer.

The Baignoire – which means bathtub in French, in reference to its ovoid form – got

its name in 1973, but its origins go back further: Louis Cartier created the maison’s first oval watch in 1912, although the contoured form associated with the Baignoire today only appeared at Cartier in 1958. Today, the model is distinguished by its smooth, curved gold bezel, dome-shaped crystal, and a dial featuring Roman numerals.

Two years ago, Cartier got collectors in a frenzy with new versions of the Baignoire, in white, yellow, or rose gold, set on leather straps and metal bracelets. But it was the Mini bangle version, which looks like a refined piece of jewellery with its diminutive face (just 24.6mm by 18.7mm) and circle of gold, that proved to be the huge hit of the season. It was sought after by enthusiasts, male and female, many of who enjoyed stacking the bangle watch with their other bracelets, Cartier or otherwise.

Today, together with the unveiling of a campaign featuring Lou Doillon – the famous French actress, model, writer, illustrator and musician – Cartier introduces four new versions of the Baignoire. First of all, the mini versions are now presented with coloured lacquered dials in rich hues of black, plum or bronze. They are set on a leather strap in a colour that matches that of the dial, for a look with plenty of pizzazz and polish.

Next, for those who loved the style of the Mini bangle but couldn’t quite get its petite proportions to work for them, Cartier has introduced a larger, and more opulent version. With a dial measuring 31.44mm by 23.1mm, the new Small model will sit beautifully on bigger wrists, while still

retaining the refined aesthetic of the Mini version.

Then again of course, one can never go wrong with some bling. The latest gem-set versions of the rose - gold Baignoire bangle feature a bezel paved with a row of diamonds, mounted in a triangle setting that stylishly complements the rounded form of the watch The final addition to these novelties is a diamond-set yellow - gold Baignoire that comes with an elegant mother-of-pearl dial. With all these fresh additions to an already increasingly popular line - up, it looks like the Baignoire will not remain under the radar for much longer.

The Baignoire Small in rose gold and diamonds

Left: The Baignoire Mini in white gold and diamonds

Chanel Mademoiselle Privé Pincushion

French singer and actress Lou Doillon is now the face of Cartier’s new Baignoire campaign.

Sublime Moments

From engraving to enamelling, and marquetry to miniature painting, artistic crafts have the power to elevate fine wristwatches, transforming time-telling tools into extraordinary pieces of art.

Words : LYNETTE KOH Art Direction: AUDREY CHAN

Renowned enamel artist Anita Porchet created the colourful cloisonné enamel facets for the eight pieces of the Altiplano Skeleton High Jewellery Métiers d'Art.

Opposite: Part of a four-piece collection dedicated to the seasons, this Slim d'Hermès Le Sacre de Saisons watch pays homage to spring with a miniature painting of a horse decked out in flowers.

VACHERON CONSTANTIN

The "Seawater Cliffs" tableau of this Tribute to Traditional Symbols "Moonlight Slivers" watch is entirely executed on a solid gold dial. The scene is created using a mix of engraving, gem-setting and inlay-setting techniques. Opposite: CHOPARD

AART FOR EVERYONE

With a mobilised community, an inclusive offering and a touch of fun, Art Basel Hong Kong is transforming the art fair experience. Its director, ANGELLE SIYANG-LE, explains why this is the way to go.

Words: CHARLENE CO

rt Basel Hong Kong feels more like a grassroots movement than a legacy art show – and that’s pretty darn amazing. This refreshing sentiment emerged from a lovely and genuinely exciting conversation with Angelle Siyang-Le, director of Art Basel Hong Kong. While every show seeks to distinguish itself, Art Basel Hong Kong succeeds by returning this responsibility to the city – a challenge Hong Kong is eager and thrilled to embrace.

Art Basel first expanded to Hong Kong in 2013, recognising the region’s history and multicultural landscape. From its inception, Art Basel Hong Kong was positioned not merely as an extension of its European counterpart, but as a unique representation of the city and the broader Asian art scene.

“We wanted it to be different from the Basel, Paris and Miami Beach shows and to truly represent the city and Asia,” Le says. What sets Art Basel Hong Kong apart from other editions is the profound sense of ownership felt by the local community. “The beauty of it is that this community feels like it’s their show; it represents them,” Le says, emphasising the overwhelming support from local institutions, such as M+. “We have representatives from these institutions sit down for a roundtable to talk about what, collectively, we can do for Hong Kong during Art Week. This collaborative spirit has transformed what started as an event into a movement that truly belongs to the Hong Kong art community.”

This strong sense of identity and pride is also reinforced in part by a mandate by its selection committee to make sure that more than half of the exhibitors hail from and have representation in the region. “It’s important we choose galleries and artists who know Asia and have that genuine desire and determination to contribute to the region’s art ecosystems,” Le adds.

About a decade ago, Le felt that there weren’t many well-known Hong Kong names on the global stage, but today, the likes of

Siyang-Le believes that the local art community is what makes Hong Kong Art Basel different from that of Basel, Paris and Miami.

Samson Young and Trevor Yeung – artists who were once part of Discoveries, an initiative that puts a spotlight on emerging artists and galleries – have gained international prominence and are represented by established galleries, with their work showcased at prestigious events like the Venice Biennale. “It’s very important – and crucial – to help raise emerging artists on to the global stage,” she says. “And ultimately, their success becomes very much Art Basel Hong Kong’s.”

Art Basel Hong Kong 2024

”It’s important – and crucial – to help raise emerging artists on to the global stage. And ultimately, their success becomes very much Art Basel Hong Kong’s.”

