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ON THE COVER: DOUBLE-BREASTED SUIT SET: MAGALI PASCAL. PLEATED BLOUSE: ARTHUR APPAREL. HAT: BLAMO CLOTHING. NECKLACE: UGLY BIJOUX. DRAGON SANDALS: VALERIA DE LACERDA. PHOTOGRAPHER: NARYA ABHIMATA.
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OMNIBUS, PAGE 32: ARTIFICE BY ANDREW E. HALL
THIS BURGER WILL CHANGE YOUR LIFE!
Yakkety Yak, don’t look back they say, but for a few seconds we would just like to cement a bit of what The Yak has brought to the Bali table. Two decades of Bali’s luxury lifestyle, twenty years showcasing ‘the lighter and darker sides of Bali, Asia’s fashionable playground’, beautifully bound up in a glossy, coffee table format, highlighting the people, the creatives and the venues on this beloved island of ours. Sixty-eight issues no less! And in this our 68th Issue, we focus on the “Creative Collective” that this decade is striving towards. An issue of recognition, where it is “The Team that makes The Dream”!
Out of The Box is our first port of call, highlighting a number of companies pushing the creative envelope; read, appreciate and buy some of these great products. Then we go head to collaborative head with the massively talented individuals and collectives living on this island such as Kitapoleng, Futura, Papermoon Puppet Theatre (Yogyakarta), Ong Cen Kuang and Space Available –just to name a few.
Our ‘one on one’s’ (interviews divine) celebrate the drive and passions of the next generation of movers and groovers, such as House of Karma club creator, Charlotte Spence; photographer extraordinaire, Narya Abhimata; artists Adine Aharimu and Richard Winkler and Chef Daijiro of Kohaku and Takumi fame. Fashion is the ‘go to’ of every glossy, and this issue paginates some fabulous Yak Fashion, Uluwatu Balinese Lace history, and images and backstory of a relatively new swim and resort wear company, Aanoukis.
Now, we nod in reverence to the creatives of interiors and architecture, companies that excel in blending form with function; Jia by OCK and sister company OCK, Komodo Kamado, Tabu Design and architecture and design company, Marzloff. Without their form and function our next set of Yakkers would be unable to do what they do best, an industry that is Bali’s mainstay –Hospitality!
Meet Alila Seminyak, MĀUA Nusa Penida, Dijiwa Sanctuaries, The Apurva Kempinski, The Kayon Resort, White Goose, and Bali’s best cliffhanger – The edge! Of note and off island is the fashionable Pulang ke Uttara hotel in Yogaykarta, a Yak favourite when heading to ArtYog and the like.
Let’s round off this, our very final Yakkety Yak chat, with great cocktails by Bali’s home-grown rum company, Nusa Caña and delicious Italian delights courtesy of Milano Italian Restaurant…
…And as we shut the door on our way out, we will definitely be supporting one of our favourite digital Bali ideations, PURPOSE Art so buy an NFT or three! So saying, and as ever…May The Yak be with you, now and ever more!
AS Balinese people, we take pride in our reputation for hospitality and inclusivity. We strive to be good hosts to all who visit our island, regardless of their nationality or background.
We understand that Bali has become a popular destination for people from all over the world, and we welcome everyone with open arms. However, we also ask that visitors respect our culture and way of life. We have certain customs and traditions that may be different from what visitors are used to, but we believe that these differences are what make Bali unique and special.
It is important to remember that Bali is not just a tourist destination, but also a place where people live, work, and raise their families. Therefore, it is important that visitors do not view Bali solely as a place to party, have fun and make money, but also as a place to learn about the local culture and contribute positively to the community.
We recognize that Bali, like any other place, has its shortcomings and weaknesses. We have our own challenges and struggles, just like any other community. Bali faces many challenges, including issues with leadership, limited resources, environmental degradation, and rapid development, which can make it difficult to manage the needs of all stakeholders.
In the past, visitors to Bali were fewer in number and were more easily assimilated into the local culture, but in recent years, the volume and diversity of visitors have increased significantly. Some visitors may not fully understand or appreciate the cultural and social norms of Bali, and may sometimes act in ways that are disrespectful or inappropriate.
It is important to remember that basic laws and courtesies apply wherever we live and that we should all strive for mutual understanding and respect for one another. Bali is known for its relaxed, open-minded, and laid-back atmosphere, compared to
many other destinations, but this should not be mistaken for a lack of courtesy or respect for local customs, traditions, and the law.
Unfortunately, a few visitors to our island have behaved in ways not representative of the majority. We should not judge each other based on the actions of a few, and we should not let the actions of a few dictate our perceptions of others.
We recognize that the issue of job competition is a sensitive one, both in Bali and throughout Indonesia. As a developing country with emerging markets, low incomes, and high rates of unemployment and poverty, we must be mindful of the impact that foreign workers may have on our local economy. At the same time, we should also strive to treat all people with respect and dignity and to work towards a more inclusive and welcoming community for all.
There are certain things that the law and implementation of it cannot address fairly, and it is up to all of us to act ethically and responsibly. Even when we disagree with certain laws or regulations, we should still abide by them and work to create positive change through legal and peaceful means. We understand that some visitors may have higher expectations or demands than others, but we ask that they respect the limits of what is possible in Bali and understand that we are doing our best to meet everyone's needs. In this difficult and divisive situation, it is important to remember that the pendulum may sometimes swing to extremes. However, we are hopeful that a new equilibrium will emerge over time, as we work together to create a more harmonious community.
Finally, I want to emphasize that Bali is our home. It is a place that we hold dear to our hearts, and we want to ensure that it remains a safe, peaceful, and welcoming community for everyone. Let us work towards creating a Bali that we can all be proud of, one that values inclusivity, mutual respect, and harmony.
AGORA fabrics are the integral option for upholstery and exterior decoration, its 100% mass-dyed acrylic fiber guarantees greater durability under the sun, ensuring vibrant colors for more than five years and offering exceptional resistance to the most harsh conditions.
These high-end fabrics present designs, colours and textures that create unique experiences while decorating all types of outdoor environments. With a wide catalogue that includes the latest trends in the sector, Agora is the perfect choice for projects of any size that are looking for efficient, versatile and reliable solutions.
Agora goes further with a new line of PVC and polyester fabrics. Argos and Atlantis are an ideal choice for indoor and outdoor furniture in high-traffic locations such as spas, restaurants, poolside, and super yachts. This line of the highest quality will take your projects to the next level.
Tel. +62 812 8152340
IG: @agorafabrics
FB: @agorafabrics
www.agorafabrics.com
AANOUKIS Swimwear is an ode to each woman’s own unique spirit. Confident, provocative, yet charming and sensitive – but above all, oh-so-chic! Glamorous styles are designed to make you feel distinctly unique and beautiful – in one word, like a goddess!
IG: @aanoukisswimwear
www.aanoukisswimwear.com
EXPLORE a range of natural skincare products with options for every skin.
Jalan Danau Toba No.9, Sanur, Bali 80228, Indonesia
Tel: +62 3614493600
IG: @sensatiabotanicals
www.sensatia.com
cs@sensatia.com
IN the past year Purpose Art has launched with several NGOs, which include Bye-Bye Plastic Bag; SOS Children’s Villages; Danadidik; Habitats for Humanity; and Mia Healing Sanctuary – a happy place for rescued canines in Uluwatu. Participate and connect with us through purpose.art!
IG: @purposenft
FB: @Purpose purpose.art care@purpose.art
LOCALLY designed, made by hand in our own workshop in Bali, Jiā by OCK is looking for export partners across the globe for a wide range of interiors accessories.
Tel: +62 812 37237699
IG: @ongcenkuang www.ockdesigns.com sales@ockdesigns.com
AT Tabu Design, we continuously strive to create sustainable furniture and timeless, bespoke pieces of exceptional quality for our clients.
Tel: +62 815 9398550
IG: @tabudesign info@tabudesign.asia
www.tabudesign.asia
THE ultimate over-engineered, over-built Kamado grill and smoker. The best cooking, most efficient and aesthetically perfect outdoor cooker on the market.
Tel: +62 818 850860
IG: @komodo_kamado
Fb: @Komodo.Kamado.Grills www.komodokamado.com
ETHICAL, sustainable, casual, luxury, lifestyle brand that exudes the essence of simple elegance. Timeless clothing and accessories of daring construction that wrap the body with the drama of its prints, and the subtleness of comfort.
IG: @mauricio_alpizar_fashion
FB: info.mauricioalpizar info.mauricioalpizar@gmail.com www.mauricioalpizar.com.au
ANANDA Soul supports a better tomorrow where our planet is healthy and our communities thrive. All our jewelry are designed with intention, mindfulness, and care towards humanity and nature.
Jl. Dewi Sita #8
Ubud, Bali
Ph: +62 (0)812 3972 4099
Jl. Labuansait, Pecatu
Kuta Selatan, Badung, Bali - 80361
Ph: +62 (0)812 3972 4099
IG: @anandasoulcreations
FB: Ananda Soul Creations www.anandasoul.com
DESIGNED by Space Available and Peggy Gou, this cool chair is made out of 20kg of waste plastics, saved from landfills, rivers, and the ocean. Fittingly 20% of all profits are donated to our official partner SOS in a bid to plant 10,000 trees in the Sumatran rainforest.
IG: @space_available_ www.Spaceavailable.tv studio@spaceavailable.tv
CHARLOTTE, can you give us a brief background of who you are, and what brings you here today?
Hey, of course! This feels like a first date. I’m a 26 year-old Brit, currently based between Sydney and Bali (the dream!); I moved over to Australia for university about six years ago and have been lapping up the sunshine ever since. I’m really excited to be chatting to you today and keen to share a fun new project I think you’ll like the sound of . . .
What are your current passions?
I take after the rest of my family, so travel is really important to me and has been a big part of my life for as long as I can remember. Nothing excites me more than exploring new cultures. I’m also a drama kid at heart so I love the theatre, live music, fine dining . . . or just a good old party to be honest.
IG @Atomic.Blonde_ Who is she and when did you discover her?
Haha! Atomic Blonde is my latex-wearing, tech house playing, DJ alter ego! I discovered her about four years ago, when I realised I could turn ‘playing my favourite music to my friends’ into a viable side hustle. Since then, I’ve been lucky enough to play a whole host of my favourite events in Australia, alongside my DJ partner ‘Dutch Kiss’. We’re all about self-expression, uplifting music and high camp fun.
You are about to launch House of Karma. Briefly, tell us what it is?
House of Karma is an U35 members’ collective for the world of luxury travel and experiences. Drawing on the beauty of Karma’s current resorts, we’ll soon bring this to the next generation of ‘luxury rebels’, with popup festivals, wellness retreats, out-of-the-box experiences and networking events, both at Karma destinations and in our members’ home cities.
You are finally working for your father?
I am, and it’s really quite lovely so far! Dad and I have a lot in common in that we both have that entrepreneurial streak, and see Karma more as an entertainment industry than a hospitality one, so it’s great to have that initial common ground with my ‘boss’. I’m also massively inspired by him and have been my whole life, so working alongside him is a privilege I don’t take lightly. Pitching to him is still rather scary though – he’s tough!
Do you have any other siblings joining the ranks?
Yes! My sister and brother are both a bit younger so still at Uni and school but I have every confidence that they’ll be joining me soon. My sister is heading to do her first Karma sales training in India in a couple of months and I’m sure my brother will follow suit - once he finishes tearing it up on the school cricket pitch of course!
What are the strengths and touches that you, as a woman, will bring to what is typically seen as a male dominated service, a members club?
Oh, good one. I firmly believe that everyone should have a seat at the table or a foot in the door, and so I’d like to think that what I’ll bring to the world of members clubs is a whole heap of inclusivity. Yes, of course, there is an element of ‘selection’ involved, but I actually like to refer to House of Karma as a ‘collective’ rather than a ‘club’. Essentially, if you’re ambitious, open-minded, and down for one hell of a party, then we’d love to have you at our place.
What type of person would a HoK member be?
A House of Karma member is someone just like me; a luxury rebel, pampered vagabond, or hedonist who craves the unexpected and the reprieve from routine. We’re chatty, ambitious, and always looking for the next big adventure . . . with a side of fabulous!
Can you tell us more about the Bali launch?
Absolutely. We’re planning a huge party down at Karma Beach to celebrate our big launch on 13th June. After a VIP long lunch we’ll be opening the beach up to the masses, with drag queens, international DJs, signature ‘House of Karma’ cocktails and a whole lot of dancing in the sand. Come by and get a sense of what we’re all about!
And the international roll out?
Following this, we’ll be hosting our first ‘Founding Member’ networking events in Sydney and Perth, taking that signature Karma experience to Australia, before expanding across the globe later in 2023.
House of Karma is highly inclusive. Can you tell us about some of the LGBTQIA+ events you have in the planning?
Inclusion is something I am hugely passionate about and will never stop fighting for, and so at the heart of the House of Karma will be HEAPS of events for my LGBTQIA+ icons and allies. Think ‘detox and retox’ retreats at Karma destinations post-Mardi Gras, LGBTQIA+ networking nights and hot parties co-hosted by queer clubs all over the world.
More bang for your buck. Can you tell us what perks and privileges members can enjoy on joining?
It’s honestly a bit of a ‘too good to be true’ thing! Our members will benefit from nights of free accommodation at our resort destinations, huge discounts across spa, F&B and rooms year round, a bespoke ‘pimp my villa’ package, and invites to exclusive events both at Karma resorts and in their own cities! And that’s not even to mention all the members-only experiences we’ll be curating - think boat parties on the Nile, party weeks in Mykonos and a glamping festival on Gili Meno…
How does the House of Karma benefit from the global aspect of the original Karma brand?
I think that is what makes us unique. Karma already has so many breathtaking destinations, so half my work is done in that respect! Now it’s just about leveraging those locations and turning them into the perfect playground for all my like-minded House of Karma souls.
And vice versa, how does the group benefit?
To quote my father, “any great company recognises the need to evolve as new generations emerge” and I think that is just what we are doing here; moving with the times and bringing a whole new tribe of ambitious, experience-seeking young vagabonds into the Karma fold.
Lastly, you are looking to create global FOMO around HoK member’s wristbands. Any hints at how you intend to achieve this?
This is something I’m excited to see evolve. Let’s just say I hope to see House of Karma memberships soon become a must-have fashion statement. Get ready to see an influx of ‘HoK’ bracelets hitting the wrists of those around you soon . . .
Tel: +62 361 848 2202; +62 811 38203360
IG: @wearehouseofkarma
www.houseofkarma.com.au houseofkarma@karmagroup.com
CRYPTO currency and non-fungible token (NFT) digital artworks are 21st century server-based means of personal wealth-creation that try to transcend traditional banking and currency institutions it coexists with art gallerists, and traditional trading environments regulated by governments’ taxation legislation and policies.
Okki Soebagio is on a mission to flip the emphasis of the “blockchain” from the exclusive tech-savvy user to the masses, and in so doing make a difference in a world with challenges such as inequality, poverty, and environmentally unsustainable activities.
Okki’s brainchild, Purpose Art, featured in a previous issue of The Yak, which described the fundraising by marketing through NFTs as fundraising for sisters Melati and Isabel Wijsen; founders of the youth-led organization "Youthtopia" and “Bye-Bye Plastic Bags”, which aims to eliminate single-use plastic bags, currently choking Bali’s waterways and coastal environments.
For the past three years Okki, an Indonesian entrepreneur – who has lived with his family on Bali for 10 years – has run The Bali Investment Club, which invests exclusively in social and environmental impact startups..
“You do have to be financially attractive, but at the same time the aim is to provide a positive social and environmental impact to the world,” Okki says. His higher education background was in mathematics, before being offered a scholarship with fledgling IT company America Online (AOL), with whom he served for a decade, improvising the information technology revolution.
“During the covid pandemic lockdowns, I immersed myself in learning about blockchain technology, and asked myself the question: ‘how do we combine this technology with impact?’ That’s how Purpose Art was born.”
A critical element of Purpose Art is the interaction between artists and the nongovernment organisations (NGOs) with whom they are affiliated. To that end, Okki says, Purpose Art is continuously improving their app that matches artists with NGOs – in a similar way to Tinder, but with obvious differences!
“We’re on a journey to creating a leading platform that matches digital artists with NGOs eager to support the arts and use developing technologies for fundraising and awareness,” Okki says.
“The artists must like the mission of the NGO, and vice versa. The app will create a match and when the digital artwork reaches the online market, the profits are split between the NGO and the artist; in much the same way as happened with the ‘Bye-Bye Plastic Bag’ founders – 40 per cent to the plastic
social enterprise; 40 per cent to Aqil Reza, the artist; and the rest to Purpose Art for administering the process.”
Each piece of the impact-NFT comes with a digital “fingerprint” that attests to its uniqueness, tradability, and collector value that is stored within its smart contract.
In the past year Purpose Art has launched with several NGOs, which include Bye-Bye Plastic Bag; SOS Children’s Villages; Danadidik; Habitats for Humanity; and Mia Healing Sanctuary – a happy place for rescued canines in Uluwatu. These impact-NFTs are created by various artists; Aqil Reza, a well-known batik designer Era Soekamto, Ganara Art, the multi-talented architect Raul Renanda and eccentric Jogja-based artist Duren respectively.
“We are also ready to launch with six or seven more impact-NFT collections in the very near future with more than 300 global collaboration in the pipeline,” Okki says.
“So far, we have sold about 4000 impacts-NFTs, raising more than fiftythousand dollars, and because Bye-Bye Plastic Bag project was the first, they have received the bigger portion of that money.
“I’m very pleased with what’s going on with Purpose Art, given the short period of time since we first launched the project.”
Okki says there is increasing interest in the project from various NGOs, and artists who have social consciences. And that he’s looking forward to the complete version of the technical platform to be ready in the very future.