In Le ’s view, Art Basel Hong Kong is also a catalyst for ongoing artistic dialogue and growth as it nurtur es the next generation of collectors. “We want collectors, particularly the younger ones, to understand that if you want to build a legacy with your collections, you need to be an active contributor to the local art ecosystem,” she says.

Post-pandemic, she felt that there was the need to reconnect with the global art community. “After Covid, we felt we hadn’t really been able to connect with the rest of the world for three to four years,” she says. To bridge this gap, Art Basel initiated a series of VIP Cultivation events in Hong Kong and other host cities, including Paris and Miami Beach. “The most recent one is in partnership with the Hong Kong Tourism Board, where we bring Hong Kong artists to our other shows. Late last year, we brought artists Trevor Yeung and Mak2 to the Paris and Miami Beach Show, respectively” Le says. What’s perhaps unique to local artists, she says, is that their work – either blatantly or subtly – is somehow influenced by both the city’s diverse cultural landscape and aspects that make it quintessentially Hong Kong. “Many of them grew up here, but Hong Kong has such diverse cultures, and many of the artists have some education outside of Hong Kong.” This combination of local and international experiences informs their artistic practices. For instance, Trevor Yeung and Mak2, both from families that either run or have worked at cha chaan teng (traditional Hong Kong tea restaurants), create artworks influenced by the scenes, sounds and interactions at these places when they were growing up.

At Art Basel Paris last October, the Hong Kong Tourism Board recreated a cha chaan teng serving beloved local snacks and drinks, such as milk tea, pineapple buns and egg tarts, with Yeung’s light installation Chaotic

Suns hanging above the tables.” Mak2 also draws from her childhood experiences at the Miami Beach show. “She remembered her interactions with the people who came and went in waves at cha chaan tengs and how her father would introduce her to everyone,” Le says. Mak2 reimagines typical homes in Hong Kong through a video game, turning these virtual spaces into pieces of art.

As the conversation shifts to the future, Le goes back to the insights of an outgoing Art Basel curator who emphasised the need to lift the profiles of the next generation of artists and raise the confidence of the next generation of collectors. “When we asked the curator whom he’d hire as a successor, he stressed the importance of getting someone from the younger generation who’s an active part of that community. He told me: ‘There’s no point in finding someone my age anymore. We want to transcend by knowing what’s new out there, and the younger generation is the best to provide this insight.’” They then began sifting through a long list of candidates from around the world with a strong Asian background. “We found it so difficult to narrow it down to one person, which led us to Para Site, a local contemporary art centre and one of the oldest and most active independent art institutions in Asia. Para Site has been a partner for many years, and from the beginning it’s been focused squarely on cultivating a new generation of artists, so we decided that instead of having one curator, we’d activate the Para Site curatorial team to shape the direction of the film sector, as film is also a medium that’s very well received among young people.”

Le and her team are also very much aware of digital platforms within the art space, as their rising prominence presents both challenges and opportunities. “Digital arts add value to contemporary art in a way that it

gives more opportunities for artists to further challenge themselves,” Le notes. This evolution, however, also raises questions about authorship and the impact of AI-generated works. “While it poses complications, it also pushes boundaries for artists,” she adds, citing the blurred lines between the physical and digital art experiences.

Art Basel has adapted to these shifts as it works towards bridg ing traditional and digital presentations. “This year, expect an Art Basel that will expand beyond the confines of the convention centre,” Le says. “Art Basel is as much about the art as it’s tied to what this city and this region can offer.” With an increased focus on film and video art, it hopes to engage younger generations and highlight Hong Kong’s cinematic heritage.

Beyond visual arts, the fair is also keen on integrating various forms of performance art, further enriching the visitor experience. Le hints at exciting new events, one of which is an evening at Tai Kwun dedicated to performing artists and live installations. Le hopes this interactive approach will serve as a way to connect artists and galleries in ways that traditional art fairs cannot.

Her advice to those planning to visit Art Basel Hong Kong in March? “Time! My tip is to give yourself more time – that is, at the Fair and in Hong Kong,” she says. “We want you to enjoy the whole experience.” She stresses Art Basel isn’t just a singular event but a chance for “encounters, connections, and enjoyment”. These are indeed the pillars upon which Le and her team have worked tirelessly to create activities and experiences that are expected to surprise and inspire. As Le aptly puts it, “I always believe that art gives you energy and gives people hope, and I’m confident this year’s fair, with countless opportunities to connect and a wide and indeed inclusive array of art and art forms, will achieve just that.”

Wang Guangle, 160501 (2016)

Wen Yipei, The Blue Landscape (2024)

The fair is working towards bridging traditional and digital art presentations.

Chen Hsing-Wan, Work AB037 (1995)

THAILAND RISING

Does th is Southeast Asian kingdom have what it takes to become Asia’s next big art hub? Patron MARISA CHEARAVANONT and curator STEFANO RABOLLI PANSERA certainly think so.

Marisa Chearavanont may have married into one of the wealthiest families in Thailand, but don’t allow that to forge any preconceptions about her.

Although her wedding to Soopakij Chearavanont, the head of Thailand’s largest conglomerate, CP Group, could have relegated her to a life of diamonds and society parties, there’s much more to the South Korean philanthropist and art patron. Whether spearheading her Chef Cares project, which donated food to frontline workers during the pandemic, or organising culinary training for underprivileged youth, she’s always been driven to make an impact. And s he’s now on a mission to position Thailand as the epicentre of Southeast Asia’s contemporary art scene and, by so doing propel Thai artists to global attention.

Chearavanont, who spent 20 years in Hong Kong before moving to Bangkok in 2017, has long had a passion for collecting, but until now it’s been a personal project.