“What we’re trying to do is make this a mainstream topic, using impact NFTs as a tool for the wider community to contribute to society – because until now the people who are involved in crypto currencies and blockchain technologies have been mainly focused on increasing their own wealth.
“Purpose Art’s mission is to expand the bandwidth to make the technology, and the products it can generate, more accessible to people who are not necessarily involved in the IT sector. And in that process we impact the NGO’s ability to do more, support the artists and give the contributor a good feeling & unique digital art as an impact NFT. Our purpose is impact, impact, impact.”
IG: @purposenft
FB: @Purpose purpose.art
NEW York City artist Futura2000, in collaboration with Potato Head, has created two sculptures titled 'Pointman - River Warrior', which were unveiled in Singapore and Bali. Created using waste collected across the island of Bali, Pointman speaks to Potato Head's ideation that sustainability can be beautiful. Initially lauded as a pioneering graffiti artist, Futura2000 is known for his ground-breaking use of abstraction in the 1980s and has always been progressive in his philosophy, methodology, and practice of art. Adjacent to his body of abstract paintings, he has developed a universe and lexicon around an otherworldly character: the Pointman. Over the years, Pointman has taken many forms across drawing, painting, and sculpture.
The collaboration with Potato Head sees Pointman emerge with a new mission in the materials of its design. River and ocean pollution has long been a central concern of Futura2000. Located on the Hudson River in New York City, the view from his studio of the Statue of Liberty is obscured by vessels transporting trash and free-floating river garbage. In reaction to this, the use of waste for the fabrication of the sculptures is a social commentary on the pollution crisis faced by both rivers and tributaries in New York City and Southeast Asia.
On 9 December, the courtyard of the OMA-designed Potato Head Studios in Bali unveiled the second River Warrior sculpture. For this Pointman, everything from motor oil bottles to discarded water gallon lids sourced by the community organisation, Yayasan Kakikita, were used. The event brought together traditional Balinese ideals with Futura2000's urban aesthetic and featured a performance by Australian dance company Chunky Move, talks, craft beers, and Balinese food stalls.
Futura2000 (b. Leonard Hilton McGurr, 1955, New York) is an abstract painter whose practice first developed in New York during the 1970s. One of the earliest graffiti artists to introduce abstraction into his work, Futura was also among the first graffiti artists to be shown in contemporary art galleries in the early 1980s. Early exhibitions of his work include presentations at Patti Astor’s Fun Gallery and Tony Shafrazi Gallery, as well as within the historic Times Square show of 1980, alongside Keith Haring, Jean-Michel Basquiat, Rammellzee, and Kenny Scharf. MoMA PS1 brought the artists together again in its landmark 1981 exhibition, New York / New Wave. Futura collaborated with the punk band The Clash during this time as well, designing their album art and painting on large-scale canvases behind the band as they performed in concert. In recent years, he created collaborative works with Takashi Murakami and exhibited them at Kaikai KiKi Gallery in Tokyo. He worked with Virgil Abloh on collections for Off-White and Louis Vuitton and staged visuals for the designer at Coachella. Futura's work has been shown at The New Museum, New York; MOCA, Los Angeles; the Groninger Museum, the Netherlands; Yvon Lambert, Galerie De Noirmont, and the Galerie du jour agnès b., Paris. In 2020, the Noguchi Museum presented Futura Akari, an installation of Akari light sculptures customized by Futura; he created a large site-specific installation at the Palais de Tokyo in Paris, and he was included in the exhibition Writing the Future: Basquiat and the Hip Hop Generation at the Museum of Fine Arts, Boston.
@futuradosmil
www.seminyak.potatohead.co
SPACE AVAILABLE CHAMPIONS BIO-INNOVATION, RADICAL RECYCLING OF WASTE, UPCYCLING, AND FUTURE CRAFT, PLACING COMMUNITY IS AT THE HEART OF EVERYTHING THEY DO.
WE SPOKE TO TEAM LEADER DAN MITCHELL.
DAN, what inspired you to start Space Available, and how did you come up with the name?
We launched Space Available in 2020 in the midst of the pandemic. Although it was a challenging time with many businesses closing down and people getting sick, I saw an opportunity for us to pause, reflect and reimagine the future. It was a time to reconnect and redesign, and the empty void that the pandemic created gave us the 'space available' to think deeply and rebuild, learning from past mistakes.
For many years, I had worked within the circular design space, and we championed these ideas at Potato Head where I had been Creative Director since 2014. I have been exploring ecological progressive design and sustainability for some time, but we felt that change was happening too slowly in the culture space. The pandemic caused a huge disruption, and as history shows, it is during times of turmoil that big ideas grow. This is when I started the platform to share thoughts and ideas on what the future could look like.
At the same time, the commercial side of Bali came to a standstill, and hotels, beach clubs, and brands closed. Advertising budgets were slashed, and all the billboards on the island were empty, just saying 'space available'. Given the circumstances, the name felt fitting and highlighted what was happening.
Can you explain the philosophy behind Space Available and how it guides your work?
Our mission at Space Available is to ‘make space for nature’ and drive a circular future. We believe in changing the perception of "waste" by extracting plastic waste that humans leave in nature and recycling it to produce art, furniture, and homeware. In addition, we have built a museum in Canggu to showcase our work. Our ultimate goal is to remove plastic from the oceans and instead place it in a museum, as we believe plastic pollution is a problem that needs to be addressed at a deeper level and should sit in a museum and not in the ocean! We also explore alternative materials such as mycelium/fungi, seaweed and other bio-based materials that we see as the future of sustainable, regenerative living.
How has living in Bali influenced your creative approach to sustainability?
After living in London for 10 years, I moved to Bali in 2014. Bali was a way for me to reconnect with nature and explore new sustainable practices. I have always been drawn to the island's culture, energy, and crafts since my wife (who is Indonesian) brought me here 15 years ago. Moreover, I appreciate the strong sense of community that exists here. People in Bali are very open-minded and keen to try new things through collaboration. Bali has traditional wisdom that is embedded in everyday practices, handcrafts, the use of natural materials, and high sense of hyperlocalism. I believe that Bali holds many answers to achieving sustainability, and we are constantly seeking new ways to integrate traditional practices into our modern context within our studio, both respectfully and collaboratively.
What does community mean to you, and how do you relate it to Space Available and your life in Bali?
Community is at the heart of everything we do at Space Available, whether it is the local community here in Bali or our global network of collaborators. With education being a key component of our circular design ecosystem, we are currently establishing a school that will champion the new movement of circular design across upcycling, recycling, and bio-design. We will work with artists from Bali as well as from around the world such as to offer free classes and workshops to the community. We firmly believe that the concept of community is crucial to achieving our goal of creating a circular future and regenerative practices, that benefit both the environment and society.
Who do you collaborate with, and how important is it for you to be part of a bigger vision?
At Space Available, we collaborate with local artists such as Nano Uhero, as well as established global brands like Nike and Brain Dead. We also work with people within the cultural space such as Peggy Gou and Alex Olson. Additionally, we collaborate with businesses and companies to help them apply circular design practices to their operations. Offering architectural, interior, design and branding services.
Collaborating with others who are committed to creating change essential in amplifying the mission.
How has your background in skateboarding and music influenced your approach to design and sustainability?
Skateboarding and music were crucial in shaping my creative perspective as a kid. I grew up spending time with skaters, who were often considered outsiders at that period growing up in Newcastle, England. They gave me a strong sense of community. This exposure to alternative cultures introduced me to art and design, which has greatly influenced my work. I see radical circular design as a form of modern culture, and my background in skateboarding and music has helped me approach it from a different perspective.
How do you incorporate nature and wildlife into your work, both aesthetically and practically?
At Space Available, we are inspired by the circular nature of the natural world, and we incorporate it in both our aesthetics and practices. Nature never wastes anything, and the regenerative systems that exist within it provide us with a blueprint to work with. Circularity runs through all of our work and we explore modern bio-materials in the lab, such as mycelium and seaweed which we see as the future. By incorporating these practices, we hope to create a harmonious relationship between humans and nature through our work.
Can you talk more about the Museum of Space Available and its role in your creative practice?
The Museum of Space Available is a new world gallery and circular design centre that showcases the works of our studio, as well as a global network of artists and designers who are working in the fields of bio-innovation, radical recycling of waste, upcycling, and future craft. Located in Canggu, Bali, it goes beyond just being a store, offering visitors the opportunity to engage with our ethos and be part of the global conversation around circularity and regenerative art and design. With this space, we strive to tell important stories about culture and history through a more meaningful and deeper lens.
How do you think Space Available can impact the wider fashion and design industries in terms of sustainability?
At Space Available, we are currently in some of the world's most renowned retailers, including Mr. Porter, Selfridges, Dover Street Market, and Slam Jam. Through our presence in these globally influential stores, we're able to start a conversation about what circularity means within the fashion and design space. Additionally, we collaborate with other brands and artists to amplify our mission even further. By championing circular practices and creating a dialogue around them, we hope to inspire change in the wider fashion and design space.
What are your future plans for Space Available, and how do you hope to continue to innovate in the sustainable fashion and design space?
At Space Available, ‘education, conversation collaboration’ is our approach within a circular design ethos, and we have exciting plans for the future. We are launching a circular design school in Bali to teach people about radical design practices and circularity. Additionally, we are collaborating with brands from all over the world to create global pop-up shops showcasing the value of making things from waste. Our iconic Peggy Gou collaborative chair will soon be available in new colours that people have been eagerly awaiting. Furthermore, we will be launching a series of exhibitions at the Museum throughout the year, including our upcoming "Mycelium Network" show in collaboration with LA’s Brain Dead and the second floor of the museum. By continuing to explore new
materials and practices, collaborating with other brands and artists, and engaging in meaningful conversations about circularity, we hope to continue innovating in the design space and inspire others to join us in creating a more circular experience.
IG: @space_availabe_
FB: @SpaceAvailable.tv www.spaceavailable.tv
FULL name, rank and serial number please!
Adine Halim. My alias / artist name is Aharimu. I just feel like using an alias because I don’t want to be too serious. Aharimu has a nice ring to it. I grew up in Jakarta, in the Pondok Indah area. Born, raised, and now live in the same neighborhood. I lived overseas for eight years, but always went back to Jakarta.
I grew up pretty content. Since I was young I always grasped things quickly, I never needed to try too hard at school, hence I had the time to focus on my little interests. For example when I was amused with praying mantises, painted my own bedroom, and found pleasure in watching fountains. My parents took me on a drive around Sudirman just to watch fountains.
Paint and drawing and stuff. When did that start for you, and well … why art and not economics?
Growing up I tried many things, but art was the one that stuck with me, and I’ve never viewed it as a chore. It was just super easy and I always knew what to do with a piece of paper and a bunch of crayons. Other disciplines still feel like a chore to learn – music, language, maths. Doesn’t mean I’m bad at those, it just needs more consciousness to learn it. Economics is a chore and will always be for me.
Who / what are your inspirations?
Many people. Everyone has an aspect that I think, “wow, that’s a cool side of you” and I always try to analyze why it works for them and how it could work for me. Art-wise, those artists who make art with so much honesty and vulnerability that I just feel their soul in their art.
What medium do you most enjoy working in?
It may be an unpopular choice, but my favourite medium is my phone. I take pictures of things I like as inspirations for mood, composition, colour, texture study, and then later translate them into another media. But for the final result, I’m currently most comfortable with oil-on-canvas painting or experimental film.
Do you do commercial work as well or just like, art?
I do video directing and production for half of my time. I love the balance of creating things for other people and creating things for myself.
What’s your Number One most famous painting in the world and why?
I can’t pick one to be honest . . . what makes a painting famous?
You’re at a dinner party with Pablo Picasso … what do you want to ask or say to him?
Hi, fuck the party, let’s draw.
Is this a lifetime calling for you or will life just take over when you marry and settle down with a Pug?
I have a cat. I didn’t adopt him, he adopted me. He just decided to stay in my house. Now I have a weasel. He also just decided to crash. Life just happens, my art is my life, I didn’t pick it, it just comes to me. And when it’s there in front of my eyes, in my daily life, I see and think of it everyday. I take care of it, until perhaps it is time for it to be over. I believe it is also applicable with the husband or the pug.
What does money mean to you, and how does it relate to the life of an artist?
I lie if I say money is not important. I love getting paid well for the effort I make. When the artist is more comfortable, they create better art, because the intention is no longer that it has to sell soon.
Money sometimes acts as a token of appreciation for things whose value can’t be measured. For example, the experience of making the artwork, the amount of energy the artist put into the art, and the artwork’s meaning to the artist. However, too much money sometimes dilutes the gratitude for little things as well. As an artist, we have to keep in touch with the ground.
To be honest, I dislike people who negotiate the price of an artwork. Either you purchase it, or you don’t.
How do you incorporate diversity into your art and is that important to you?
There is a threshold at which creating a similar thing over and over starts to feel draining. When that happens, I have to shift to a different medium with the same theme, or keep the same medium but with a different theme.
I experiment in a lot of mediums, and I’m very open to new perspectives. For example, the collaboration with Wedoo Workshop, that was the first time I worked with the whole team to create one artwork – though the theme is similar to my oil on canvas, the result is completely different. What each person and each tool can offer contributes a lot to the final look. Glad it turned out looking good. I can say that was one of the landmarks in my art-making process, and I learned so much from it.
Who will you be when you are old?
A better artist, I hope.
IG: @aharimu
RICHARD WINKLER DREAMT OF A UTOPIAN WORLD WHERE MAN AND NATURE WERE TIGHTLY INTEGRATED. AND THEN HE WOKE UP IN IT.
RICHARD, how did your upbringing influence your artistic style?
During my childhood, I spent a lot of time with my grandfather, whom I admired. He was enormously talented in drawing and painting, and we spent a lot of time together. He also took me out into Nature, where we walked for hours, and he taught me everything about flora and fauna. He was a great inspiration, and he showed me how to draw and how to appreciate and love the natural world around us. During the same time, I had to spend a lot of time in hospital in order to undergo many surgeries to correct the growth of my bones, as I was suffering from a rare bone disorder. This created an early awareness of the physical body and its limbs. It was fascinating to me when the doctor measured angles and the length of my bones, and how he could open up my body to correct those after drawing lines on my limbs. In summertime, I usually spent a lot of time playing in an old garden and plant nursery near my home, forgetting all the pain I had to go through the rest of the year. I loved all the greenhouses, which were full of exotic plants and trees such as banana and orange trees. It was hot and humid, and I could smell the plants and the soil. This world was magical and full of energy and fertility. This was life, and life wanted to flourish. I often dreamt and fantasized about exotic and tropical worlds where my soul was happy and free, a kind of paradise where you picked fruits from the trees, and life was free from troubles. My early childhood drawings often depicted tropical landscapes with exotic colourful birds and animals.
What was your initial impression of Bali, and how did it inspire your art?
When I first landed in Bali, I discovered the world I had been dreaming about, a kind of Garden of Eden full of life and colours. The tropical nature was alive and amazing, and the soil so incredibly fertile. People were friendly, and everyone seemed to be able to talk about art and aesthetics. And everyone seemed to be creative in one form or another. Bali was full of life, colours, details, sounds, and smells. It really appealed to all my senses and made me feel incredibly alive. Even the ground was not stable and moved sometimes.
I loved the passionate rains and thunderstorms, which were so intense and powerful. Life itself was at maximum in Bali, and I couldn’t feel anything but very alive. I loved it. Over time, I found lots of inspiration in the traditional life at the rice paddies, in Nature, and in markets. I love the simple life of man and nature, tightly integrated. Perhaps it’s still a dream in my mind about a Utopian world free of pain and sorrow. But it’s a beautiful dream, longing for peace and harmony in one’s soul.
Can you describe your creative process and how it has evolved over time?
During my time in art school, I became more and more fascinated by the human body. I spent countless hours drawing from life models to study the forms and lines of the body. I was especially fascinated by simple lines and how they cut and overlapped each other. I eventually started to play with these forms, stretching them and deconstructing them to my liking, a little bit like an orthopedic doctor rearranging the bones and limbs. The body doesn’t need to look anatomically correct to actually function and feel right. The important thing is that it feels good and works correctly. That’s how I construct the bodies on the canvas.
Do you see Bali as a colourful Utopian paradise?
I might dream about this Utopian paradise free of pain and sorrow and full of life, love, beauty and harmony. But of course this fantasy world doesn’t exist in reality. Wherever we live, life will always be life including everything from tears to laughter, and that’s how we grow ourselves and our characters. And maybe that is the real beauty and goal of life itself.
IG: @richard_winkler
www.richardwinkler.com
ANDREW E HALL LOOKS AT THE WORLD SIDEWAYS AND ENTERS THE REALM OF BOTS AND BYTES TO DECONSTRUCT THE HYPE SURROUNDING THE ROLE OF ARTIFICIAL INTELLIGENCE IN THE HUMAN MILIEU.
LOOK at the world sideways. Your peripheral vision will serve you well in knowing what’s coming.
In a down-the-barrel view we can be persuaded that scantily clad bodies and arbitrary innovation are a form of salvation. That image-making and the illusion/ allusion of sentience can combine in a climactic evolution of consciousness. That a belligerent nudist is somehow spiritually enhanced by draping herself upon a 700-year-old temple tree in Tabanan convinced that abstract algorithms will coalesce to catapult her into the catatonic phantasmagoria of influencer heaven.
Look at the world sideways lest you be shredded by a shirtless digital nomad on a scooter in Kuta, or Canggu, or some pointless pilates practitioner on Jalan Hanuman in Ubud.
Cast a sneaky side-eye at conglomerates whose advertising budgets have been alleviated by AI machinations that coerce human collateral into conforming to what sociologist Max Weber might refer to as “ideal types” which, he said: “...are formed by the one-sided accentuation of one or more points of view and by the synthesis of a great many diffuse, discrete, more or less present and occasionally absent concrete individual phenomena, which are arranged according to those one-sidedly emphasised viewpoints into a unified analytical construct.”
Long story short, Max (who popped his clogs in 1920) might be intrigued that the “unified analytical construct” actually exists in vast data troves compiled by diligent coders and their bots let loose to feed on the ephemera of human history. In titanic tranches of behavioural data collected from people by corporations whose promises of tech-based Utopias entice the illprepared to reveal themselves in the most intimate ways.
That plaintiff cry you might hear on the edge of sleep is George Orwell’s ghost protesting, “I tried to warn you...”
Do you wonder that the OpenAI organisation – creator of current AI craze, ChatGPT – which was co-founded by bastions of integrity and accountability Elon Musk and Sam Altman, has the Microsoft behemoth as its most lucrative funding source (allegedly around US$10 billion) and assessment facility?
...and I believe these are the days of lasers in the jungle. Lasers in the jungle somewhere. Staccato signals of constant information. A loose affiliation of millionaires and billionaires and baby... – Paul Simon, “Boy in the Bubble”.
Look at the world sideways.
I’m moved to motion in the direction of Donald Trump (Agent Orange) and Boris Johnson (The Convict) and Mark Zuckerberg (The Alien) and Gwyneth Paltrow (whatever she is). But that would be petty. And attract opprobrium from their barely literate onanist tribes that rely upon predictive text in their retrograde Twitterversalist ranting.
Those in the know posit that the ancestry of AI can be traced to Alan Turing – an English polymath who formalised the concept of computing technology. During World War II, he developed a machine, based on binary coding, that enabled the British secret services and military to decode encrypted messages sent – by way of a fiendishly clever device called Enigma – by the Nazi (and their allied) commanders to maritime, and other martial, assets. It can be argued that Turing’s disruptive technology played an integral part in winning the war for the good guys.
Did Turing get to cash in on his cathartic brainstorming? Did he accumulate billions of bucks and a very big boat? No, Alan Turing was chemically castrated after the war in a compromise with the English legal apparatus that kept him out of gaol for being homosexual. He continued his forays into bonding the application/s of computing technology with the advancement of the human project. He died – by suicide, according to the coroner – in 1954, 16 days shy of his 42nd birthday. Ironically, he was pardoned for his “sins” in 2013 by Queen Elizabeth II, who proffered a posthumous Order of the British Empire medal upon his memory...in a gross perversion of the notion of “grace and favour”.
In 1947, Alan Turing spoke about the nature of his complex contemplations: “I believe that at the end of the [20th] century the use of words and general educated opinion will have altered so much that one will be able to speak of machines thinking without expecting to be contradicted”.
In 1996 IBM’s Big Blue defeated world chess champion Gary Kasparov in the first game of a six-game tournament, in which Kasparov ultimately triumphed. In a 1997 rematch, Big Blue won, narrowly. Writing in 2018, Kasparov said: “When I lost the rematch, it was hailed by many as a momentous occasion for human progress on par with the Moon landing. I didn’t feel so enthusiastic about it myself, but I realized that while the era of intelligent machines was ending in chess, it was only getting started in every other aspect of our lives”.
Here's the thing, though: Big Blue was the culmination of the efforts hundreds of programmers, tonnes of
equipment, a power supply that could electrify a small town, and millions upon millions of dollars...not to mention a massive carbon footprint. Gary Kasparov – a carbon-based lifeform fuelled, by his own admission, by a diet of salmon and lots of green veg – rocked up alone, ready for a Homeric conflagration with the harbingers of human futures.
...and then Gary experiences a full body short-circuit in his 2018 jottings: “This type of AI doesn’t care why something works, as long as it works. These machines even teach themselves better ways to learn, effectively coding themselves iteratively. Think about all the new ways of solving problems based on objective results instead of centuries of accumulated human dogma. This is a brave new world, one in which machines are doing things humans do not know how to teach them to do, one in which machines figure out the rules – and, if we are lucky, explain them to us”.
Spooky! Have you ever read Aldous Huxley’s Brave New World? It doesn’t end well for humanity.. reminiscent of a higher being whispering, “checkmate”.
I am reluctant to invoke a chimera of the venerable William Shakespeare – I am not worthy – but Google has; calling its updated search engine “Bard”, which incorporates some magical realism features of OpenAI programming. For those of you unfamiliar with works of the Bard, his classic script Macbeth (circa the year 1606) might guide you on how truly fucked up things can become. Shakespeare introduces a group of disruptors whose stirrings are accompanied by the tagline: “Double, double, toil and trouble. Fire burn and cauldron bubble”. Most of the influencers in his narrative come to sticky end. May there be more of that ...
Don’t know about you, but I’m pretty much over the (relatively recent) abundance of AI stories and commentary in all forms of media. Looking at the world sideways, I get a sneaking suspicion that something is afoot – something that will accrue vast sums of money to an already-obscenely-wealthy few...just saying.
The saturation coverage reminds me of the “Rolling Thunder” metaphor for the American bombing campaign over North Vietnam and Cambodia in the early 1970s, where aerial squadrons flew so high that people on the ground heard nothing until things went boom
There’re the panicked voices of vendors of higher education about students using ChatGPT to write their essays and theses. Trouble is – apart from the lazy
credentialism of anyone who would do such a thing –ChatGPT doesn’t provide the requisite referencing rigor required by any self-respecting tertiary institution.
I once busted one of my university journalism students for plagiarism, without the aid of the purported AI antidote for GPT-4 cheat-sheets; Turnitin (and others with better names). How? Because I know my stuff and established the parameters of the conversations being assessed. I wasn’t motivated by enforcing my world view, but by a validated demonstration of critical thinking. It must be said, however, that the student in question went on to secure a lucrative position with a large media organisation...
In April this year, German artist Boris Eldagsen won a Sony world photography awards prize in the creative open category, for a sepia portrait of two women, which he admitted – in his application paperwork –was generated by an AI program. In a statement on his website, Eldagsen – who has accumulated an impressive range of qualifications from prestigious institutions – said he “applied as a cheeky monkey” to find out if competitions are prepared for AI images to enter. “They are not,” he concluded.
Go figure...and if you’ve seen Eldagsen’s image, you wouldn’t be off-piste to wonder if the Sony judges were collectively afflicted by macular degeneration. The judges reckoned the award – which Eldagsen quickly refused – was justified because the artist had defined the parameters he fed into the AI program.
As I compose, Writers Guild of America members –who are the backbone of US production companies’ scriptwriting – are on strike because they want an assurance from TV and streaming studio heavyweights that writers’ jobs will not be whittled by a transition to AI-generated programming and content creation. Last time they withdrew their labour (2007-8), the strike lasted 100 days before the industry folded. This time, I’m not sure that multi-billion-dollar entertainment studio executives will accede to the demands of creative humans. Solidarity, comrades!
A really efficient totalitarian state would be one in which the all-powerful executives...and their army of managers control a population of slaves who do not have to be coerced, because they love their servitude.
– Aldous Huxley, Brave New World.
Sounds familiar, social media acolytes?
According to a Guardian newspapers article in May this year: “The man often touted as the godfather of AI has quit Google, citing concerns over the flood of fake
information, videos and photos online and the possibility for AI to upend the job market. Dr Geoffrey Hinton, who with two of his students at the University of Toronto built a neural net in 2012, quit Google this week... Hinton said he quit to speak freely about the dangers of AI, and in part regrets his contribution to the field.”
Some of the dangers of AI chatbots were “quite scary”, he told the BBC, warning they could become more intelligent than humans and could be exploited by “bad actors”.
“I’ve come to the conclusion that the kind of intelligence we’re developing is very different from the intelligence we have. So, it’s as if you had 10,000 people and whenever one person learned something, everybody automatically knew it. And that’s how these chatbots can know so much more than any one person.”
Hinton says his concern in the short-term is something that has already become a reality – people will not be able to discern what is true anymore, with AI-generated photos, videos and text flooding the internet. Some pundits, however, posit that Hinton is merely making a play for the monstrously lucrative international speaking circuit.
And so, we cycle back to the Musk Rat.
In a CNN interview in April, Elon Musk warned that artificial intelligence could lead to civilization destruction, even as he remains deeply involved in the growth of AI through his many companies. “AI is more dangerous than, say, mismanaged aircraft design or production maintenance or bad car production, in the sense that it is, it has the potential – however small one may regard that probability, but it is non-trivial –it has the potential of civilization destruction,” Musk said.
His company, Tesla, for example, relies so much on artificial intelligence that it hosts an annual AI day to tout its work. Musk was a founding member of OpenAI, albeit he has said the evolution of OpenAI is “not what I intended at all”.
Musk has repeatedly warned of the dangers of AI, amid a proliferation of AI products for general consumer use, including from tech giants like Google and Microsoft. Musk joined a group of other tech leaders in signing an open letter calling for a six-month pause in the “out of control” race for AI development...to curtail competition?
He said he supports government regulation into AI, even though “it’s not fun to be regulated”. Once AI “may be in control”, it could be too late to regulate the AI industry.
Thanks a lot, hypocritical fuckwit.
A small black and white bird – chitt-chitty in the Australian Whadjuk Noongar people’s language – whose ancestry dates back, at least, 70,000 years – arrives, in keeping with her morning ritual, and alights on my outstretched palm to claim a mealworm, which it batters briefly on the courtyard paving before gulping it down. Not good for the worm but great for the chitt-chitty that will soon be building her nest and rearing her young ones.
Whadjuk Noongar people are wary of chitt-chitty because according to their lore this delightful, dextrous, and brave little bird harvests living secrets, and broadcasts them to the spirit world with its cheeky chirping and mellifluous warbling.
Akin, maybe, to the way web-based platforms suck up terabytes and more (in the absence of any functional quantum networks) of your binary codes and sells them to the highest bidder. More enigmatic, perhaps, the little bird... more malicious, certainly, surveillance capitalism and its sociopath attendants.
I feel the sunlight and the breeze on my skin; I cast an expansive glance towards three 150-plus-year-old oak trees that precede the view to a river that flows in lugubrious luxury with colours that vary according to ambient refraction and reflection. A river, according to Whadjuk Noongar people, created on their Country by a Dreamtime rainbow serpent called Waargle.
The chitt-chitty (known in English as a willie wagtail) hops into our home...harvesting my secrets.
But I’m on a mission to test ChatGPT, with a request to write a short paragraph about chitt-chitty. In no time at all, the bot responds: “The willie wagtail is a small, active bird found throughout much of Australia and nearby islands. It is known for its distinctive tail-wagging behaviour and its loud, musical song. Despite its small size, the willie wagtail is a fearless defender of its territory and will attack much larger birds that come too close to its nest. In Aboriginal mythology, the willie wagtail is often depicted as a mischievous and clever bird and is associated with stories of creation and transformation.”
* Andrew E. Hall is a former journalist, academic, and business manager and magazine editor in Indonesia, and communications adviser to the vice-chancellor of an Australian university.
* Andrew acknowledges the Traditional Owners of the Country upon which he writes – Whadjuk Noongar Boodja –their Elders past, present and emerging.
NARYA, we’re all interested in how you grew up and how you became a visual artist. What’s the story?
I was pretty much given the freedom of expressing my artistic side from a very young age. My parents fully supported that by getting me drawing books, crayons and paints so that I would stop using their bedroom walls as my canvas. I’ve always been that weird, artistic kid … I’ve never really been into sports or super-masculine things. I played with both my Ninja Turtle figurines and my sister’s American Girls dolls. I loved custom building things with my Lego … I’ve built theme parks with fully working cable cars that take my little Lego people up and down a steep hill. I love playing video games that need me to manage cities and zoos. I guess I like things that need problem-solving skills, which contributes fully to what I am doing now. As a visual artist I have to problem-solve and to constantly think of creative ways to achieve things.
When you were growing up, is this the life that you envisaged for yourself?
Truthfully I cannot imagine myself doing anything other than what I’m doing now. Me as an accountant? Never in a million years.
How did you find being an Indonesian in Sydney, when you studied there? Or London?
I find going or living overseas very eyeopening and inspiring. For me, Indonesia is more restrictive when it comes to creative expression and freedom, especially in Jakarta. When I lived in Sydney and London, my creative mojo was constantly brewing. Ideas can be found anywhere, museums, galleries are abundant. People are strange, beautiful and unapologetic. The energy is powerful and is constantly around and it makes you want to create things every single day.
Did you spend much time as an assistant, or intern? Did you learn your trade from someone awesome, and are you still in touch with them?
I have never assisted, I just went out there with courage and a bit of delusion, ha ha ha! But I have interned once as a graphic designer at an agency back in Jakarta in 2008, after that I’ve been taking on the world solo. However, I believe that I am always a student, so I don’t think I will stop learning . . . it’s easier to do this nowadays since everything is basically online; seminars, tutorials . . . you name it and the internet has it. I also learn from my friends, fellow photographers and artists that I met here as well as overseas . . . and yes I am still in touch with some of them.
You seem so well educated internationally, how has that journey been for you?
It has been very special and I feel super grateful to have been able to do that. My view of the world as well as how I creatively approach my work were shaped during those years overseas. I learned, struggled and achieved a lot, and I wouldn’t be who I am today without those experiences.
What’s most important to you today about visual imagery, and how you deal with it? Character, point of view and the ability to tell a story are very important to create any kind of visual. These are the three things I’m constantly improving with my own work.
What equipment do you use?
Canon 5DmkIVfor stills and Sony A7SIII / FX3 / FX60 / Arri Alexa for videos (also depends on client’s budget!)
Who is the best client you ever worked for (apart from The Yak he he)?
Edward
Hutabarat.What does fashion mean to you?
Fashion is a lifestyle choice. Most people think that fashion is just clothes, but
almost all your lifestyle choices count as fashion: the way you dress, the food you eat, the devices you use daily . . . all the desirable things you choose to own and use to present yourself to the world as an individual . . . those things count as fashion!
How do you stay consistently fresh with your ideas and concepts in photography and videography?
I try to get outside my comfort zone. I work in fashion most of the time so I try to find inspiration and references outside of that world. Also, never stop learning new ways to give your work variety. Experiment with things you never tried before!
What’s the most frequent phrase you hear from clients that pisses you off? ‘Could you make (whatever I’m making for them) pop more?’
How can clients be better at being clients? Knowing what they want is always a good start.
Are you threatened at all about the potential of Artificial Intelligence? Not at all. No amount of technological advances can replace an artist’s soul.
What makes you happy? Good food. Good company. DOGS!
If you were to die tomorrow, what would be the last thought in your head?
‘What’s for dinner?’
Where can we meet you, or see your work?
I am now residing in Bali, mostly staying at home with my two French bulldogs ordering take outs from cheap eateries around Kerobokan. You can see my work on my website www.naryaabhimata.com and my Instagram @naryaabhimata
PHOTOGRAPHER NARYA ABHIMATA - WHO SHOT OUR COVER AND FASHION SPREADS THIS ISSUE - IS DOING EXACTLY WHAT HE WANTS TO DO, THANK YOU VERY MUCH. INTERVIEW NIGEL SIMMONDS
OF PAPERMOON PUPPET THEATRE TO DISCUSS THE ART OF PUPPETRY . . . AND WHAT IT TAKES TO BRING PUPPETS TO LIFE ON STAGE.
RIA, what inspired you to start making puppets and performing with them?
The idea of creating puppets came about organically. In 2006, we established Papermoon as an art studio for children. We wanted to provide them with another way to experience visual and performing arts, and puppetry offered the perfect combination of these two art forms. As we continued to grow, we began to explore puppetry in more depth.
How do you convey such a range of emotions through your puppets, making the audience forget that they are being operated live on stage?
In 2009, I realised why it is easier for audiences to feel moved by movies than it is for them to experience the same emotions in theatre. This realisation became my calling, and we strive to explore this element in our performances. We aim to create emotional experiences that resonate with our audiences by telling stories that connect with them. Puppetry is not magic; we never conceal our puppeteers because it is through their energy and breath that the puppets come alive. The audience invests their belief in the puppet's life as soon as our puppeteers share their energy and breath with them.
What do you consider to be the secret to great puppetry?
Great puppetry encompasses many elements. What I love most about puppetry is how it emerged as an art form in different cultures, using a variety of materials to tell unique stories. There is never one reason why one puppetry style is superior to another.
Did you make up stories with dolls when you were young, and did this inspire you to become a puppeteer?
I played with paper dolls until I was thirteen years old, building their homes using old cassettes belonging to my brothers.
Who creates the puppets, and how are the characters developed?
There are seven members of Papermoon Puppet Theatre. First, I discuss the concept with my co-artistic director, Iwan
Effendi. Then, I write the story and share it with the others. Some sketches and ideas will emerge, and our technical engineer, Anton Fajri, and Iwan will create the puppet structures. The characters are developed during rehearsals.
When you handle your puppets offstage and put them to bed at night, do you show them the same respect that you would your children? It's a curious relationship. Our puppets are just puppets, but I choose their names as I would my children's names. It takes time, and I often consult Sanskrit dictionaries to find meaningful names.
Could you describe your relationship with your puppets? Our relationship with our puppets is crucial to our performances. Without them, there would be no puppet theatre. Each puppet is born for a specific story and has the ability to speak, whisper, and even shout. Puppets have allowed us to meet many people, visit many places, and explore many possibilities. They celebrate people's lives and the stories that exist in this universe.
What draws audiences to the magic of a puppet show, and what makes Papermoon different?
Puppets never pretend; the stage is their life. In our silent puppet performances, we allow the audience to invest their imagination and stories on stage, creating a unique experience. This approach has brought Papermoon to a different level in terms of audience engagement.