“Now I want to do something bigger, for society, the community, for Thailand,” she says, while adding she no longer sees herself as a collector but rather “an art sharer and enabler”. With the help of Italian architect and curator Stefano Rabolli Pansera, previously a director at Hauser & Wirth, she’s been playing her part in cultivating the steadily blooming art scene in Thailand. The first effort was the January 2024 opening in

Bangkok of a Kunsthalle, an experimental contemporary art space comprising art, music, dance and cinema. Th at was followed this month with the opening of the Khao Yai Art Forest, an endeavour that seeks to redefine what an art institution is and promote the healing powers of art and nature.

“Whenever I do any project, always want everyone to benefit from it,” explains Chearavanont. “Nowadays the world is so fractured, with war and uncertainties, and the advent of AI; it’s a very chaotic period. That’s why I think that healing is so important, and I believe art should be part of that process .”

It’s an ambitious project given that the Art Forest is around three hours from Bangkok. But speaking to the duo via Zoom, they seem confident, especially as the positive reaction to the Kunsthalle has given them “a huge boost of enthusiasm”.

Chearavanon original ly only planned for the Art Forest but, as Rabolli Pansera explains, “two years ago Thailand was, let’s say, marginal within the art world. To start a new institution from the margin of the margin would have really been mission impossible.” So they opened the Kunstalle to test the waters.

Located in the Thai Wattana Panich building in Bangkok’s Chinatown, the space once housed the company that printed all of Thailand’s textbooks, until it was ravaged by fire 20 years ago and subsequently left empty. Surrounded by a hodgepodge of street food carts, local restaurants steaming with vats of beef noodles, and the never-ending growl of Bangkok traffic, it’s the last place you’d expect a blue-chip gallery or art institute to set up shop in. Which is exactly the point.

“The building itself is very humble,” Chearavanont explains. “Sometimes people don’t even know where the entrance is. But we wanted it to be like this so anybody can come in without feeling intimidated.” Adds Rabolli Pansera, “From the very beginning we always knew that we didn’t want to charge an entry fee; we want to involve the whole community.”

Curator Stefano Rabolli Pansera

Right: The Kunsthalle, an experimental art space, which is located in Bangkok’s Chinatown.

Art patron Marisa Chearavanont

Words: MADELAINE CLARK

So far the programme has comprised a mix of Thai and foreign artists as part of a strategy of “mutual promotion”. As well as inviting international curators, the Kunsthalle has links with a several artists-inresidence programmes around the world, meaning that as it accepts artists from overseas, Thai artists in turn can do a residence abroad. “The mandate I received from Marisa is curatorial , with artistic direction as much as geopolitical,” Rabolli Pansera explains. “My role here is to put the spotlight on Thailand. This happens by exposing Thailand to international artists and by giving Thai artists the platform to go abroad. So, this is a symmetrical operation.”

As we speak, Rabolli Pansera excitedly shows me via video the work of American artist Emma McCormick Goodhart, who

created a 7m-tall neon installation during her residency, inspired by Chinatown’s retro signage. He says there’s new opportunity for foreign artists to interact with the local context, giving them a chance to develop a new artistic language , that wasn’t previously accessible “There’s still some sort of insularity about Thai cultural scenes, which is largely due to the fact that there’s a different alphabet and language.”

The Kunsthalle opened with French video artist Michel Auder’s Nine Plus Five Works, showcasing a selection of the artist’s previous films as well as his Bangkok Yaowarat (2024), shot in the surrounding neighbourhood. In May, Thai art scene wunderkind Korakrit Arunanondchai created a site-specific meditative installation, Nostalgia For Unity, inspired by the building’s rebirth and using carbon flooring and amber haze to reference a phoenix; the show attracted 1,000 visitors daily. Building on Chearavanont’s wider aim of healing, Yoko Ono’s participatory exhibition Mend Piece invited participants to mend broken ceramic shards referencing the Japanese practice of kintsugi .

“Every exhibition not only attracted a different public but invited them to engage with the works in a different way. We really hope to continue with this exploration of a various form of participation and engagement,” says Rabolli Pansera. Alongside the Kunst h alle, the duo spent the last two years developing the K hao Yai Art Forest, including rewilding and

regenerating the land, as the soil had been depleted by monoculture farming. The plot sits near a transnational wildlife corridor that continues into Cambodia and is well known for its rich biodiversity. The original November opening date was delayed due to heavy rain, but this month visitors can explore seven large-scale, site-specific works that examine the relationship between art and the natural environment. Chearavanont and Rabolli Pansera aim to establish the Kh ao Yai area as a buzzy new arts hub outside of the capital – and they’ve certainly pulled enough big-ticket artists to do so.

Highlights include Maman by Louise Bourgeois, a spider sculpture whose new setting among rice fields provides a fresh spin “It’s reframed and reinterpreted, because once it’s in nature, the spider finds its own habitat, so it’s not scary anymore,” says Rabolli Pansera. There’s a work by celebrated nonagenarian Japanese “fog artist” Fujiko Nakaya that spans 3.6h a where the land has been designed to delay the dissipation of the mist . Also featured is Berlin-based duo Elmgreen & Dragset’s K Bar installation, a six-seat cocktail bar that’s as unconventional and humorous as you’d expect from the duo (there’s even a cocktail menu created in collaboration with Thai mixologists), as well as works by Thai film artist Araya Rasdjarmrearnsook, a stone circle by British land artist Richard Long and a monumental stone sculpture by Italian conceptual artist Francesco Arena. The aim is to “grow organically” and add

one to two more works each year. All artworks are within walking distance of one another, and while it would take around an hour and a half to cover the entire site, Rabolli Pansera explains that the aim is to “challenge viewers to engage with art in a completely different way. Kh ao Yai is really about contemplating and meditating in nature.” Whether encouraging visitors to run through Nakaya’s fog or walk barefoot around Long’s stone circle, the duo hope to show that “the conventional model of appreciating art is insufficient”.