Is there a God of puppets, and what do you consider the magic of puppetry?
I'm not sure what you mean by the God of puppets. For us, there is no magic in what we do. It's the result of passion, hard work, stubbornness, and love that creates a small but meaningful place to share stories through puppetry.
IG: @papermoonpuppet www.papermoonpuppet.com
FOUNDED BY JASMINE AND DIBAL RANUH IN 2015, KITA POLENG IS A BALINESE PERFORMANCE ART AND ACTIVIST DUO KNOWN FOR ARTFUL CHOREOGRAPHY THAT REWORKS AND RENEWS ANCIENT BALINESE RITUALS. WORKING ACROSS DANCE, FILM AND MULTIMEDIA INSTALLATION, JASMINE AND DIBAL HAVE REFRAMED THE FOUNDATIONS OF TRADITIONAL DANCE, USING ITS LANGUAGE IN CONTEMPORARY ART AND ACTIVISM.
HOW did you meet, and what brought you together to create Kita Poleng?
Our paths crossed because of our mutual love for the arts. Though we come from different backgrounds, we complement each other's skills perfectly. Jasmine is currently working as a choreographer and production director in Kitapoleng, while Dibal is an accomplished film and art director. This dynamic duo brings a unique perspective to the creative process, resulting in stunning performances and an equally captivating art films. With the support of our talented management team, Wendra and Pranita, we are always confident in our ability to create something truly exceptional.
How would you translate Kitapoleng, and what is the aim of your organisation?
At Kitapoleng, we believe in the power of creativity to drive innovation in the arts. Our philosophy is inspired by Bali's poleng, which represents the concept of Rwa Bhineda or duality. Despite our differences, we strive to find balance and harmony in our creative endeavours. With kita, meaning "us" in Indonesian, we provide a platform for artists from different backgrounds to come together and collaborate. Our goal is to create cohesive and impactful works of art that reflect our shared vision of the world. Through our commitment to fostering innovation and collaboration, we are constantly pushing the boundaries of what is possible in the arts. Join us on this journey towards creative excellence.
Is Kitapoleng also a commercial organisation?
Kitapoleng is not only a commercial organisation for entertainment and production houses but also a foundation that supports our friends with disabilities, especially those who are deaf and mute in Bali. As an organisation, we believe in the importance of giving back to our community and empowering those who are often marginalized. Our foundation aims to provide opportunities and resources to help individuals with disabilities to thrive and reach their full potential. We believe that everyone should have access to the arts and the ability to express themselves creatively, regardless of their abilities. By combining our commercial and philanthropic efforts, we hope to make a positive impact on the community and create a more inclusive and equitable society.
Why did you choose a specific focus on disability in Bali, rather than other causes?
We understand that disabilities can often be viewed as limitations, but through the power of art, we believe that these limitations can be broken down. By giving our community the opportunity to express themselves through the arts, they can develop their skills, build their confidence and self-esteem, and break free from the stigma that is often associated with disabilities. We are proud to provide a space where everyone can feel included, and we are committed to promoting diversity and inclusion in the arts. We believe that everyone has unique strengths and talents, and we are dedicated to helping our community unlock their full potential through the power of creativity.
Jasmine, tell us how you became a dancer, and what your journey has been like?
My career journey in dance started with Balinese dance and eventually led me to learn about all forms of traditional Indonesian art before shifting my focus to contemporary dance. Currently, my focus is on researching and developing teaching methods for friends with disabilities, particularly those who are deaf or have physical disabilities.
Dibal, where is he from, and how did he become fascinated with the performing arts?
Dibal, originally from Singaraja Bali, has been drawn to the arts since he was a child. He grew up watching various art performances and started experimenting with street art with fellow artists in Jakarta during the 1997 Jakarta protests. He has always been involved in maestro art performances in Indonesia, which has taught him a lot about performing arts and art films. Dibal's diverse experiences have shaped his artistic career and continue to influence his work today.
What do you have planned for KitaPoleng in 202324?
For the past eight years, our focus has been on creating unique and impactful works of art. Our goal is to showcase these works on the international stage. However, throughout our journey, we have faced a challenge in finding suitable rehearsal spaces. Without our own studio, we have had to rely on various locations to create and perfect our art.
We recognize that having our own studio is crucial for us to continue our creative pursuits and reach our full potential. With a dedicated space, we can hone our craft, collaborate more efficiently, and truly express ourselves through our art. Our plan for this year is to establish our own studio, and we ask for your support and well wishes as we work towards this goal. We believe that with a home of our own, we can continue to create and inspire for years to come.
You can get involved by becoming a sponsor, volunteer, or participant in our events and programs. We offer a wide range of opportunities for individuals and organisations to support our mission and contribute to the development of the arts in Bali and beyond. If you are interested, you can visit our social media pages to learn more about our upcoming events and initiatives, or you can contact us directly. We welcome any form of support, whether it's through donations, collaborations, or simply spreading the word about our work.
We believe that art belongs to everyone, including our friends with physical disabilities. As an organisation that cares about equality and inclusivity, we invite individuals with a wide network to support our mission.
One of the things we need right now is assistance in finding a suitable training space for our deaf friends. Due to our limited funding for studios and facilities, any help from you would be greatly appreciated! This would provide our deaf friends with a decent place to develop their talents in the art world.
We also dream of bringing our deaf friends to international performances in the future. However, to achieve this, we need more extensive support and networks. If you have a network with art communities abroad, we would be grateful to collaborate with you.
With the help and support of friends who care about inclusion and equality, we believe that our dream of creating an inclusive art space for our deaf friends can be realized.
IG: @kitapolengbali FB: @kitapolengFEEL
The Māua brand has a unique origin, derived from the Māori heritage of New Zealand, where Gavin M. Faull, the Chairman of Swiss-Belhotel International, hails from. The Māori people consider themselves part of the universe, equal to mountains, rivers and seas, and are the first nation to give one of their rivers the same standing as a living being. The Māua brand is a perfect fit for Swiss-Belhotel International's purpose to create an ecofriendly retreat, given the Māoris' understanding and connection with nature.
The first property under this brand is Māua Nusa Penida, located in Bali, Indonesia. It is a luxury retreat situated on the hilltop of Gamat Bay and believes in connecting the people and the planet through a mesmerizing experience. The beauty of the island is not only portrayed by its impressive beaches but also its beautiful coral which becomes the favourite place for divers who seek natural getaways.
As part of Swiss-Belhotel International's commitment to protecting and preserving nature, the property showcases a sense of environmental sustainability throughout the complex. This is evident in the building materials and interior aspects, which feature recycled ironwood furniture and other eco-friendly elements.
Māua Nusa Penida controls as much as possible to reduce recycled paper for all printed guest collateral. It has the complete set up in place for greywater recycling. There are many smaller scale, yet effective initiatives that the property undertakes such as elements with plastic alternatives, emphasis on internal/external e-communication. Also, as part of our commitment to protect and preserve nature, all villas and the hotel building also utilize rooftop gardens. It’s known as green roof (eco-roofs) that provide habitat for birds and insects, sequesters carbon dioxide and other pollutants, purifies the air, produces oxygen, returns the air moisture and coolness through evapotranspiration. As well in terms of culinary, Māua is concerned with sourcing its local ingredients from handpicked fresh vegetables from our organic garden.
The Food & Beverage offerings at Māua Nusa Penida are specially designed to be an essential 'emotional' addition to the flavours of the main brand. The specialty all-day-
dining restaurant, Kōwhai, provides the most natural nourishments available from organic sources. Aroha, means Love in Māori, is a bar concept that emphasises the use of raw products sourced in-house or from local communities, promoting harmony in and around the property.
Māua Nusa Penida creates a feeling of 'one-with-nature' for its guests. This philosophy is a key driving factor behind conceptualizing the product, its offerings, and activities, providing guests a holistic experience while at a Māua property.
Discovering the beauty of Nusa Penida by our luxury car and cycling around the island, specially curated sunset/sunrise journeys along with secrets of Balinese culture, and relaxing with a Māua Spa treatment and Hatha Yoga classes are just some of the ways of exploring Māua and its surroundings.
Sebastien Menesguen, General Manager of Māua Nusa Penida is looking forward to welcoming you at the resort to take a deep breath and to enter a new restful, authentic and magical world offshore Bali.
Swiss-Belhotel International, the management company of Māua Nusa Penida, aims to expand to 530 hotels by 2030. However, the company's focus is not solely on the number of hotels but on offering what the market needs. Following the success of the first Māuabranded luxury property, Swiss-Belhotel International is in the process of creating a new eco-friendly brand to cater to upper midscale guests.
Tel: +62 811 38008999
IG: @mauanusapenida
FB: @MĀUA Nusa Penida, Bali by Swiss-Belhotel International mauanp@swiss-belhotel.com www.mauahotel.com
TILL: Do you remember how we met?
Anna: Oh I remember that day perfectly. About two years ago, when you came to see some land I wanted to lease and have you design and build a home for me. The minute you left, I told my boyfriend: ‘He and I are going to be friends ‘.
Till: I remember very clearly thinking to myself how we must work together and all the ways I am going to convince you not to build that “Mediterranean” dream villa that everyone in Bali wants to build. I knew we could do something much more interesting!
Anna: Ha! Well lucky for you, the land fell through. And my Mediterranean dream was forgotten! But I feel so lucky to have gained a friend with whom I can sit for hours discussing architecture, design trends, interiors, furniture and all of the interesting personalities we encounter in our Bali design life. Speaking of Bali life, I can’t remember how many years you have actually lived in Bali . . .
Till: I started my Indonesian journey in 2009 moving to Bandung, West Java, where I worked as an architect for six years. I travelled to Bali on many weekends and fell in love with the island. I knew I needed to make it my future home. Seven years ago, I moved my practice to Bali. Fast forward to today … I have 15 architects working for me –and a life I love. My Bali dream really came true.
Anna: Is your Bali dream in five years the same Bali dream you are living now?
Till: Honestly, I am living the dream already, having clients in the Maldives, Europe and all over Indonesia. It is amazing how for the first time in my life, I am not yearning for more. I can finally say, at the age of 46, that I am content in my professional and personal life. All I want is to rest assured that the clients I meet will continue to trust me to design their properties. So tell me, what kind of people are coming on your design tours and do they all share similar aesthetics?
Anna: Since Henne Mercer and I launched our Interior Design Retreats and day tours, we have met so many fascinating people. Most of these people who are living in Bali, either building or renovating, join our tours for inspiration. Their aesthetics are all very different. Some love old school Bali. Some want massive white square monsters. Some want Jakarta style luxury. Some want elegant mud homes. And some still love their Mediterranean chic! Not to mention the purest who love their sustainable bamboo … a trend that is very much thriving.
Till: That makes me very happy to hear. Part of my joy as an architect is having all different styles to choose from when we design buildings. I would be just as excited to design a traditional wooden home as I would be to design a modern white monster!
Anna: But personally, what is your favourite design aesthetic Till?
Till: I am in love with the Balinese design narrative. For me the buildings we design here should feel Bali. Bali is a brand. And there is a modern or a traditional way to incorporate Bali style into all styles of architecture. My job is to take my clients' taste and turn it into a functioning long-lasting structure within our tropical environment. And of course to make the process enjoyable for all! So many architects are too serious. Too focused on their own personal aesthetic. I choose to be the architect with the infectious laugh that can create not only a beautiful, practical structure, but who can also make the process fun.
Tel: +4917632120837
Contact@marzloff.eu
marzloff.architecture.design
www.marzloff.eu
Interior Design Retreats
Tel: +62 878-0321-2953
hello@interiordesignretreats.com
www.interiordesignretreats.com
ARCHITECT TILL MARZLOFF (WWW.MARZLOFF.EU) & INTERIOR DESIGN RETREATS CO-FOUNDER ANNA POWERS (WWW.INTERIORDESIGNRETREATS.COM) IN CONVERSATION.
CLOCKWISE FROM LEFT: VELIGANDU ISLAND RESORT & SPA; TILL AND ANNA DEEP IN DISCUSSION; LIVING THE DREAM, MARZLOFF STYLE.
HOW does OCK Designs approach the creative process when designing new lighting collections?
Our core interest has always been materials first. In our case, selecting interesting materials to use in a linear experimentation is our first step. Curiosity is our ally in getting to know the materials at hand. Slowly, a unique intrinsic quality of the material will present itself, and it is our job to influence this quality to affect the visual aspect of our products and our perceptions. It has become even more interesting and has become the core value of our products.
What are some of the core values and principles that guide OCK Designs as a company, and how do these values translate into your work?
Our core value as a company is nurturing a family of artisans growing creatively together with integrity by preserving craftsmanship.
Can you talk about some of the cultural influences that inspire your designs, and how you incorporate these influences into your work?
Being a Chinese descendant influences not only my works but also why I have chosen lighting design as my career path. Early happy childhood memories of playing with animal-shaped paper lanterns at the Dragon Boat Festival at dawn in my small town have always stuck in my mind. I believe this is the beginning of my fascination with lighting and my drive to replicate and capture the emotion of the moment through my light works.
Aesthetically pleasing and functional for everyday use, how does OCK Designs ensure that the handmade process of each lamp reaches exacting international standards?
As lamps are technical products, it is essential we utilize both sides of our brain. We think rationally with our left brain when we approach developing new lighting. We make sure that all the electrical components sourced are certified for CE standard, and the electrical fittings and bulbs we use are readily available off the shelves to ensure that these can be easily replaced by anyone. We apply our right brain to the emotional side of our pieces. This is where the fun of the handmade processes, tactility, and organic shapes come into play. When we create with experimentation, more often than not, we are
thinking outside of the box with our actions. Our goal is not just reaching exacting international standards, but also to create new products, new innovations, and new perspectives.
Can you tell us more about the process of linear exploration within your designs?
Linear exploration basically means that at the start of our development stages, we meticulously test the materials by introducing one technique and noting the reaction from the material. We use this reaction as a starting point for the second technique, and so on. We refrain from thinking about possible shapes until a certain technique alters the behaviour of the material as if it were a new material. This is what we find fascinating and what excites us.
Where is the intersection between art and technology when discussing OCK Designs?
OCK Designs is synonymous with handmade. We appreciate new innovation in terms of electrical parts; however, craft takes precedence.
How do youapproach sustainability and ethical production practices in the workplace, and what steps is the company taking to reduce its environmental impact?
We consider ourselves very much a part of the slow design movement. We are not a manufacturer of products; we produce our pieces in batches in our own workshop, where our artisan-made goods are crafted by hand. We refrain from using heavy machinery, and our waste is manageable. Our focus is on the people. We want to change mindsets and empower our team, building them to be part of a community of artisans who are very proud of their crafts. When we recruit new artisans, we give opportunities to anyone without prior skills. A willingness to learn is what we are looking for.
How do you stay up-to-date with the latest trends and developments in the design world, while still maintaining your own unique style and identity? Travelling is necessary. We have all the latest trends and information in the palm of our hands, but being there at design week to experience it in person and absorb all the excitement and creative energies is unparalleled.
Can you share any upcoming collaborations that yu are currently working on?
We are excited to share that we, alongside our sister company, Jia by OCK, will be hosting a design-focused event in the coming August. Slightly different from us, Jia emphasizes home as the unifying theme. Its aim is to provide a collective retail experience and styling services that revolve around craft, design, and culture. For this reason, we are fusing our knowledge and shared passion to bring together over 40 brands to showcase their latest works in home furnishing, décor, and accessories. The event will take place at the OCK showroom and will feature both established and emerging designers, offering a wide variety of products ranging from furniture to lighting to textiles and more.
How does OCK Designs engage with its customers and community, and what role do these relationships play in shaping the company's future direction?
It is in our DNA to be distinct in our styles, and we must keep evolving. We are grateful for all the insights and suggestions from our customers and community, especially in terms of sizing applicable to their needs. These relationships play a crucial role in shaping the direction we take as a company.
Looking ahead, what are some of your long-term goals and aspirations for the future, both in terms of your creative work and your impact on the wider cultural landscape?
One of our long-term goals, which I believe should be a collective goal for all designers in Indonesia, is to make Indonesia recognized as a country with design talents, not just a manufacturing haven.
Thank you for sharing your insights and experiences with us. It was a pleasure speaking with you! Thanks for having me!
Tel: +62 812 37237699; +62 361 416890
IG: @ongcenkuang
FB: @ongcenkuangdesigns
www.ockdesigns.com
ONG CEN KUANG OF OCK DESIGNS CREATES HANDMADE, INNOVATIVE LIGHTING DESIGNS FOR EVERY MOOD.SUSTAINABLE FURNITURE TO MIRROR TODAY'S AESTHETICS.
FOUNDED in 2005 by Fernando Heras, Tabu Design is a furniture manufacturing and design company. Nestled in Solo, Central Java, our factory breathes life into our hand-crafted pieces. With a showroom and sales office in Bali, we invite you to embark on a journey of craftsmanship and timeless designs. With a portfolio of international clients, we have earned a reputation for delivering furniture that harmonises aesthetics with an environmental responsibility. In Tabu, we channel our passion and expertise into each bespoke piece. From a large variety of materials, teak wood, mindi wood, suar wood, rattan, organic fabrics, natural leather, among many others, our attention to detail is at the forefront of our organisation. Each piece is meticulously designed to not only be visually captivating but also functional, durable, and comfortable.
In Tabu, we work closely with our clients, architects, and designers, offering technical support and guidance throughout the project's lifecycle. From initial concept development to product design, we provide the necessary insights to bring your vision to life. With a keen focus on following stringent quality regulations, we have established
a reputation for producing furniture that adheres to international standards. Our commitment to comply with these standards not only ensures the durability and safety of our products, but also instils trust and confidence among our global clientele. During the operational phase of the project, our team meticulously reviews drawings and conducts thorough checks to ensure that every detail aligns with the client's expectations. We understand the significance of proper documentation in the furniture industry. Which is why our team takes care of the necessary certifications and provides logistical support to ensure safe and efficient delivery.