It’s a logic that’s been Rabolli Pansera’s modus operandi throughout his career.

Before joining Hauser & Wirth, he worked in Angola, where “the idea of a traditional museum is irrelevant”. He also had a stint as a director of the St Moritz Art Film Festival, bringing culture to the Swiss Alps. “What love about Thailand is that conventional models don’t have any cultural impact here. So this necessity to invent a new paradigm isn’t just for the sake of being maverick, but because we feel that a conventional paradigm really doesn’t have any impact or any effect on Thai culture and Thai people.”

For Chearavanont, international recognition for the country’s creative scene is long overdue. “Thailand was the only country in Southeast Asia never annexed or colonised. We’re surrounded by so many different countries, from India and Malaysia to China and Vietnam, and Buddhism is our religion, so there are many layers that contribute to and create our unique culture.”

She believes it’s precisely the influence of this unique culture that makes local artists the “forerunners in the Southeast Asian contemporary art scene. But unfortunately, there hasn’t been much stage here.”

While her aim of rivalling Singapore, Seoul and even Hong Kong as Asia’s next art capital is ambitious, things are certainly pointing in the right direction. According to Chearavanont, there’s a steadily mushrooming art ecosystem in Bangkok, where more art institutions and galleries are opening, and even in Ch i ang Mai. Postpandemic especially, she says, the country is witnessing “an influx of people interested in coming to experience art and culture”. The Bangkok Biennale also continues to grow in size and reputation with each edition; in

2024 it hosted 74 artists in 11 venues.

Last year the country launched a digitalnomad visa scheme, that’s since attracted a new wave of hipsters chasing the next Berlin or Mexico City. As well as the opening of a Soho House Bangkok, a flurry of trendy international names such as The Standard has cropped up. “I think it’s a very important period for Thailand,” says Chearavanont.

“Since moving here two years ago I’ve noticed an impressive difference, with people and new institutions. It’s a sensitive, noticeable element, even in such a short time,” adds Rabolli Pansera.

The difference, they say, has been especially evident in the new generation, which is showing a much greater interest in art than before. “By nature, the format of exhibitions and activities that we have really attracts younger people,” says Rabolli Pansera.

This aligns with Chearavanont’s wider aim of motivating Thailand’s future artists. “If one day, an internationally celebrated Thai artist sa ys they were inspired to become an artist after visiting and experiencing the Kunsthalle or the Koh Yai Art Forest, then that would be our biggest reward,” she says.

Placing Maman by Louise Bourgeois out in nature invites the viewer to look at the spider sculpture in a whole new way.

Korakit Arunanondchai’s Nostalgia For Unity evokes the idea of ancient burial grounds at the Kunsthalle. Below: Francesco Arena’s stone sculpture, GOD, at the Khao Yai Art Forest.

SEASONED WITH STORIES

BRYAN KOH ’s second edition of his award-winning Burmese cookbook captures the enduring soul of a nation through its most authentic flavours – preserving diverse traditions that transcend political turmoil.

Rich and colourful culture, warm hospitality, and a tapestry of bold, comforting flavours – all of these elements are woven into the culinary heritage of Myanmar, which Bryan Koh first sought to capture in his 2015 cookbook, 0451 Mornings are for Mont Hin Gar But now, the author and co-founder of Chalk Farm bakery presents a significantly expanded second edition brimming with new stories and recipes from previously unexplored regions, offering a deeper exploration of cuisine from the Golden Land.

Given a more palatable name, Mornings are for Mohinga is a timely tribute to the nation’s resilience and vibrant culinary heritage given the recent rising tensions under the military junta regime. It’s also Koh’s sixth publication since the awardwinning Milk Pigs and Violet Gold: Philippine Cookery , which earned the Best Food Book Award at the Philippine National Book Awards in 2014.

0451 which secured third place in the Best Asian Cookbook category at the World Gourmand Cookbook Awards in 2016 was a project he started in 2012, when Myanmar started opening its borders to the world.

“The first edition was more like a travelogue centred around food,” he explains. “But there were still many parts of the country I couldn’t access. That changed in 2018 when more flights became available.” Buoyed by the success of his other culinary works, such as Bekwoh: Stories & Recipes from Peninsula Malaysia’s East Coast and Among Ixoras: A Collection of Recipes from My Kitchen in Singapore , Koh approached the second edition with greater confidence in his audience’s appetite for technical knowledge, which he satisfies with new depth and detail.

Koh readily admits his books are for “food nerds” – a term he uses with utmost affection, given that he’s clearly one himself.

“Most people think of mohinga as a fish noodle soup, but even some locals might not

know that in certain parts of Mandalay – the dry, arid heart of the country – it’s made with chicken broth,” he enthuses. “And the texture varies; some versions are thick, like dal, while others are much lighter.”

Measured and melodic though his speech is, it’s easy to detect his genuine enthralment with food and the stories behind them. But readers need not worry about encountering heavy, didactic prose even when he delves into the regional intricacies of paa sa fish salad or the techniques required to stuff a Kayah pork sausage. Like his literary inspiration, actress and writer Madhur Jaffrey, his narrative feels comforting – akin to a friend sharing stories over a meal.