We understand that every project is unique, which is why we offer personalised services to help our clients create the perfect furniture solution for their spaces. With our range of pieces, you can create an ambiance that perfectly mirrors your aesthetics. Trust us to elevate your hospitality or project space to the next level.
Visit our showroom or explore our online presence to discover the elegance of Tabu. We invite you to experience the fusion of
sustainability and our carefully curated furniture collections. Contact us to bring your vision to life with our transformative designs. Together, let's redefine sustainable furniture, one product at a time.
Showroom: Jl. Kerobokan no.88, Kerobokan Kaja, Kuta Utara, Badung, Bali 80361
WA: +62 815 9398 550
FB: Tabu Design
IG: @tabudesign LinkedIn: Tabu Design
www.tabudesign.asia
DENNIS LINKLETTER HAS SPENT AN ENDLESS SUMMER LIVING IN INDONESIA HANDLING HIGH QUALITY WOOD. TODAY HE MAKES THE WORLD'S BEST BBQS. GO FIGURE.
I was actually born in Hollywood CA but grew up in Laguna Beach. In 1978 after graduating from High School, I decided to take a year off before college and to recreate the trip shown in the Endless Summer surfing movie. For "self-discovery", I told my parents. That brought me to Bali for the first time – it was also when I caught the Bali bug! Bali has a way of haunting your subconscious and pulling you back again and again. After school, I spent two years working in Europe and one year in New York before settling in Los Angeles. Then in the mid 80s, I found myself in Bangkok for a bachelor party and realized how close I was to Bali … next thing I knew, I was visiting again. While there, I was amazed at how inexpensive and beautiful the antiques were, so I bought half a dozen crates and sent them home. They were sold easily, and this started my import business.
I shipped my first container of antiques back to Los Angeles in 1987. As a woodworker by hobby, I would restore them in my Hollywood backyard using laborers at $8 an hour. It was a lot of work, but I could buy containers of antique teak benches in East Java for $20, have them landed and restored in LA for $50 and sell them for $350 and up. It was too good to be true. After a couple of years of flying back and forth, I realized that when I was in Los Angeles, I could not wait to get back to Bali, and when I was in Bali, I didn't want to go home. And because the exchange rate was Rp.1,800 to the US dollar, talented Javanese carpenters were only $1 a day. This prompted me to sell everything I could not pack up, and move to Indonesia.
I set up a workshop in Surabaya, East Java, because that's where the antiques were, and a home in Bali on Jl. Kayu Aya/Oberoi. I would stay in Bali Friday through Monday and Tuesday through Thursday in Surabaya, the flight is only 45 minutes, so this was easy. Life was good.
From 1991 to 2003, I designed and built furniture, which I shipped along with the antiques to my store in Los Angeles, Not So Far East Trading. We were the first large Indonesian furniture store in Southern California. We had 420
workers hand-building a container a week of mortise and tenon teak furniture using recycled teak. When a fire burned the factory to the ground, I realized it was time to move on. My woodworking business turned into a textured floors business which I still have to this day.
So there was an unscrupulous guy building a similar kamado grill in Surabaya who got thrown out of the country, and his workers were left high and dry. Somebody told me about it and suggested that I look into it because I was the McGyver jack-of-all-trades type. After researching them online, I saw there was so much passion and buzz about kamado grills. It was like Apple Computer, Harley Davidson, and Marlboro cigarettes all rolled into one, and the BBQ industry was booming. So in August 2003, I decided to jump in and create my own version.
Woodworking was my bread and butter, but the grills were my passion. The grills were great because I love designing, building, and working on new projects. It was a huge undertaking expanding the line to seven models, and I continually pushed to the factory to improve overall quality and fit and finish. All the hard work paid off, and we received worldwide recognition in 2017 when Forbes magazine wrote a lengthy editorial saying we were the best-designed and built grills of any type on the market. (Google Forbes Komodo Kamado.) Since that moment, the grill factory and sales have been going strong. We literally ship them everywhere in the world, and have warehouses in Los Angeles and in the UK. We don't sell wholesale or to any dealers. All sales are factory-direct through the website.
So that actually keeps your costs lower as you cut out the middleman. Yes, factory-direct, wholesale to the public is our business model. In the last 20 years, e-commerce has, of course, exploded, and we've ridden the wave.
I'm guessing it's not easy to get somebody to buy a $5,000 to $10,000 grill online. It's a lot more than buying a pair of shoes, for instance Our reputation for unusually high-build quality paired with the grills being expensive yet a great value has put us alone in our niche. Twenty years of experience, customers' word-of-mouth referrals, and scores of excellent reviews drive sales. I also take calls personally. I work from 1am to 6am answering calls and then I sleep from 6am to 12 or 1pm. We're in the process of making videos to replace these sales calls!
Tell us about your family . . .
I met my wife Saisuda in Thailand 23 years ago, and we've been together ever since. We have two children, Dexter and Isla.
Is the factory still in Surabaya?
Yes, it is. About 15 years ago, when the kids started going to school, we moved full-time to Bali for them so that they could go to an international school. Dexter graduated from Canggu School, and Isla still goes there.
So back to your grills, what sets Komodo Kamado apart?
Our motto is “overbuilt and over-engineered to last a lifetime”. The metalwork is 304 stainless steel, methods of fabrication include CNC laser cutting, CNC folding, and TIG welding. The precision of the fit and finish of the components were driven by my high standards for building furniture. It's not something you usually see in a commercial product. The grills are revolutionary in materials, construction, and shape. We use blast furnace refractory cements and insulation, the same materials as every metal or glass blast
furnace or nuclear facility, which makes them extremely durable. The insulation means you burn less fuel, this creates less airflow, which makes less evaporation which makes better BBQ. To give you an idea of how efficient they are, my largest grill with one basket of charcoal at 235ºf/113ºc will burn for 215 hours.
Where and who in Bali are using your grills?
The most well-known would be Joseph Antonishek at Karma Private Beach, Doudou from Metis, Gooseberry Restaurant, Bingin, The Forge in Petitenget, Black Sand Brewery in Batu Bolong and James Ephraim at Wooden Fish Village, Pantai Nyanyi. Although the grills have been my passion and my baby, I still do quite a bit of hotel work building wide plank teak flooring, wall and ceiling cladding. John Malkovich was my first flooring customer, and articles about his house initially drove sales.
My textured wide plank teak floors have no flat surfaces which easily absorb/hide typical nicks, dents and scratches, making them low maintenance and easy to repair. These floors are unique in that they have handsculpted textures. In comparison, flat wood looks unnatural. We have three different textures, hand-hewn, Linear planed, made with a hand plane against the grain, and rain-washed to accentuate the wood's grain by reducing the soft wood between the growth lines. They are then sealed using polymerized tung oil, it's an "in" the wood – not "on" the wood finish. It's not a plastic coating on the wood like polyurethane, that can be scratched up/damaged and tough to repair without refinishing the entire room. They are specified by designers and contractors all over the world and continue to be a main part of the factory's production. I'm a verified supplier for HBA/Hirsch Bedner Associates and have shipped over 35,000 m2 of wide teak floors to Four Seasons Hotel projects for them. That being said, I also regularly supply wall and ceiling cladding, boxed beams, and custom floors for residential projects both here in Bali and worldwide.
It's been 45 years since I first visited at 18 years old. I was 29 when I moved here, and have now been here 34 years. Crazy to think I've been in Indonesia and Bali longer than I lived in the States. I've seen so many different versions of Bali over the years. There are new challenges to living here, and many of the old challenges have been solved. The secret for me is to focus on the best of Bali, the magic is still here. I'm still grateful every morning to have lived here for so long and to continue to live here. We just bought a beautiful old property in Umalas and plan to stay in Bali. I still love my work, but looking into the future, my son Dexter is being trained to take over Komodo Kamado, and I'll have to settle for retiring with my wonderful wife and six dogs and working in my garden.
WA: +62 818 850 860
IG: @komodo_kamado
www.komodokamado.com
NESTLED deep in the heart of Ubud rain forest reserve, surrounded by the historic Petanu River and stunning jungle landscape, The Kayon Resort has a healing atmosphere and romantic ambiance. The resort features 6 valley deluxe rooms with jungle views on the two-storey north wing, Twelve Kayon river suites in a threestorey south wing with views down to the river and 5 river edge private pool villas with thatched roofs, each enhanced by infinity pools overlooking the river below.
The resort gardens are designed to preserve rare Balinese flowers and fruits used as elements in Balinese Hindu ritual ceremonies. Existing trees are preserved, as well as ylang-ylang, jackfruit, coconut, and durian. In addition, there are abundant flowers: jempiring, soka, frangipani, areca nut as well as Balinese herbs, lemongrass, turmeric, galangal, ginger and others.
The name Kayon comes from an idea to present a true Ubud Arts and Culture experience to every guest throughout the resort. Working with a Balinese Architect and Local Hotel Management Operator, ideas were brainstormed for every detail, design and material. The Kayon is richly designed with carvings, paintings and local stone, wood and bamboo to respect the Ubud soul of culture and arts. The resort is built to follow the land contour and works with as much of the existing natural habitat as possible in order to blend with the surroundings, and respect the healing vibe. Kayon means a tree of life in Balinese, and the Kayon shape is implemented throughout the resort’s architecture, swimming pool, bath tubs and artwork. Kayon – symbolizing the universe – is depicted to open and close traditional Balinese puppet shadow plays or Wayang Kulit. The resort features the Ramayana story in paintings and carvings which offer religious and love advice. The original love story of Rama and Shinta is captured in a 50-meter stone wall relief, carved by 10 talented local stone carving artists working for three-months.
Kepitu at The Kayon is the main restaurant at The Kayon Resort Ubud. Kepitu is taken from the name of the Banjar next to the resort, and The Restaurant is set at the centre of the resort with 180 degrees view over the pool and jungle landscape, creating an ambiance perfect for an iced cold beer and cocktails. Designed with the Kayon shape using iron wood, bamboo and ylang-ylang grass roof, this offers a truly Ubud atmosphere. The lunch menu is light and healthy, with a mixture of sandwiches and salads. In the evening the menu is mixed Western, Asian and Signature Kepitu with Balinese Royal settings and weekly Culture Dinner program for a unique Ubud Experience.
Incorporating a floating sky roof deck dining space with a Kumba Karna Statue setting, Kepitu is a favourite romantic dining venue.
Our rooms are designed in a contemporary Balinese style using local stone, bamboo, and white-washed furniture decorated with woven rattan to blend with nature and create a classic yet romantic impression. Resort features: Kepitu Restaurant, Serayu Spa, Canyon Jetty Cafe, and Puspaka Wedding Chapel.
*For safety reasons and to provide the best experience for all guests, we are unfortunately unable to accomodate children below 15 years old, senior citizens/ people with mobility issues, drones, durian or pets, as our concept is largely directed towards Honeymoons, Romance, Healing & Relaxation.
Tel: +62 361 4792553
IG : @thekayonresort
FB : The Kayon Resort Ubud
LinkedIn : The Kayon Resort Ubud www.thekayonresort.com
WE’RE sitting here at the recently reopened Mason Elephant Park and Lodge. I say reopened, but in truth they never took a day off over the last three or so years. Closed to the public yes, but feeding and caring for a large herd of elephants is not a vanity job, and in Indonesia there are no subsidies! So it’s nose to the ground or better said, trunks to the trough or nothing comes out alive!
But firstly, let’s travel back in time. The year is 1997 and Nigel Mason, founder of the then Bali Adventure Rafting (now rebranded as Mason Adventures), heard of the plight of nine elephants in northern Sumatra. Logging and deforestation had thrown up a few randoms – the original nine are not from the same herd – they were under-nourished, chained to posts barren of food and shade, with their true habitat having made way for human ‘progress’.
The Herculean task that followed culminated in what is lovingly known as Operation Jumbo (You Tube –Operation Jumbo, Bali) and the subsequent survival of these nine pachyderms, traveling by truck over a vast distance, with their safe arrival into the shady, luscious, verdant hills of Taro, Bali. Well-fed and well cared for, they were soon breeding and the park has enjoyed six births (with no artificial insemination).
The above covers the dream and the initial challenge, and, over the years, indeed the Park has flourished, boasting up to 350 visitors a day and deservedly becoming a worldrenowned, must-visit destination in Bali.
Mason’s Adventure Tours is family owned, and therefore receives a level of care and attention seldom found in other tourist concerns on offer across the island. Very focused founders, a continuously and fully trained team of tour leaders and staff for rafting, trekking, cycling or buggy driving, a fleet of privately-owned buses and transport options, including a medivac helicopter, all underwritten by a quality insurance company. Five star facilities and service, from start to finish!
We decided to ask the founding family members a couple of questions:
Why did you change the name of the company to Mason Adventures?
Because of plagiarism, which had been a constant annoyance for many years, so our family name Mason was patented with the name changed to Mason Adventures.
What is the purpose of Mason Elephant Park and Lodge?
The purpose of the Lodge (hotel) was to give the people who had requested to stay, a 5-star choice for the future.
Does Mason have other businesses?
Currently, apart from the Elephant Park, there is The Lodge, rafting, trekking, cycling, jungle buggies, spas, and also our now famous Mason Chocolates brand. We also have our own Bakery and Gelato factory!
What plans do you have in the pipeline over the next few years?
That’s hard to answer at this time as everything is on hold until we can pay back our loans to the bank, due to the Covid closure.
Finally, what does it cost a day to feed an elephant? It costs a minimum of US$1,000 per month just to feed one elephant. Other related costs brings that up to about US$2,000 per month for each elephant’s keep.
How many staff does Mason Adventures employ? At this time we employ between 500 to 600 staff.
And, how much does it cost to enter the park?
The cost of a park entry is IDR395,000 (US$27).
Can you tell us a bit more about the alternative tours / offers? Chocolate classes, they are a new addition? We now offer a variety of new chocolate tours, where guests can learn all about our chocolate-making process from plant to bar, taste different types of chocolate and create your very own chocolates. We are also re-opening our Japanese inspired spa in Ubud, called Shinto Spa.
Which is like a piece of Japan in the heart of Bali that offers a variety of Japanese and Asian inspired natural therapies. You can also combine our spa activities with many of our tours, such as a foot reflexology after your rafting trip.
Helicopter Sky Tours?
We are currently in negotiation with a very reputable helicopter company to fill the void whilst our current aircraft is in Papua.
Weddings and private events?
We offer very unique wedding experiences in Bali, such as being wed atop an elephant or getting married in the jungle and then embarking on a white raft down the river! We also do vow renewals and offer symbolic Balinese blessing ceremonies, wearing Balinese wedding regalia or the traditional white wedding with all the classic trimmings. Our event planning team can also customize adventures and special events for incentive groups, meetings, team building, group outings, conferences, corporates sales programs or private functions. We also have a new 150 seat amphitheater at the elephant park, with a stage and six-meter screen available too.
Whichever of the Mason adventures you choose, they are very professionally run, well executed, directed and presented. Loads of fun too! And staying up at The Lodge is a totally unique experience.
Tel: +62 361 721480; +62 811 3979480
IG: @masonadventuresbali
FB: @masonadventures
www.masonadventures.com
ACCOLADES AND ACCOMPLISHMENTS WELL DESERVED ARE POURING IN FOR MASON ADVENTURES, OWNER OF MASON ELEPHANT PARK AND LODGE AND ONCE AGAIN RECOGNISED AS BALI’S MOST PROGRESSIVE ACTIVITIES COMPANY.
NUSA CAÑA IS BRINGING BACK THE FORGOTTEN STORY OF INDONESIAN RUM. THE YAK SPOKE TO CO-FOUNDER MARC RODRIGUES ABOUT ITS GLOBAL JOURNEY.
HEY Marc, it's been a while since we caught up. How is your journey going? Our vision is to bring the taste of tropical Indonesian island life to anyone, anywhere. We aim to build a global tribe that celebrates Indonesia's rich tropical island culture and unique vibe, while putting Indonesian craft on the world map. So far, we have made great progress on this journey. Currently, our rum is available across Southeast Asia, Australia, Europe, and the UAE. Later this year, we are launching in the US. Let me share an example of how we bring our vision to life - check out the images of a Nusa Caña event on an Athens beach in Greece!
Are you still focused on bringing back the forgotten story of Indonesian Rum? Can you remind us how you started and what makes your rum different and excellent?
As a group of founders, we discovered the forgotten story of Indonesia's spirit, particularly its role in the history of cane spirits and rum. It is a compelling and valid story. We often forget that sugar cane originated in Southeast Asia before it was cultivated in the Caribbean and elsewhere. Moreover, explorers who arrived in what is now Indonesia discovered the locals enjoying a distilled sugar cane spirit as early as the 15th century, before the word 'rum' became popular. Our vision in launching the Nusa Caña brand is to revive this forgotten story and share the Bali lifestyle we love with the rest of the world. Are you still an independent brand, keeping it real in the bars?
Yes, we remain an independent brand with a mission to deliver our message, brand story, and delicious rum to the drinks trade worldwide. We are fortunate to have the support of partners around the world, including those in Indonesia, who are committed to spreading our vision. Our message and liquid have been well-received, as evidenced by the platinum and gold medals we received in the NYC Spirits Awards and the recent recognition from the Beverage Tasting Institute, one of the most prestigious and industry-relevant competitions in the US, within the past six months.
Your distribution network seems to have grown exponentially since we last spoke.
Can you share more about it?