This lightness in tone belies the heavy lifting required for his books. Preliminary research, he states, is essential. “If you’re not equipped in some way, you could get derailed or bamboozled. I once saw a food blog where someone prepared papaya salad using a black bean variety from the Anyar region – a method I’d never encountered until recently. It was only during my last visit that an elderly local revealed that they’ d switched to chickpea powder for convenience.”

Koh is proficient in “market Burmese” though he relies on his long-time translator and guide for interviews and deeper insights. For nearly everything else – from crossreferencing research papers to identify local fish species by their scientific names to directing and photographing his subjects – Koh works independently. “It’s the sense of urgency and fear that makes you pick up [these skills] very quickly,” he says. “It can be exhausting, but it is always rewarding because I have complete control over the aesthetics. There’s no photographer with whom to tussle, but that also means that if mess up, I’m on my own.”

Koh has also had to learn to recreate the recipes he’s sampled on his own. “A market vendor rarely shares their recipe – it’s their

livelihood – though some have been exceptionally generous,” he shares. He recounts his struggle with Shan tofu, a dish he describes as similar to Chinese liang fen but made from ground rice, which he repeatedly asked his Burmese supplier to evaluate.

“For three weeks straight, she would taste my samples and immediately chuck them in the bin, declaring them rubbish. It wasn’t until I realised the texture needed to resemble hard chwee kueh that I finally got it right.”

A passion for food is a given, but Koh insists it’s not enough. “You’ve got to be disciplined and be willing to put in the hours. There’s something about applying oneself to a craft that I’m very used to,” he observes, adding that he was trained in Chinese calligraphy from a young age, and remains actively involved in recipe and business development for Chalk Farm.

And for Koh, constructive criticism doesn’t lead to discouragement. “It’s like getting to know your friends better. Only after you spend a protracted amount of time with them that all their quirks and idiosyncrasies become very pronounced, and you learn how to deal with them. It’s the same for ingredients.”

Mornings are for Mohinga is Koh’s second book to shine a light on Myanmar cuisine.

Words: CHARMIAN LEONG

CALL HER BY HER NAME

Defying convention in 1995 , DOMAINE ANNE GROS was one of the first eponymous female wine estates in Burgundy A nd freedom is still the winemaker’s mantra when it comes to her venture in the south of France.

Words: JUNE LEE

With a halo of snowy white hair and a demure pastel jumper, Anne Gros does not give off nonconformist vibes when you first meet her But, observe her holding court in a roomful of 30 sommeliers and wine professionals, and you will catch glimpses of the candour, dedication and steely determination that ha ve earned her both admiration and respect in Burgundy over the past three decades.

A QUESTION OF SUCCESSION

The beauty of Burgundy lies in its patchwork of small family-run, artisanal domaines, w ith

owners who zealously care for their land and steward generations of knowledge needed to bring out the best of their terroir. Yet up till the 1990s, it was unusual for women to lead these estates, with superstitions and physically demanding work environments working to exclude the fairer sex from top roles. France’s Napoleonic inheritance laws decree that each child receives equal shares of the family assets, but often the succession of the family estate and name falls to the sons. Gros comes from a long and respected line of winemakers stretching back to 1830, when Alphonse Gros first settled in VosneRomanée in the Côte de Beaune. There are

women in winemaking. You couldn’t go to some (other) cellars if you were a woman, but my father had no choice. Maybe to him it was a disaster that his only child was not a boy, but step by step he saw the results of my work, and in the end he was satisfied.”

The duo clashed over her decisions, such as green harvesting by thinning out the grapes before harvest. Due to Francois’ inability to tend the vineyards, he was selling wine cheaply by bulk. Every penny counted. “It was the worst thing to him, to see the crop wasted on the ground. He thought I was mad,” recalls Gros, but she had the conviction that this would improve the remaining grape quality. After all, Pinot Noir is susceptible to rot, especially if the bunches are too hot and close together.

Gros professes to be an emotional winemaker, one who knows when to wield technique and when to be “open to the situation”, a phrase that she uses often, referring to her philosophy. A closed mind is a type of prison, and she values her freedom above all. Placing her name on the label was less an act of rebellion than a declaration of existence, of establishing her signature.

“Around the same time, my cousin AnneFrancois also created her domaine, named AF Gros as she didn’t want people to know it was by a woman, which would not be good for commerce,” she reveals. Undaunted, Gros continued to prove herself, and in 1994, triumphed by selling her entire year’s production within nine months. In 1995, the domaine officially changed its name. Starting with 3.5ha and gradually adding another three over the years, Gros’ wines now

command as much as $1,500 for her prized R i chebourg Grand Cru – which is praised for its incredibly silky tannins and finesse, hallmarks of her fruit-forward style.

PINOT OF THE SOUTH

With land value in Burgundy at an all-time high, Gros looked to make a complementary wine in Languedoc to show what she could do. Her partner in this project is Jean-Paul (JP) Tollot, father of her three children and also a winemaker at his own family estate, Tollot-Beaut. “It’s a long engagement, 34 years,” she grins, telling the story of how they met in Burgundy some years after both worked different vintages at Rosemount in Hunter Valley. Their search brought them to Provence, which felt too safe, and eventually the rugged, high altitude terrain of Minervois in Languedoc in 2006. This meant working with more varied grapes, from Syrah, Carignan, Grenache and Cinsault to other non-French varieties such as Vermentino and Sangiovese. In a region known more for casual wine, yet with deep limestone soils and big diurnal shifts, the entry of the Burgundian winemakers has impacted the interest and quality of wines for the better. During a tasting conducted at Wine Clique, her importer’s, office, she confidently showed both sets of wines from Burgundy and Minervois, including even a Grand Cru Clos Vougeot in the line - up. “Success is not about making good decisions each time, but making the less bad one,” Gros laughs with her signature full-body mirth. “Every year is a new page. And I’m still here.”

BOTTLES TO BUY

ANNE GROS & JP

TOLLOT LA CINSO 2020

There is big potential for this “Pinot of the south” as Gros expresses. Over 50-year-old vines draw on sandstone and marl for a charming wine. $50 from wine-clique.com

currently four separate estates run by the sixth generation cousins: Domaine Michel Gros, Domaine AF Gros, Gros Frère et Soeur and Domaine Anne Gros, formerly Domaine François Gros.

François, in bad health, had no choice but to have his teenage daughter Gros join him at the estate in 1988. From the age of 19 to 22, she studied wine part-time at the University of Dijon while working full time in the vineyard and winery. The gender ratio in her wine course? About 55 men to five women. “I couldn’t ask advice from my father as we didn’t have the same vision,” Gros explains. “It was still quite new to have

ANNE GROS & JP

TOLLOT LA VERMENTINO BLANC 2020

Vermentino, an Italian variety, adapts well to Languedoc, says Gros: “a translation of salt, mineral and stone of the silex soils”. A touch of Roussane adds fat and juiciness. $53 from wine-clique.com

GROS & JP

TOLLOT L’ENCLOS PINOT NOIR 2022

Initially not keen to make Pinot in Minervois, Gros was persuaded after the discovery of a “baby vineyard” that delivered unexpected vibrancy and tension. “Only foolish people don’t change,” she smiles. A polished gem for Pinot lovers. $57 from wine-clique.com

ANNE

The bright colours of the winery in Minervois are inspired by Cinsault leaves.

FROM THE ASHES

Perhaps I should have known, considering the restaurant’s pedigree, to expect the unexpected but a gorgeously tangerine-hued cocktail of foraged seabuckthorn berries was not what I was anticipating when I step ped through the door at Tsaghkunk Restaurant & Glkhatun.

The restaurant is located in a village (population around 1,000) in a vast valley at the foot of the Pambak Mountains in the small Caucasian nation of Armenia. But its culinary standing belies its remote, pastoral location: when the restaurant opened in 2021, Mads Refslund, co-founder of five-times World’s Best Restaurant Noma in Copenhagen , helped find new approaches to cooking with the local ingredients and develop the menu. Other top chefs from around the world have also spent time there, sharing their know-how.

The restaurant just won a prestigious La Liste Discovery Gem Award for 2025, given to restaurants that offer a unique culinary experience and interpretation of their terroir. It is probably the first time a restaurant in Armenia has won an international gastronomy prize. It has been a full day exploring this northeastern corner of the landlocked republic that is sandwiched between Georgia, Turkey, Iran and Azerbaijan, including a visit to its jewel – the highaltitude, cerulean-blue Lake Sevan. So the sophisticated, sassy cocktail is a refreshing start for the evening ahead. With tart, tangy and slightly tropical flavours from the bright yellow-orange berries, sweetness from orange juice, and herbaceous notes of juniper from the gin, the cocktail invigorates the senses and is a rejuvenating palate cleanser for the meal to come.

The restaurant, housed in a two-storey stone and wood building, is welcoming with its earthy palette of ochre, cinnamon and soft cream, and its big windows that let in the vastness of the mountain landscape outside. But before can take a seat

In Armenia, a new generation of hospitality entrepreneurs are shaking off historical trauma to shape a vibrant culinary landscape.

Words: VICTORIA BURROWS

the softly curving bare wood tables, I am escorted back out into the dusk.

Across the lawn there is a low-slung stone building that has grass growing out of its roof. Inside is a scene that could almost be centuries, if not millennia, old: Two women are sitting on the earthen floor, their legs from the knees down disappearing into pits dug in the ground. One has a low table over her lap, dusted with flour. The other has a sunken oven in front of her, gleaming orange in the dim light. The first rolls out the dough, then swirls it up in the air, stretching it from hand to hand.

The second then takes the dough and swirls it overhead, teasing it out further until it is almost a metre in length. She carefully spreads it over a firmly stuffed cushion, and leans forward into the furnace to stick the dough onto the wall of the oven. After about 30 seconds she reaches in with a metal hook to pluck out the crispy bread.

Making lavash, the region’s much-loved flatbread, is a revered, almost spiritual, practice in Armenia, and at Tsaghkunk, the ancient tradition is being preserved in the

restored 11th-century glkhatun , literally “head house” in Armenian.

The bread is wonderful – warm, soft and pliable, with a light dusting of flour, and crisp air pockets that have caramelised on the wall of the tonir (tandoor oven). The lavash is served next door in the restaurant, but it is one of the few things on the menu that is entirely traditional.

Aveluk (wild sorrel) is customarily used to make soups or salads, but here it is served as an appetiser with walnuts, wrapped in fruit lavash (fruit leather). Vanakhash made with dried buttermilk pearls, lentils, crushed garlic, stewed onion and lavash, is presented as a soup instead of a main dish.

“Our menu showcases traditional Armenian dishes reinterpreted through a contemporary lens. That’s the heart of my approach – to preserve the familiar flavours of Armenian cuisine while presenting them in new and exciting ways,” says head chef Arevik Martirosyan, who took over the reins at Tsaghkunk Restaurant and Glkhatun in July 2022.

“Our restaurant is truly fortunate to host

renowned chefs from around the world, each bringing their unique vision, leaving their mark, and inspiring me to develop a contemporary culinary language that tells the story of our rich national heritage.”

Martirosyan sources much of her produce for the kitchen from Arter, the local organic farm, which is run by her husband.