Indeed, it's exciting to witness the expansion of our distribution network. Our Indonesian rum can now be found in some of the world's iconic beach bars, rum bars, and events. For example, it is poured at Tropicana Beach Club and Nammos Beach Club in Mykonos, Greece. In London, the legendary Laki Kane rum bar embraces both Nusa Caña and its island home of Bali. Our Indonesian rum has also made its way to Thailand, where it is served in many famous rooftop bars, including the Banyan Tree, in Bangkok. In Australia, we are poured in various venues from the Court House Hotel in Port Douglas to Café Le Monde
in Noosa Heads, down to Brisbane's Story Bridge Hotel, and many more establishments in Sydney, Melbourne, and Perth. Some notable favorites include Jungle Boy in Melbourne's Prahran, Cricketers Arms in Port Melbourne, The Hold in Manly Beach, and The Stuffed Beaver in Bondi. In Perth, we love Long Chim. Furthermore, we had the privilege of having Indonesian Nusa Caña Rum as the on-track rum at the Formula One event in Abu Dhabi last year.
Why should we consider drinking rum again?
Rum offers unparalleled versatility. It serves as the foundation for a wide range of delicious cocktails, from classic favorites like the Mojito and Piña Colada to the Dark 'n' Stormy and the refreshing Daiquiri. There's a rum drink for every mood and occasion. Moreover, rum has an inherent association with tropical destinations, instantly transporting you to a state of relaxation and vacation vibes with every sip. Just close your eyes and imagine swaying palm trees, sandy beaches, and a gentle ocean breeze. Rum's tropical vibes are irresistible. When you enjoy Nusa Caña Rum while in Bali, it allows you to extend your holiday experience. You can take a bottle home with you or purchase one when you return home.
Why hasn't anyone else had the bright idea of making rum from Indonesia before? It's not that we came up with the idea ourselves. We are simply bringing back the forgotten story of Indonesian sugar cane spirit, also known as rum. In the 17th to 19th centuries, Indonesian sugar cane spirit was the most popular, crafted, exotic, and sought-after quality sugar cane spirit. It earned the reputation as the "World's First International Luxury Spirit" and became the godfather to the world of rum. We are reintroducing this spirit to the world, showcasing its unique qualities and historical significance.
What collaborations have you fostered since we last spoke, and when is the next great event we can join?
We are constantly seeking to support the drinks community in Bali, including hotel bars, beach clubs, cocktail bars, restaurants, and clubs. We offer a liquid that is both local and global, a story that is uniquely Indonesian, and a brand experience that is memorable and replicable in your home country. You'll find our rum bar carts popping up everywhere on the island, at festivals, beach bars, and music events. And if you're in Bali, why not go online and have a bottle or two delivered directly to your villa or hotel?
Wahyudi - Desa Potato Head Bali
"Nusa Caña Rum is a stellar spirit that captures the essence of Indonesia and transports it to a bottle. With its smooth flavour and unforgettable aroma, it has become a favourite among rum connoisseurs."
Javier Martin, Oldmans, Bali
"Very ambitious Rum, professional team, you can feel the effort behind the brand! A big plus is that these rums are very easy to work with for cocktails, infuses and souse vide."
Nikita Fedchishin, La Favela Bali
"A perfect blend of Indonesia's rich spice island heritage as one of the biggest sugarcane producers."
Ayana Rock Bar Bartender, I Gede Rae Wira Pranata Bali
"The tropical notes of Asian sugarcane in Nusa Caña really makes the drink stand out. It's kind of the taste of Asia in a glass. We use it to make Island Mojito's for our rooftop bar and it is very popular."
Deepak Soni, Beverage Manager, Banyan Tree Bangkok
"Nusa Caña makes me feel like I am on holiday! A mojito made with this rum transfers me directly to the sunny island of Bali, shirt off and barefoot in the sand. We're a rum bar, and this is one of our most popular back bar labels."
Georgi Radev, Co-owner and operator, Laki Kane London
"I am drawn to Nusa Caña because of its unique brand story and how it reimagines the rich, longstanding heritage of Indonesian rum."
Paulo Quejano, Co-founder, The Sanctum Hong Kong
"Nusa Caña is the perfect base ingredient for many long drinks, making it an extremely versatile option. Great back story, great flavour and appealing aesthetic - it ticks every box."
Andrea De Vincenzi, Spirits Specialist / Category Manager DORECA Italy
“It’s great to see Nusa Caña give bartenders another sugarcane spirit tool to help make great cocktails. Nusa Caña ticks a lot boxes especially in a Daiquiri, which really showcases the flavour profile of Indonesian Rum."
Ian Burrell, world’s leading Rum spokesman and ambassador
the forgotten tale of Indonesian Rum, Nusa Caña showcases the excellent quality of Indonesian rum.
Hary
ALILA Seminyak is a perfect getaway for discerning travellers to discover the island’s finest sunsets and the vibrant neighbourhood of Seminyak. Situated only 30 minutes away from Ngurah Rai International Airport, the fashionable streets of Seminyak within a stroll’s distance, Alila Seminyak resort is surrounded by a variety of exciting experiences in its vicinity. From high-end designer boutiques, art and antique galleries, to trendy nightspots and fine dining establishments, guests of the resort will have no shortage of activities to indulge in.
Designed by Singaporean architecture firm URBNarc, Alila Seminyak boasts a mix contemporary architecture with the natural landscape, consisting of 176 understated luxury rooms and suites including an ultra-spacious 811 square meter three-bedroom Alila Penthouse. Additionally, every room comes equipped with sliding external doors, Balinese style furniture and wide balconies, allowing guests to easily enjoy the outdoors if they wish to do so.
It is also worth noting that the resort was constructed with local preservation in mind, integrating an ancient ancestral temple into the resort’s design. Utilizing this design choice as an asset, the integrated temple is a focal point for the resort, providing guests with a unique glimpse into Balinese traditions while also respecting the history of the land.
Furthermore, the resort offers a unique culinary experience through its coastal dining establishment at Seasalt, where the restaurant provides an environmentally friendly dining atmosphere with uninterrupted views of the beach and tranquil ocean. Seasalt offers an al fresco dining concept that emphasizes wild-caught and sustainably harvested seafood, presented with a Japanese twist by Chef Hazwan and team. Explore Seasalt’s innovative cocktail concept featuring zero-waste cocktails – reusing, recycling, upcycling and fermenting trimmings and leftover juices of a product that would normally be discarded. Each cocktail has been thoughtfully crafted by an award-winning mixologist
at Seasalt, and pays tribute to the flavours of the sea. Combining elegant and eclectic ceramic cocktail vessels with petit flora from the resort’s organic garden, you’ll be sure to be zero-waste sipping from sugarcane straws all holiday long.
For those who want to unwind, the Beach Bar is the perfect spot to take a break from the tropical sun or to enjoy a nightcap under the stars after catching the sunset. Sink into a comfortable armchair or daybed to enjoy an Alila signature cocktail or aperitif paired perfectly with locally inspired small bites and snacks. Live music and carefully curated beach music sets the mood for both socializing and relaxation. For a more personalized experience, the Beach Bar offers a fine mixology service, creating refreshing bespoke cocktails for guests to enjoy.
Indulge yourself with a slew of facilities including Spa Alila that offers Asian-inspired treatments, four breathtaking pools overlooking the ocean, a fully equipped gym and numerous indoor and outdoor venue options that are perfect for any occasion, whether it be a business meeting, wedding or social event.
In order to reaffirm its commitment and compassion toward local communities, Alila Seminyak in collaboration with Bali Children Foundation offers a special stay package that invites guests to support unfortunate children in Bali with education and apprenticeship programs, helping many to find employment and to improve their lives and the life of their community.
IG: @alilaseminyak
FB: @AlilaSeminyak
www.alilahotels.com
PERCHED dramatically on the edge of the cliff in Uluwatu lies The edge, literally at the edge of Bali. A private enclave operated by impeccably trained butlers 24 hours a day, comprising of just eight pool villas with a total of 17 bedrooms, two swimming pools, dayclub, two restaurants, three bars, an entertainment centre with private bowling, pool table, karaoke, and tennis court.
Within this enclave lies an array of food and beverage experiences. Whether it’s a romantic dinner for two, a seven-course eclectic dining experience of modern gastronomy, a wedding for up to 200 guests, or a beach club day dining menu or a pre- or after-dinner aperitif at The parlour.
oneeighty° is a clifftop day club celebrating sophisticated beach culture 162 metres above the Indian Ocean. Built alongside a series of cascading ponds, spilling into a jaw-dropping glass-bottom sky pool extending six metres over the cliff edge. The culinary team, led by Executive Chef Nyoman Suasa, formerly Sous Chef at the world-renowned Beverly Wilshire Hotel on Rodeo Drive, Los Angeles, serves a delightful and playful beach, casual al fresco dining menu. With highlights such as pata taco (using adobo pork), Malay style rendang, three types of poke bowls, and many options of Indonesian and international flavours. Perfect for sharing or for a delightful graze
at the extensive VIP deck, sky lounge, sand lounge and enclosed bar & restaurant, all overlooking the most breathtaking panorama imaginable.
The cave by Chef Ryan Clift is a 22-seat subterranean restaurant serving a seven-course or ten-course menu with optional wine and cocktail pairing.
This natural cave is subterranean and was discovered in 2013 during the construction of a new villa. The cave was conserved, and is now welcoming guests for a unique dining experience amongst stalactites and crescent walls lining this natural miracle. The cave by Chef Ryan Clift has a Classic menu and a vegetarian menu with a menu change every four months. Current highlights include the Nori Cannelloni, the tiger prawn with napa cabbage, XO sauce and buttermilk dashi and Cervana Venison from New Zealand with pickle blackberry, coffee mousseline and eucalyptus.
The parlour, the newest addition to the food and beverage experiences at The edge, offers an extensive wine and whisky selection perfect for a pre-dinner apero, a post-dinner digestif, pre-day club cocktails, or post-day club whisky . . . The parlour caters to all.
A break from Bali heat whilst enjoying a cold, signature cocktail or whisky with the view over oneeighty and the Indian Ocean. Enjoy sports events in an upscale, airconditioned, elegant space.
Romantic Dinner at The cliff bar is an exclusive table on the edge. Including four courses starting with smoked salmon roulade, followed by lobster bisque, the diner then can select the main course of beef tenderloin or Javanese barramundi, finishing off with the Valrhona Chocolate mousse. Sitting on the glass bottom of the wooden deck, looking down at the cliff, this four-course dining experience is not only private, but also breathtaking.
The cliff bar is also a perfect location for afternoon tea, whether just two or a group up to 20 guests. Chef’s beautiful afternoon tea box features sweet and savoury delights, with a side of cliff view!
The edge has a reputation for hosting some of the most memorable and opulent weddings in Bali. A favourite choice of celebrities and high-flyers from around the world, our selection of stunning cliff-front venues provide exceptional locations for any celebration of up to 200 guests. With both buffet and set menu options, the wedding canapés and dinners top off a wedding at The edge.
IN the spirit of celebrating culinary diversity, The Apurva Kempinski Bali’s hot pot restaurant, Bai Yun, launches its signature Peranakan cuisine, highlighting Southeast Asia’s unique and authentic flavours.
Following the sought-after Malaysian Peranakan hot pot in February and March, Bai Yun continues introducing Peranakan cuisine including Indonesian Peranakan from April until June, Singaporean Peranakan from July until September and Thailand Peranakan cuisine from October to December.
Bai Yun invites guests to have a seat around the table for casual gatherings or family celebrations over a hearty and authentic hot pot experience. When it comes to hot pot, the choice of broth is what truly defines the experience. The remarkably talented chefs at Bai Yun have crafted special broths that represent the unique umami flavours of each Peranakan cuisine. From highquality fresh meats to a range of locally grown organic
vegetables, the menu will complement diners’ culinary journeys for authentic Peranakan hot pot experiences.
“This year, we are ready to go beyond Indonesia and introduce guests to Asia’s flavourful cuisine and we are excited to bring the famous Peranakan flavours to our hot pot experience,” General Manager Vincent Guironnet shared. As part of the ‘Powerful Indonesia’ movement, The Apurva Kempinski Bali and its talented chefs continue the journey to becoming Bali’s leading culinary destination, highlighting culinary diversity, one of which is through Peranakan cuisines.
Bai Yun caters to groups of four to 150 people, making it an ideal place for casual gatherings or family celebrations. The signature Chinese hotpot restaurant is part of the resort’s diverse culinary experience, presenting the delectable hotpot with various topquality ingredients. To have a fully authentic dining
experience at the restaurant, guests can also enjoy the traditional Chinese liquor known as baijiu, or opt for more-modern cocktail creations by the restaurant’s talented mixologists.
Bai Yun is open every day from 12:00 to 22:00 and the Peranakan hot pot experience is available daily at IDR888,000++ per person.
Tel: +62 811 38807788
IG: @baiyunbali restaurants.bali@kempinski.com
www.kempinski.com/en/the-apurvakempinski-bali/restaurants-bars/bai-yun
PHOTOGRAPHER: NARYA ABHIMATA
STYLIST: SUHADI BUDIMAN
MAKEUP ARTIST: RARA ENDOH
MODELS: THOMAS CHOW (REDS AGENCY), ADISA (PERSONA)
DRESS: GELAREH DESIGNS.
SAGE PLATFORM SHOES: RAJNIK.
KNITTED JUMPER & PLEATED PANTS: ARTHUR APPAREL.
COLOMBE DRESS: MAGALI PASCAL.
MASK: BLAMO CLOTHING.
DOUBLE-BREASTED SUIT SET: MAGALI PASCAL.
PLEATED BLOUSE: ARTHUR APPAREL.
HAT: BLAMO CLOTHING.
NECKLACE: UGLY BIJOUX.
DRAGON SANDALS: VALERIA DE LACERDA.
IN the enchanting archipelago of Indonesia lies a haven of tranquillity nestled in the heart of Bali. Dijiwa Sanctuaries, a leading hotel management company, invites you to embark on a soul-stirring journey. Comprising an exquisite collection of boutique hotels, resorts, and villas, these sanctuaries are scattered across the island's most captivating locations, including Ubud, Seminyak, Canggu, Umalas, Amed, Labuan Bajo, and Gili Asahan.
Step into the world of Dijiwa Sanctuaries and be greeted by a breathtaking panorama of lush green landscapes and crystalline waters. Each of these sanctuaries embodies the essence of its surroundings, allowing you to immerse yourself in the ethereal beauty of Bali.
As custodians of the island's rich heritage, Dijiwa Sanctuaries deeply respects and understands the local environment, community, culture, and cuisine. This holistic approach extends to the wellness of each guest, ensuring that you find harmony and balance within yourself and the world around you.
At Dijiwa Sanctuaries, every moment is meticulously curated to reflect your preferences and interests. From private retreats to intimate interactions, you will be enveloped in an atmosphere that feels both secluded and profoundly personal. Engage your senses and discover a symphony of flavors and textures as you savor the exquisite local cuisine. Surrender to the healing touch of wellness rituals inspired by the island's ancient wisdom. The true essence of Dijiwa Sanctuaries lies in the connections you forge throughout your journey. Connect with nature as you explore the pristine
wilderness and marvel at the resplendent beauty of the island. Connect with the community as you learn about their timeless customs and traditions. Connect with yourself as you rediscover what it means to live well.
As you leave the embrace of Dijiwa Sanctuaries, you carry memories that will last a lifetime. The souvenirs may fade, but the profound connections you have made will continue to nourish your soul, long after you have returned home.
When the world calls you back to the mystical shores of Bali, let Dijiwa Sanctuaries be your sanctuary, refuge, and home away from home. Rediscover the essence of living well and reinvigorate your soul with every visit.
Venture into the heart of Bali's spiritual core, where Ubud’s verdant, terraced rice fields beckon you to pause and reflect. In this sanctuary, embrace the island's artistic soul as you meander through galleries and craft markets, finding inspiration in every corner. Surrender to the tranquillity of ancient temples and indulge in holistic healing practices that soothe your mind, body, and soul.
Properties: Blue Karma Dijiwa Ubud, Korurua Dijiwa Ubud, Beehouse Dijiwa Ubud, Puri Saraswati Dijiwa Ubud, Arkamara Dijiwa Ubud, MATHIS Retreat Ubud, The Artini Dijiwa Ubud.
SEMINYAK
Indulge in the sophisticated allure of Seminyak, where the sun-kissed shores meet a vibrant cosmopolitan scene. Here, designer boutiques and chic dining establishments line the bustling streets, promising indulgence and pleasure at every turn. As the sun sets, immerse yourself in the pulsating rhythm of the night, celebrating life amidst the island's most iconic beach clubs.
Property: Blue Karma Dijiwa Seminyak.
CANGGU
Bask in the bohemian charm of Canggu, a sanctuary for the modern traveler seeking balance between serenity and spirited adventure. Ride the crest of the azure waves as you indulge in a thrilling surf escapade or explore the lush, terraced landscapes that embody the quintessence of Bali. This eclectic haven harmoniously blends the old with the new, offering an experience that is truly unique.
Property: Ecozy Dijiwa Canggu
UMALAS
Uncover the hidden gem of Umalas, a tranquil oasis nestled amidst the bustling scenes of Seminyak and Canggu. Here, time slows down as you wander through the verdant rice fields, the gentle whispers of nature serenading your every step. Embrace the enchantment of this idyllic retreat, as you reconnect with yourself and the world around you.
Property: The BK Village.
AMED
Journey to the eastern shores of Bali, where the untouched beauty of Amed awaits to captivate your senses. Dive beneath the crystalline waters to discover a vibrant, underwater world teeming with life, or marvel at the majestic silhouette of Mount Agung as it stands sentinel over the land. In Amed, find solace in embracing nature's most exquisite offerings.
Property: MATHIS Lodge Amed.