“We’re fully committed, and I’m absolutely passionate about this, to using Armenian and local ingredients,” she says. “We’re more than just a restaurant, we’re part

of the local community and its ecosystem.”

Another young woman developing Armenia’s culinary culture from the ground up is art historian Ani Harutyunyan. In 2019 she opened Arm Food Lab in Dilijan, about an hour’s drive from Tsaghkunk. Here she explores the wild ingredients, ancient culinary techniques and nutritional history of her country and makes a wide range of delicious cheeses and excellent breads from different grains.

East of Dilijan, former thoracic surgeon

Arnag Avedikian gave up his comfortable life in the capital, Yerevan, to dedicate his time to a far more sensuous pursuit: fruit brandy. After eight years of trial and error, his Dilvados liquors, made entirely from organic, often wild-growing fruit, are now redefining high-quality Armenian brandy. At his tasting house in Aghavnavank, just a scattering of village houses in a landscape of undulating mountains, visitors can tour his distillery – a copper still set up in an old stone building, the steel fermentation tanks

Ani Harutyunyan, who opened Arm Food Lab, is actually an art historian Below: Arnag Avedikian with his wife.

Sample Dilvados fruit spirits at the tasting house in Aghavnavank.

Tsaghkunk Restaurant & Glkhatun offers a truly exciting dining experience.

Below: Making lavash, the traditional Armenian flatbread.

“We now have a speciality coffee culture that rivals global standards and our cocktail scene has undergone an equally profound transformation. Gone are the days of brightly coloured, artificially flavoured drinks.”

– Artak Harutyunyan, hospitality entrepreneur

in the garden out back – while he roasts goose and quail on an outdoor grill and serves handmade chocolate cream to pair with his brandies. They are exceptional: complex and smooth, with an easy sigh of wild quince or apple, cherry or mulberry.

It is not only a rural gastronomic revolution now sweeping Armenia; the country’s cities are buzzing with transformation, too. In the ancient capital of Yerevan, which dates back to the 8th century BCE, hip new hotels, restaurants and bars are popping up alongside more traditional restaurants serving classic dolma (usually meat and spices wrapped in grape leaves) or khorovats (Armenian barbecue).

Just a five-minute taxi ride from the old G.U.M Market, where stalls offer everything

from basturma (air-dried beef flavoured with garlic and fenugreek) to strings of salt-brined cheese to sweet soujuk (strands of nuts encased in fruit molasses), are restaurants such as Black Angus Signature, cocktail bars such as Minas, and espresso bars such as Lumen Coffee that are bringing international standards and a worldly sophistication to the city.

While the country is still recovering from its traumatic recent history, including the 1915 Armenian genocide, Soviet rule, and continuing territorial conflicts with neighbouring Azerbaijan, many of the new generation are rolling up their sleeves and building a new future.

Self-taught, 38-year-old hospitality entrepreneur Artak Harutyunyan first opened

a small cocktail bar in 2008, followed by a juice bar chain and Afrolab, a coffee roastery. After experimenting with making homemade buns and perfecting burger patties with a close circle of friends, he opened his first Black Angus Burger Bar in 2013.

The glamorous Minas Cocktail Room, named after 20th-century Armenian painter Minas, and lively Black Angus Signature, which has a menu of big and bold American-style and international dishes such as pizza, ceviche, and farm-fresh salads, are his latest ventures.

“Over the past five years, Armenia’s restaurant and hospitality industries have undergone a remarkable transformation, making hospitality one of the most dynamic and inspiring sectors in the country today,”

says Harutyunyan.

“We now have a speciality coffee culture that rivals global standards and our cocktail scene has undergone an equally profound transformation. Gone are the days of brightly coloured, artificially flavoured drinks. Today, mixologists craft cocktails infused with wild Armenian mushrooms, foraged herbs, and indigenous ingredients, using processes such as fermentation, natural

carbonation, and cold vacuum.”

Armenia’s wine scene is also taking off.

While remains unearthed at cave Areni-1 in the Vayots Dzor region in 2007 revealed evidence of the world’s oldest complete winemaking production, which dates back 6,000 years, winemaking here in more recent centuries stalled.

But a new generation of winemakers are revitalising vineyards, embracing

contemporary winemaking approaches and making exceptional wines from indigenous grapes. Wine bars such as In Vino in Yerevan, run by the knowledgeable Mariam Saghatelyan, offer opportunities to sample Armenia’s finest while some wineries across the country are open for visits and tastings.

“We must embrace international standards and global expertise while remaining deeply rooted in the richness of our own cultural and natural heritage,” says Harutyunyan. “Armenia’s land has gifted us an abundance of extraordinary ingredients, and it’s our responsibility to utilise them thoughtfully through a collective, nationwide effort. Supporting small Armenian producers is essential. They’re the guardians of our land’s authenticity, and with the right backing, their craftsmanship can thrive.”

The seabuckthorn cocktail at Tsaghkunk turns out to be just one of many surprises in this freshly blossoming country. Armenia may be a truly ancient land, but in the hands of its dedicated and ambitious new generation of entrepreneurs, its future is just beginning.

Minas Cocktail Room offers sophisticated drinks that incorporate indigenous ingredients.

Mariam Saghatelan runs wine bar In Vino in Yerevan.

Black Angus Signature serves up American and international dishes in Yerevan.

The materials and

all; the name is simply Porsche’s way of indicating it’s fast). Unveiled early last year and available only as an EV – though that may change, as flagging European sales of leccy cars are forcing the company to consider retro-engineering the Macan to accept petrol and hybrid powertrains – it’s built on the VW Group’s Premium Platform Electric, though naturally re-calibrated by the folks in Stuttgart so it behaves as a proper Porker should (or at least one that weighs an un-Porsche-like 2.3 tonnes even before the passengers have climbed aboard).

As it wears the Turbo nameplate, this Macan gets two electric motors – one at the front axle and the other at the rear – which draw their power from an enormous 95kW lithium ion battery that takes up much of the floor area (and, conveniently, lowers the car’s centre of gravity considerably when compared to the first-gen Macan). Stylingwise, the gen-2 car draws heavily from the current Porsche look book, sharing nowfamiliar cues with such models as the Panamera, Boxster/Cayman and Taycan, and with a sloped C-pillar resembling that of the

Cayenne Coupe A s for the dimensions , it hasn’t grown significantly compared with its predecessor. As SUVs go, it’s a pretty handsome beast.

With a massive 1,129Nm of torque and a maximum output of around 630bhp using the overboost function, all of which is instantly

available under your right foot, this new electric Turbo Macan is rapid indeed – not quite as insanely fast as the Porsche Taycan Turbo S I drove a few years ago, which had me uncontrollably spouting unprintables each time pressed the accelerator, but still heart-in-mouth quick, and all to the

accompaniment of a spacey electronic soundtrack from the car’s noise generator. Floor the pedal and you’ll hit 100km/h in 3.3 seconds; keep it nailed to the carpet (assuming you’re in Germany) and you’ll see 260 on the speedo, though with a more sensible approach you can expect a range of around 500km fully charged which does sound fairly impressive. Thanks to the two powered axles the Macan Turbo is all-wheel drive, while getting the car moving is simplicity in itself. The single-speed transmission give s you forward motion with a downwards click of the selector, a procedure that’s reversed for, er, reverse – and if you’re looking for a parking brake, there isn’t one: you simply hit the button marked “P” (so no handbrake turns then, which I’m not sure you could do with an electric car anyway).

Unlike lesser models, on which it’s an option, adaptive air suspension is standard kit on the Turbo, though you’ll pay extra for four-wheel steering.

So what does that all mean dynamically?

Although, as I’ve said, the Macan carries a lot of weight, that superfluity of power and twist simply shrugs it off with acceleration that’s immediate and relentless , whatever speed you’re travelling at. Steering is as sharp, direct and accurate as you’d expect from a Porsche – granted it isn’t a 911, but for an electric SUV it’s well ahead of the pack. The

handling is beautifully sorted, too; in what think should be the ideal compromise between ride comfort and stiffness I select Sport mode from the menu of chassis settings, which copes admirably with tight corners to the extent it simply shrugs off entry speeds no matter how fast I hurl it into them – just as it smooths out the plentiful potholes this city’s roads throw in our path. The adaptive dampers are a boon keep ing body roll to a minimum, though I’m sure the lower centre of gravity has something to do with that too, while the brakes are nothing short of superb. For a heavy electric automobile, the Macan Turbo is hugely fun to drive, as well as refined and civilised. If only there were some proper old-school engine noise to go with it.

haven’t yet mentioned the interior, which to no great surprise is impeccable. Indeed, where do I start? Yes, it’s as dark a nd sombre as you’d expect, but there the criticism ends, because the front seats and driving position are fabulous, giving you the impression you’re cocooned low in the car when in fact you’re seated high up, as well as being wonderfully bolstered and support ed

On the test car, virtually the entire dash panel forms some kind of LED display, which includes a front passenger touchscreen (presumably so they can screech in alarm and shout at you to slow down when approaching

corners at three- figure speeds; on reflection, that’s definitely an option box I wouldn’t be ticking). The slim, small steering wheel is a joy to twirl, and the materials and craftsmanship are first rate throughout. To the question of whether I ’d buy one, I’ll happily say that though there are plenty of perfectly decent electric SUVs to choose from these days, can’t think of any that offer a more satisfying combination of driving pleasure, refinement and quotidian practicality than the Porsche’s all-electric second-generation Macan. In fact, the only thing that would prevent me from rushing to the showroom right now is the possibility that there might, just might be a Macan with a petrol engine a year or so from now. Worth waiting for? That’s for you to decide.

The Gen-2 Macan’s styling draws heavily from Porsche’s current look book

The discreet “Turbo” at the back tells you this SUV is seriously fast.

Below:

craftsmanship of the interior make for an extremely comfortable drive.

SERPENTI SHEDS ITS SKIN

Over the years, independent haute horlogerie brand MB&F has created striking timepieces inspired by various animals: Jellyfish, the bulldog and the panda. Its latest creation, which is also its second outing with Bvlgari, sees the two brands transforming the snake – Bvlgari’s signature animal – into a stunning horological machine à la MB&F.

The Bvlgari x MB&F Serpenti marks the sophomore collaboration between Fabrizio Buonamassa Stigliani (Bvlgari’s

director of watchmaking creation) and MB&F founder Maximilian Büsser. Their first partnership in 2021 resulted in the LM FlyingT Allegra jewellery watch. T he new Serpenti takes the form of a snake head with “moving” eyes, which are the watch’s revolving hour and minutes rotating domes.

It’s available in three variants: In rose gold, titanium, or black PVD-coated stainless steel. Getting the design right required hundreds of sketches and dozens of 3D-printed models. That was just part one.

Producing the watch’s many unusually shaped components was another story altogether. Providing a “machining nightmare” even for MB&F, which is no stranger to odd case shapes, the biomorphic case of the Bvlgari x MB&F Serpenti integrates five differently shaped pieces of sapphire glass, including the snake’s eyes. But the result – a powerful and futuristic new take on an icon that first appeared in Bvlgari’s creations in 1948 – is a horology buff’s dream.