LABUAN BAJO
Set sail towards the magical realm of Labuan Bajo, a gateway to the enchanting wonders of Komodo National Park. Encounter the ancient, formidable Komodo dragons as they roam their natural habitat or dive into the kaleidoscope of marine life beneath the turquoise waters. As the sun slips below the horizon, surrender to the spellbinding beauty of a world that time forgot.
Property: Oracle Yacht.
GILI ASAHAN
Escape to the pristine sanctuary of Gili Asahan, where the gentle lullaby of the ocean cradles you into a state of sublime relaxation. Unwind on the sun-kissed sands, as the balmy sea breeze whispers secrets of a simpler time. Here, in this untouched paradise, reconnect with the essence of living well and find harmony within yourself and nature.
Property: Bleu MATHIS Gili Asahan
Dijiwa Sanctuaries is a member of the Dijiwa Delapan Utama Hospitality boutique hotel brand, and we are managed by a skilled local and global team. Dijiwa Sanctuaries is built from a tremendous passion in promoting local culture and the destination. With a wide range of hotel brands, Dijiwa Sanctuaries aims to provide a holistic curated experience for the properties and guests through hospitality, wellness, cuisine, design, and persona who appreciate value for money experience. The brand embraces the values of dynamic, innovative, joyful, integrity, well-being, and attitude. We create, operate, and deliver well-rounded, personalized management services to our shareholders and heartfelt experiences to our guests.
T: +62 361 6200588
IG & FB: @dijiwasanctuaries www.dijiwasanctuaries.com
For reservations: info@dijiwasanctuaries.com
IN the vibrant culinary scene of Canggu, Bali, Milano Italian Restaurant and Bar stands out as a hidden gem inspired by the lively streets and delectable flavours of Milan. Nestled in the heart of Canggu, Milano has been serving its guests a fusion of urban elegance and authentic Italian cuisine for the past two years. With a focus on artisanal pizzas, handcrafted cocktails, and personalized hospitality, Milano offers a dining experience that transcends borders and tantalizes the senses.
As you step into Milano, you are greeted by an ambience that exudes modernity and style. The contemporary decor, complemented by warm lighting and comfortable seating arrangements, creates a welcoming and sophisticated atmosphere. Milano aims to strike a balance between chic elegance and a relaxed vibe, making it the perfect spot for both intimate dinners and lively gatherings with friends.
What sets Milano apart from other dining options in Canggu is its dedication to artisanal Naples pizzas and an extensive selection of handcrafted cocktails. With a tagline of "Pizza, Cocktails, and Dreams," Milano aims to deliver the best of Italian cuisine with affordable prices and quality craftsmanship. Their menu boasts a diverse range of options, including traditional authentic pasta dishes, modern Italian main courses, contemporary antipasti, and flavorful desserts.
Among the dishes that have captured the hearts and palates of Milano's patrons, the Arancini stands out as a popular starter, enticing guests with its crispy exterior and flavorful fillings. In the pasta department, the Macaroni Ragu with Burrata has become a must-try dish, combining rich flavours and indulgent textures. Pizza lovers rave about the Diavola, a fiery and savoury delight, as well as the Milano L'e Gran, a unique creation featuring poached prawns, saffron goat cheese creamy sauce, and marinated zucchini. For those seeking a substantial main course, the Pork Chop Milanese, with its generous 350-gram portion, is a true crowd-pleaser.
Milano understands the importance of catering to various dietary preferences and offers vegetarian, vegan, and glutenfree options for both their pasta and pizza dishes. This inclusivity ensures that every guest can enjoy the authentic flavours of Italy without compromising their dietary needs.
While Milano primarily sources local ingredients for its cuisine, certain key items like cheese and Italian cold cuts are directly imported from Italy to maintain the authenticity of their dishes.
This commitment to quality ingredients, combined with the creativity of their chefs, results in a seamless fusion of Italian and Indonesian flavours that add a unique twist to classic Italian recipes.
Milano takes pride in its thoughtfully curated beverage menu. Wine enthusiasts can explore a selection of imported wines, showcasing a combination of old-world and new-world options. The highlight, however, is Milano's renowned Book of Negroni, offering a comprehensive collection of historical pre-Negroni tipples, classic Negroni variations, and innovative new twists on the iconic cocktail. Guests can indulge in the familiar favourites or venture into exciting flavour profiles inspired by the tropical setting of Bali.
Milano embraces the spirit of celebration with its regular events and promotions. F&B Industry Night on Mondays offers a 50% discount to fellow F&B and hospitality workers in Bali, creating a lively and welcoming atmosphere. Wednesdays come alive with "Miss Behave," the best ladies' night in town, accompanied by house music from talented female DJs. Saturdays bring the delightful "Bubbles & Seafood," featuring special deals on imported sparkling wines and a delectable selection of seafood towers. Finally, on Sundays, the "Mary and Her Good Friends Brunch" offers a rejuvenating experience with free-flow cocktails, access to the White Goose Boutique Hotel pool, and a chance to cure the weekend hangover.
Exemplary Hospitality
Milano takes great pride in its hospitality, ensuring that every guest receives a personalized and memorable experience. The attentive staff members recognize regular patrons and often remember their preferred orders, adding a warm and personal touch to the dining experience.
Milano Italian Restaurant and Bar has established itself as a go-to destination for Italian cuisine lovers in Canggu, Bali. With its dedication to artisanal pizzas, handcrafted cocktails, and impeccable service, Milano offers a taste of Milan's vibrant culinary scene in a chic and modern setting. Whether you're seeking a cozy dinner for two or a lively night out with friends, Milano promises to transport you to the streets of Italy, where pizza, cocktails, and dreams come together to create an unforgettable dining experience.
Tel: +62 813 37972998 IG & FB: @milanocanggu reservation@whitegoosehotel.com www.whitegoosehotel.com/milano
PIZZA, COCKTAILS, AND DREAMS COME TOGETHER TO CREATE AN UNFORGETTABLE DINING EXPERIENCE AT MILANO IN CANGGU.ITALIAN JULEP. PASTA SELECTION
AANOUKIS IS MORE THAN A SWIMWEAR BRAND; IT'S A LEGACY OF FEMININE EMPOWERMENT, LOVE, AND TOGETHERNESS, SAYS FOUNDER ALEXANDRA ADAMIAK.
ALEXANDRA Adamiak? Interesting name – does it have clear ‘country’, or regional roots, or is it more global in essence?
Ahahaha, thank you for asking about my name! Long story short, my name has Polish roots from my great step-grandfather who raised my father after he lost his dad at a very young age. But my origins are more mixed: Algerian, English, and French.
What called you to come to Bali?
Bali was a big crush for me when I first came here 20 years ago. I was originally planning to visit other countries in Asia, but I ended up staying in Bali for three months. I briefly went to Thailand but quickly returned to Bali. I was immediately charmed by the island's natural beauty, rich culture, and warm people, and I felt like I was home here among Balinese culture and the tropical way of life. I knew that I wanted to settle here and become a part of this incredible, vibrant island.
I felt a strong pull towards Bali, and I've never felt more alive than I do here. Although I was initially happy living the "bikini kind of life" in paradise, I soon discovered that Bali has so much more to offer. This vibrant island is so magical and has a way of choosing you to help you grow on your path. Both good and bad are strongly present here, and it's up to you to find your balance.
Bali was calling me towards a more fulfilling life, and it has been the beginning of a long journey of conscious awakening. I've had my highs and lows, but there's always a way to grow here. Bali allows you to be free to be who you're meant to be.
Every time I had to leave this island, I would cry on the plane. I kept coming back every year until the time was right for me to leave France and start my new journey.
Bali is an incredibly inspiring place to live, thanks to the Balinese sense of kindness and connection to life. It has taught me a lot about living in the present moment and appreciating every moment.
Even though Bali has changed a lot since I first came here, I feel very fortunate to be able to call it my home.
To me, the female form represents a combination of beauty, strength, and femininity. Every woman should feel empowered to embrace her body and feel confident in her own skin, regardless of societal expectations or body standards.
I have a personal experience that opened my eyes to this. When I visited Rio de Janeiro in Brazil in 2000, I initially felt self-conscious about my imperfections. However, as I walked along Copacabana Beach, I saw women of all shapes and sizes confidently flaunting their bodies. It was inspiring to see how proud and beautiful they looked.
It was a mind-blowing experience, and now I keep sharing it with my lovely customers who may struggle with body image issues. I believe that it's important to first be proud of your body and let shine your inner light.
And then wear AANOUKIS, designed to empower women and feel like goddesses.
You moved from the spa industry to the fashion industry, why?
Although I enjoyed working in the spa industry, I felt a desire to explore my creativity and provide wellness in a new and different way. With a passion for fashion and design and a strong sense of elegance, I knew that it was time to pursue my original inspiration and calling.
Living in Bali has been incredibly inspirational and has helped me to become the person I was meant to be. This calling led me to create AANOUKIS, a brand that promotes well-being and selfconfidence for women.
I strive to empower women through my designs, both stylish and functional, with an attention to detail, giving them a sense of confidence and well-being when they wear my swimwear. I put all of my energy into each design, knowing that fashion can be a source of beauty, self-expression, and empowerment for women.
In your mind has every moment been leading up to starting your very own brand of swimwear? Can you share some pivotal moments?
I think every experience in my life has led me to where I am today. My travels in Asia, and for sure especially in Bali, the people I have the good fortune to meet, who showed me a different way to live our Life, the great possibility of production here, all have helped me to give me confidence to just go for what I want in my life; that you have to try and nothing is impossible. It is here in abundance you just have to believe in yourself.
But there have been a few pivotal moments that stand out, yes. First was my decision to move to Bali in 2014. And then the opportunity to immerse myself in the local fashion industry where I started to work for Lulu Yasmine resortwear, as a manager of retail for their four stores. It allowed me to gain a deeper understanding of the process involved in managing a brand and production.
Another pivotal moment was when I realized that I needed to express my passion for fashion by creating a brand that empowers women. Living the bikini kind of life in Bali, I struggled to find nice bikinis, so I decided to create my own. I travelled to trendy party destinations like Ibiza, St Tropez, and Mykonos, and within five to six months, I started AANOUKIS swimwear from scratch. Everything happened quickly, even when I faced the initial challenge of finding the right factory for production.
I found the logo that represents my driving energy - My Sun (I'm a Leo and even have it tattooed). The inspiration for the name came intuitively as I wanted women to feel like goddesses. ANOUKIS is the daughter of Ra, the God of Sun in Egyptian mythology. I put my initials, and it became AANOUKIS. Everything was connected, and it just felt right.
Just in time for the European summer, I finished my collection and went back to St Tropez and Ibiza to introduce my swimwear to the most happening beach clubs. It worked, and that was the beginning of AANOUKIS.
Simplicity and originality – can bikinis really be simpler or more original than they already are?
I believe that there is always room for simplicity and originality in any design. At AANOUKIS, we strive to create swimwear that is both elegant and timeless, while still incorporating unique details and features that set us apart from other brands. Fitting AANOUKIS you will feel this je ne sais quoi that makes you feel like a goddess.
How is your brand coping with the rise of OnlyFans and the ‘larger’ figured girls? Good for business or bad for business?
At AANOUKIS, we believe that every woman should feel beautiful and confident, regardless of her size or shape.
Women have been empowered, and as they become more comfortable with their bodies, they are also becoming more comfortable with expressing themselves. And I’m super happy with that. It is very positive to be proud of your body.
Funny that you ask about OnlyFans . . . I’m not judging this website, and I have heard of it, but I'm not interested to look at it to be honest. People are free with their body and if OnlyFans helps increasing acceptance of different body types it can be a positive trend.
However, I also think that there needs to be a balance between showing off one's body and being over-sexualized. For me, showing skin should be done with elegance and sophistication, rather than just being about sex appeal.
I might be a bit old fashioned but I love elegance and femininity most. This French je ne sais quoi attitude that is both alluring and mysterious.
And I believe I’m not the only one . . .
And we design our swimwear to be inclusive and flattering for women of all body types, and we celebrate diversity.
Any thoughts on the current trend of women showing off a bit more body than in the past? In your mind, is it a trend that will rise, continue or fade?
Fashion has always been a way to express changes in mentalities and self-expression. As women become more empowered and comfortable with their bodies, they are also becoming more confident to express themselves.
However, I also think that there needs to be a balance between showing off one's body and being over-sexualized. For me, fashion should always emphasize elegance and sophistication, and showing skin should be done tastefully and with class.
I hope that this French je ne sais quoi attitude, is a quality that will always be timeless and attractive.
Overall, while I appreciate the trend of women showing off more of their bodies, I do hope that elegance and femininity will always remain a part of fashion, and that women will continue to express themselves in ways that emphasize their inner confidence and sophistication.
AANOUKIS is sophisticated. In what ways can this be appreciated?
At AANOUKIS, we strive to create swimwear that is both elegant and sophisticated, with a focus on high-quality materials, expert craftsmanship, and timeless designs. Our customers appreciate the attention to detail and the unique features that make our swimwear stand. It's a philosophy that values style over trends. A sense of effortless elegance, sophistication, and a certain nonchalant attitude.
Let’s talk quality, and your method or criteria for choosing fabrics.
I place a high emphasis on quality and strive to source the best materials (including accessories) for our swimwear and resortwear. To bring a feeling of comfort and style, our fabrics are carefully chosen based on a number of criteria, including their appearance, texture, durability, and stretch.
All our swimwear are doubled, not see-through for our light colours, as our focus is for a better definition and body shaping.
We also pay attention to the environmental impact of our fabrics and production processes, so we don’t overstock and we are proud to say that we use eco-friendly materials and processes wherever possible, including highest quality Italian fabrics VITA CARVICO, which are recycled. Made from regenerated nylon waste from landfills and oceans, they are renowned for their excellent performance in water and resistance to fading.
I am a fiercely independent woman. I have built my life from scratch, starting from nothing. I made a bold decision to change my life, stepping out of my comfort zone to pursue my dreams and follow my calling.
Over the years, I have forged a deep connection with the spirit of this island and its people. It was five years ago when I decided to establish my swimwear brand here, surrounded by souls filled with warmth and compassion, who have become my partners in creating magic for my beloved tribe of AANOUKIS goddesses.
As time went by, I embarked on a journey to seek out the best factories and individuals to collaborate with, expanding my production capacity. Along the way, I had the privilege of meeting incredibly talented women. In a bid to empower them and foster their independence, I took the initiative to provide them with sewing machines for their own workspaces. This enabled them to support their families and find happiness in their own villages.
As the years have gone by, I have cultivated a small community that I proudly refer to as my "Bali family". They are not just colleagues but individuals who have become an integral part of my journey, bringing their skills, passion, and dedication to the realization of our shared vision.
Together, we have created more than a swimwear brand; we have built a legacy of empowerment, love, and togetherness. AANOUKIS is not just about fashion; it represents the embodiment of dreams, resilience, and the strength of the human spirit.
If I could change one thing for women, it would be to eradicate any lingering traces of inequality and empower them to fully embrace their potential in every aspect of life.
I envision a world where women are provided with equal opportunities, respect, and recognition, irrespective of their background or circumstances.
Let's create a future where all women are free to shine and fulfill their aspirations without limitations.
You
Ku De Ta?
Yes, and we are thrilled that this showroom is a dream come true for me, as I can now meet our customers in this unique temple of femininity that we designed and curated with care and intention in order to make them feel beautiful and enhance their elegance.
It is hugely rewarding to receive their feedback. From here we can introduce the whole AANOUKIS universe (from swimwear to resortwear and even beach accesories) and even assist them in styling.
Jl. Kayu Aya No. 7a, Seminyak, Kecamatan Kuta, Kabupaten Badung, Bali 80361
Tel: +62 812 38928832
IG & FB: @aanoukis swimwear
Info@aanoukisswimwear.com
www.aanoukisswimwear.com
HOW has Bali been for you?
Been here since the beginning of the 2020 pandemic. I think one word for life here would be: healing
What does Uluwatu Handmade Balinese Lace mean to you?
Magical and challenging on so many levels. A fashion business in Bali. A brand that’s core skill-set is lace. Only two colours (white and black) to the range planning. Tourists as primary customer. Language barrier. An immensely talented pool, which is aging.
How is it that sophistication and simplicity exists seamlessly in Uluwatu Lace? We know it's not easy. How do you manage to achieve it?
It looks easy, because ours is a story of Bali. We carry the soul of everything that’s beautiful here. By layering simplicity over and over, we are able to create sophistication. Our pursuit is perfection. Our founder Ni Made Jati focussed on love for creating great designs. She was inspired by modern women who are independent and rebellious. Over the years, we have redefined this modern woman. I think these three elements, Bali, Simplicity and Perfection are our secrets.
How did the brand start…
In the 1970s it seemed a good business proposition. Bali had an abundance of lace skills. An influx of foreigners was allowing exploration of new silhouettes (before lace was predominately used on Kebayas). Our founder saw the possibilities. Those were times when Bali was getting started on its lasting reputation of being heaven; of secret idyllic beaches where seekers and hippies found the surf, sand and beads, and loads of sunshine to tan their skin. She adapted the lace to the new world, from airy over layers to breezy gowns for the evening fire. The Bohemian spirit has been alive ever since.
Uniquely, the Uluwatu Lace brand is cemented deeply in Bali's history and colonial past. Can you briefly tell us more…
No-one starts out to make history. Our journey gave us two rights: time and place. Bali’s lace tradition of krawang or Lobang is a rich living craft. Earliest evidence showing its use is in the 10CE, during the end of the Majapahit reign. Almost 1,000 odd years of existence. There is an unsubstantiated belief that Kerawang is the classic crochet lace of Northern Europe. Said to be carried by missionaries who travelled with the Dutch East India Company (VOC). The timeline could be anywhere around 1600CE. But the real impact can be attributed to after 1796, when the VOC was abolished and the Dutch government gained control over Indonesia, which continued until 1941.
And then there was the modern journey…
Yes. Somewhere around mid '70s, Kebaya was getting its space as a classic apparel which was introduced as modesty. Lace got incorporated into the Kebaya. We have been trying to perfect the art form ever since then. This evolved into the temple culture, to exactly
the same clothing culture we witness in Bali today. We have managed to transform it into something desirable globally. Breaking the limitations of design was the tipping point. With just two colors, white and black, it was a sure recipe for disaster. The fact that we are still here is something bigger than a miracle. But here we are…
Our journey was for excellence. I suppose we reached this point naturally. It is difficult to reason why in a 50-year journey. An intelligent guess is, white was preferred due to the tropical climate and black was easy to handle. In the early years, consistent yarns in colors was not an easy proposition. Whatever the reason, we are memorable because of the two colours.
Our family is around 500 individuals. More than three quarters of this number are involved in the design creation and the rest are in support operations. Each person in our ecosystem is a lifelong partner to creation of these exclusive designs.
What makes this brand click?
Love and Bali. You immerse in this paradise. In return the paradise diktats that you respond with honesty. That’s what we give. We do not dilute our principles to suit business obligations. Our products are made in the old fashioned way. We have steered clear of shortcuts. Each and every piece is made in the same traditional method of bamboo hoops and slow needle whirring to make the lace. Love has its own karmic journey. Maybe it's the love that’s responding back.
What are the attitudes in fashion changing over the decades? Where is fashion’s future for designs with your niche?
Look at the fashion around the world. Lace and crochet are consistent. Lace is here to stay. That speaks loads on the future of lace in fashion. It's a classic embellishment in fashion. Women love it. It’s not going away anytime soon. We are a lace brand. We need one purchase to happen in a thousand in our market to stay in business. That’s a simple logic for excellence. We have to keep creating the most simple, sophisticated designs with the same passion. Great designs don’t need volume. We are content right now.
What does high thread count mean to you and why is it important to your company?
Yarn is the key. Our yarn goes through immense stress, which makes it absolutely essential to have a unique tensile strength, which is stable in the lace making process, avoiding brittleness. We have conjured up a specific blend of rayon yarns to achieve this over the years. It stays unbroken for the longest stretch of action. That brings the unique sheen to our lace.
How has the Covid Pandemic affected your brand?
It's been a kind of blessing in disguise. We found time for course correction. Our focus diverted from sales to being janitors (cleaning up the brand). We found scope to refine our skills. Created a data-bank of designs. Refined the skills that had been acquired over 50 years. We updated software and improved processes. Basically we did a lot of clean-up. We had to ensure our designs remain heirloom pieces. Creating possibilities of engagement to lace designs. We conceptualized a Balinese Lace Museum and initiated the process of getting nominated as a heritage craft. It was a long list.
Which design will be your all-time superstar creation? Is there a story in its creation?
We love almost all our ’70s designs. The decade when chic, colour and pool parties were the epitome. The age of revolution … styles that clicked. Then we were busy making something revolutionary to be loved. We got our foothold in fashion in the ’70s.
How are you involved in the creative community in Bali?
As the flag bearer of Balinese Lace Fashion, we are the finest on the block. Both the founder and myself are pretty much very private people. Our direct visible engagement remains slower than we would like. However, we engage with artists, graphic artists, photographers, musicians and actors. We love to be the support to young creative talents.
What are the current design projects at Uluwatu Lace?
This year we are engaging in a lot of very interesting projects … I like to call in non-invasive cross-innovation, where we identify non-parallel creative techniques to come together in an organic symbiotic visual extravagance. Our designers are busy rejecting designs to arrive at acceptable designs. For example, imagine trying to combine lighter Endek fabric with Balinese lace. Both techniques cannot overpower each other. The balance of weight, colour and flow is an absolutely challenging experience.
Which particular Indonesian / international celebrities could wear your designs and embody what they mean?
For us, Happy Salma is the epitome of what Uluwatu Lace is supposed to mean. She is the purity of how our design should be expressed. In the case of Hollywood, I would love our designs on Alicia Vikander. Her athletic features and Grecian expression are timeless. And of course, Priyanka Jonas Chopra’s dusky exoticism. If they are reading this … we love you!
What's next for Uluwatu Lace?
Short-Term: make our mark on the Paris, New York, London and Tokyo fashion scenes. Medium Term: Get listed in UNESCO heritage craft category. Long Term: hopefully keep creating inspiring designs. We have a goal to make the brand 100% sustainable with minimum carbon footprint. Engage with blockchain technology to track the impact of our brand. We also hope to have a community fingerprint, where we go beyond our business obligations and leave lasting imprints within the community that defines us.
IG: @uluwatu_handmade_balinese_lace
FB: @uluwatulacebali
www.uluwatu.co.id
BERAWA, Bali, a destination known for its breathtaking beaches, vibrant culture, and enchanting atmosphere, is home to the exquisite White Goose Boutique Hotel. Nestled in the heart of this captivating location, the hotel welcomes discerning travellers with its unique blend of minimalistic and earthy design, inspired by the bohemian look and nomadic lifestyle. Embrace the serenity, comfort, and luxury that await you at this remarkable boutique hotel.
At the White Goose Boutique Hotel, guests can choose from a collection of seven distinct suite types, each meticulously designed to cater to various preferences and needs. Whether you seek the cozy comfort of the Habitual Studio for a brief getaway or the opulence of the Grand Bali suite, perfect for friends or couples desiring ample space and privacy, there is an accommodation option to suit every guest's taste.
One of the standout features of the White Goose Boutique Hotel is its carefully crafted ambience and array of luxurious amenities. The hotel boasts three exquisite swimming pools, situated at the heart of the property. Take a refreshing dip, bask in the warm sun, or simply unwind in the comfortable poolside loungers, surrounded by lush greenery and a serene atmosphere. For guests seeking an elevated experience, the Premier Sunset Suite offers a private rooftop swimming pool, where you can indulge while enjoying panoramic views of Bali's breathtaking coastline.
Indulge your taste buds at Milano, the hotel's elegant Italian restaurant and bar. Step into an urban setting
where the rich flavors and vibrant culinary heritage of Italy come to life. Delight in a delectable array of Italian cuisine, from traditional classics to innovative creations, expertly prepared by skilled chefs. Complement your meal with a meticulously crafted cocktail, infused with Italian influences and featuring distinguished spirits such as Campari and Aperol. Milano promises an unforgettable gastronomic journey for every guest.
While the White Goose Boutique Hotel doesn't have an onsite spa or wellness facility, it offers guests the opportunity to experience ultimate relaxation through its partnership with Casa Spa. Indulge in the luxury of in-room treatments, including rejuvenating full-body massages, delivered by professional therapists. Pamper yourself and feel revitalized as you embrace tranquillity within the comfort of your own suite.
Located just a two-minute walk from Berawa Beach, the White Goose Boutique Hotel provides easy access to the pristine shoreline and invites guests to immerse themselves in the calming waves. For those seeking vibrant beach club experiences, renowned establishments such as Finn's Beach Club, Morabito Art Villas, and Atlas Beach Fest are all within close proximity, promising unforgettable moments of fun and entertainment.
The hotel's dedicated concierge service ensures that guests can curate their perfect Canggu experience. The knowledgeable concierge team is readily available to assist in arranging cultural tours, enabling guests to explore the rich heritage of Bali. If adventurous surfing excursions or
lessons are on your wish list, the concierge will gladly help you make arrangements. Furthermore, they can secure reservations at the finest dining establishments, ensuring that every guest's desires are met with utmost care and attention.
White Goose Boutique Hotel takes pride in its commitment to sustainable practices and local empowerment. The hotel utilizes disposable toiletries made from sustainable materials, reducing waste and supporting eco-conscious values. Additionally, their laundry services employ water from sustainable sources, further minimizing the hotel's environmental impact. By providing equal employment opportunities to local Balinese individuals, the hotel fosters a sense of community and empowerment, making a positive impact on the local economy.
Experience the allure of Berawa, Bali, in unparalleled style and comfort at the White Goose Boutique Hotel. With its minimalistic and earthy design, luxurious amenities, delectable cuisine, and personalized service, the hotel creates an unforgettable stay for every guest. Embrace the serenity, indulge in tranquillity, and immerse yourself in the beauty of this extraordinary destination. The White Goose Boutique Hotel is where bohemian chic meets tranquil luxury, inviting you to create cherished memories in the heart of Bali's enchanting paradise.
Tel: +62 813 39382429
IG & FB: @whitegoosebali
www.whitegoosehotel.com reservation@whitegoosehotel.com
"KEBUN , a charming Provencal-style bistro in downtown Ubud, offers authentic Mediterranean cuisine in a delightful atmosphere. Its informal ambience welcomes diners for lunch, afternoon coffee and cake, tapas, cocktails, dinner, post-prandial coffee and dessert and late-night light dining, open from noon to midnight daily." Could not put it better myself…
Kebun Bistro, an institution that is part and parcel of Ubud’s ‘culinary journey’ landscape, launched in 2012, offering fine wines, artisan foods, breads and patisserie. The venue, like the menu, was also created by artisans, with a very clear and reverent nod to 1930s Art Deco.
Their global menu crosses as many borders as the variety of allergies and preferences that it has to satiate! Head straight to the Tapas menu or choose between Gazpacho or French Onion Soup. Maybe Nicoise Salad or Haloumi or Roots Salad or Paella? Duck Confit, Tasmanian Salmon or a Moroccan Tagine? And, of course, pizzas and pastas appear, alongside an elongated list of sides and extras . . . the wine list is extensive too! All in all it is hard to make a bad choice at Kebun Bistro – savoury or sweet, juices or wines.
In fact, the food is so good that Kebun is also highly ranked for events and outside catering. The actual venue of Kebun is a fantastic yet cozy space to book for an anniversary or private party, alternatively Kebun can to come to you, with genteel Chef Adi happily able to discuss your outside catering needs.
With the food and the wine boxes securely ticked, next up on my list of classifications would be how eco-sensitive a particular restaurant in Bali is. So I put that question to the management . . .
“All the wood used in Kebun’s decor and furnishing is recycled,“ they told me. “The pizza and cheese boards are made from recycled teak from Kalimantan. All the wood trim is from Java as is the authentic 1940s furniture. The cast-iron Singer sewing machine table-bases, topped with marble, are at least 50 years old and the old porcelain doorknobs were sourced from a flea market in Paris. Kebun’s feature wall is constructed from local river rock and the outside floors are limestone slag with the interior floors being made of terracotta tile, a traditional craft on the island”, comments foundingowner Meghan, who continues: “Once inside our generous, welcoming front door, notice the hand-hammered copper pots and ceramics, all made in Indonesia by traditional craftsmen with passionate attention to detail. Even the large, open kitchen is ventilated with hand-made copper flues.”
Front of House Manager, Franky adds: “Food delivery is packed in recycled paper, with our chefs using local organic produce whenever available, and the food waste from our kitchen is all composted with the exception of bones, which are distributed to the dogs along the street.” Fine indeed!
So Kebun Bistro, a delight in all its art-deco glory, really is one of the best spots to stop while in Ubud, and to delight in all the fabulous things that this team works so hard on, bringing together the ambiance, the stimulation and the flavours for your visual, aural and oral pleasures. Their playlists are worth a mention too!
IG: @kebunbistrobali www.kebunbistro.com
TAKUMI'S CHEF DAIJIRO HORIKOSHI IS A MASTER ARTISAN WHO HAS DEVOTED HIS LIFE TO PERFECTING KAISEKI CUISINE.
CHEF Daijiro San … with respect you don’t sound like any ‘normal' kind of Chef to us … what’s your story and how did you end up in Bali? Did you train in a Japanese kitchen, and did it involve years of internship under a Master?
I am the son of the third generation of a tempura restaurant located in Osaka. The restaurant had a 62-year history before it closed. My grandmother started the restaurant, and my mom took over before I eventually took over from her. I ran the restaurant for over 16 years, and in 2012, I moved to Bali. When I was 13 years old, I had the opportunity to travel with my stepfather, who was a Native American leader from the United States named Dennis Banks. We travelled to 23 countries around the world, and this experience exposed me to different cultures, religions, and people. When I decided to move to Bali, it was because my wife had a dream of living on a tropical island. We wanted our children to have a global experience and learn English, so we chose Bali as it offered a mix of different cultures. It was the perfect balance for us, and we couldn't find it anywhere else in the world.
Although I don't have a pastry background, I grew up in a traditional Japanese environment due to my grandmother's influence. She was a geisha and introduced me to various aspects of Japanese art, tradition, and confections. When I moved to Bali, I missed Japanese sweets, as they were not readily available, so I started making Japanese confections on my own. I never thought about turning it into a business until a friend suggested it. Together with another friend, we started the business, and my wife encouraged me to pursue it further. That's how our Japanese confection brand, Ko Haku, came to be.
Ko Haku, which means 'amber sugar' in Japanese, has a connection to Japanese tea ceremonies. Japanese confectionery has always been closely associated with tea and tea ceremonies. The tea ceremony involves not only tea but also meals, and it holds a deep relationship with Japanese cuisine.
There are two types of kaiseki, one for parties and the other for tea ceremonies. Both have a connection with tea and confections. So, the idea of creating edible crystals relates to the longstanding tradition of Japanese traditions.
Why does Japanese cuisine appear so different and innovative to Westerners, compared to more traditional styles, like say classic French, or Italian? Should the Old School be more innovative?
I don't see a big difference between Japanese cuisine and other traditional styles like French or Italian. Each cuisine reflects its own history, culture, and region. I don't think one is more innovative than the other. It's difficult to answer whether the old school should be more innovative because innovation is subjective. What may seem innovative today might become traditional in the future. As chefs, we are always learning and trying to create dishes that make people happy. We focus on making something good rather than just being innovative. Our job is an ongoing journey of learning and creating.
Where does innovation go too far, and when should we recognize and respect classic cooking practices?
From my perspective, innovation goes too far when it becomes disconnected from our everyday lives and focuses solely on being different for the sake of standing out. Some chefs get caught up in trying to show how they are different from others, losing sight of the true essence of cooking. It's like we lose our direction and wander aimlessly. Whether it's in cooking or any aspect of life, we need to take a moment to pause, reflect on where we stand, and look back at our past and the processes that brought us here. It's essential to respect the ingredients we use and show appreciation to everyone involved, not just for the sake of being different.
Tell us about Takumi, your restaurant, and the inspiration behind it.
Takumi is a restaurant where we currently serve Kaiseki-style Japanese cuisine. We offer a choice of nine-course or six-course degustation menus, and we will soon be launching vegan courses as well. Our focus is on traditional and authentic Japanese cuisine. The inspiration behind Takumi is unique. We are not simply importing Japan to Bali; instead, we are creating Japan here. We utilize the amazing local ingredients available in Bali and Indonesia, embracing the wealth of flavours they offer. As a Japanese chef, I incorporate Japanese culinary techniques and strive to express the true essence of Japanese cuisine. Additionally, I am passionate about training young chefs in Bali, sharing my knowledge, skills, and the history and philosophy of Japanese cuisine, in order to elevate the level of Japanese culinary expertise in the region.
Why is great service such an important part of the culinary experience?
Great service is crucial because it enhances the overall dining experience. When customers pay a significant amount for their meals, they should be able to enjoy them fully. It's important to create an atmosphere where people can feel happy and comfortable. The emotions and atmosphere in a restaurant can significantly impact the perception of the food. Service acts as an additional spice that complements the dishes coming out of the kitchen. It's not just about the food; it's about the complete experience – from the moment guests enter the restaurant until they leave.
We aim to leave a lasting memory and ensure that our guests have a truly enjoyable time at our restaurant.
Who are your heroes in the world of cooking?
Although it may sound cliché, my heroes in the world of cooking are my grandmother and my mother. However, my true heroes are the young chefs working in the Takumi kitchen. Each of them brings their unique experiences, which I have never had. Their willingness to learn and their different perspectives make them admirable and worthy of respect. These young chefs are my heroes because they challenge themselves and strive to become respected in the culinary industry.
What knives do you use?
I primarily use a small petty knife. I don't have a specific brand preference. I own several Japanese knives, but my favourite is the small petty knife, which I use for personal use at home. I don't typically use large knives in my cooking.
What's the most exciting new ingredient you are incorporating into your food?
Well, every week brings new and exciting ingredients to our kitchen, even if they are the same vegetables we've used before. Each batch has its own unique qualities, and that's what makes it thrilling. We have conversations with the ingredients, exploring their potential and listening to what they have to say. When they arrive in the kitchen, we greet them and get to know them. 'Hello, my name is blah blah blah, who are you?' We might say to a red radish.
It's a delightful way to engage with the ingredients and understand their desires. Do they want to be a sauce, a garnish, or simply shine on their own? We listen to their aspirations and help them become what they want to be. It's the chef's job, and it's the most enjoyable and exciting aspect of our work.
What motto inspires your life as a chef?
Well, I've touched on this in previous answers, but it's a question worth pondering. As a chef, I find immense joy and satisfaction in working with ingredients and creating dishes. It's the happiness and fun that come from this process. There are many people involved in the culinary world, from suppliers to farmers, fisherman, and even drivers. My motto is simple: I want to make people happy. I strive to bring joy to others through my creations and my work. It's not just about the guests; it's about everyone who is connected to food and to me. I want to contribute to a collective happiness and create a positive impact within this circle. As a chef, I am just one part of a larger ecosystem, and my goal is to make everyone in this circle happy.
IG & FB: @kohakubali www.kohakubali.com
IG: @takumibali
FB: @Takumi Bali www.takumibali.com
