How did you first get into ikebana?
When I was six years old, I began learning under my aunt, Kasumi Teshigahara, who was the second generation iemoto (headmaster) of the Sogetsu school of floral art. And I’ve continued to learn ever since.
What is the core concept of ikebana?
At the heart of ikebana is an expression of peace and serenity through the life power which is hidden inside plants. It is my wish to send good spirits, smiles, and joy through ikebana.
Do you have any tips on how to appreciate ikebana?
There are no rules for appreciating ikebana. There is no prejudice or judgment in appreciation. Through ikebana, though, the emotions and feelings of the floral artist are reflected quite directly. Even when the same plant is used, it can be represented in many ways according to the artist’s essence. Personally, I would encourage you to simply enjoy the variety of expression.
Where do you get your inspiration from?
I believe the art of ikebana is born from the environment and space in which it’s made. So, I try to put myself in the place as much as possible, to be conscious of the presence of humans, air and light, and I transfuse that into my work.
How would you describe your style?
I tend not to verbalize my work too much. I think different people might perceive it in different ways.
Can you tell us more about this new floral installation at The Emporium?
Bamboo, which I use as the main material for this installation, possesses a very strong life force. In Japan, it is used for auspicious occasions. It also has the potential for a wide variety of expressions. Strength, delicacy, elegance, and dynamism—these are exactly the same traits as the mother of the Thai Kingdom, HM Queen Sirikit. In Japan’s winter, the bamboo stands without breaking or splitting under the weight of deep snow. It stands strong with the coming of spring, too.
What do you hope to achieve in the future?
My grandfather Sofu Teshigahara, who pioneered the Sogetsu art school, said, “Ikebana is the art of peace.” I think that in ikebana there is a power potent enough to blur religions and borders, and convey a peaceful feeling to people all around the world. I wish to continue in ikebana, for any chance that it might lift the suffering of people.
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Had you been in Singapore before Oxwell & Co?
Mark Sargeant: When I used to work for Gordon Ramsay, we used to work for Singapore Airlines and I’d come over here twice before. So I was familiar with Singapore. I’ve been over here four times now.
What do you think of the dining scene in Singapore?
MS: It’s fantastic. First, with Singapore Airlines, we didn’t get much time to get out. We did go to a few local places but that was probably around six or seven years ago. The dining scene has really gone through the roof, and there are really some fantastic chefs here right now, like at Luke’s around the corner, Ryan Clift of the Tippling Club obviously. It’s really good, love it.
Who’s working on the decor of the place?
MS: The Stripe Collective is working on the interior design, using furniture from Fred Lives Here.
Why open the bar first, before the restaurant?
Luke Whearty: Because it’s on the ground floor and we’re just working our way up. And we want to open up to the public with some drinking—and some food of course. There will be a kitchen adjacent to the bar and we’ll be serving bar snacks.
What kind of bar snacks?
MS: Luke’s a genius with drink and makes his own distillations. The real creativity here is about the drinks. The food is going to be good quality produce and just cooking it very simply. The sort of thing you can eat standing up, with a glass in your hand: things with lots of salt so people drink more. So, we’ll have deep fried baby squid with some chilli, and pea and ham croquettes—sort of comforting bar food.
Tell us about the space.
MS: We’ve got the lease on the building so there are four floors. And though it looks really big outside, it’s actually really small inside. This [the ground floor] is obviously going to be the main bar and the first floor is the restaurant, the second floor is the private dining area, then there’s going to be a rooftop terrace. Gradually, we want to have a garden up there with a small kitchen outside and maybe a barbecue. We want to plant some herbs and some salad things like radishes. We can’t grow all the vegetables but I think we’ll be able to grow all our herbs up there.
Do you try to use local produce?
MS: As much as we can we want to use local but I understand in Singapore there’s not a lot of land. In England we’re very used to working with seasonal produce and here we get things all year round. We’re trying to be as local as possible and right now that’s turning out to be Australia. They have fantastic quality beef and our chicken is going to be from Malaysia. I’ve recently been put in touch with a guy who farms sea bass on an island just off Singapore also.
Who do you intend to target at different times of day?
MS: Luke makes this incredible coffee, so we’ll be open quite early with simple pastries and breakfast offerings to go with the amazing coffee that Luke does, and then run into lunch and then dinner.
LW: So you can come and get a drink at anytime, like coffee in the morning. It’s very much because of the area. It’s very much on the way for people going to work and they can stop off here. The coffee is actually sourced locally as well. I mean they are South American beans from a company called Nylon. And the machine we’re getting is a custom-built espresso machine called a Slayer. We’ll also do cold drip coffee that we’re infusing with different things like lemon myrtle. And we’re doing bottle fermented coffee. It’s slightly alcoholic. You use Champagne yeast to carbonate the drink and it’s just really simple form of fermentation.
And you’re doing kegged craft cocktails?
LW: Yeah, we’re putting some modern techniques in these drinks but we still want to make it approachable. We don’t want people coming in here feeling intimidated: very simply, we’ll have the drinks on tap. We’ll have a house beer too. We’re working with a local brewer Jungle Beer and we’re brewing it with nutmeg and calamansi lime, so a bit of a local touch. There’s and also Prosecco on tap. We’ll have two rotating cocktails to start: a gin and tonic with a nutmeg leaf. We’re house distilling the gin also using a pretty fancy piece of equipment that looks like a time machine. And the other drink will be sangria. But instead of regular wine we’ll use vermouth so it has a lot more character, and we’ll use a lot more spices. And then we infuse it overnight with strawberries, cinnamon and star anise. At the end of the day, it’s still sangria but it tastes very different. We want it be very approachable we definitely don’t want to put $25 price tags on cocktails on tap. The focus of this bar is somewhere someone can come two-three times a week and it’s not going to break the bank.
MS: We want that for the restaurant too. That’s the way it’s setup. You can come in just two to three ladies and order some starters to share for a light lunch, and you can come back in the evening for a three-course meal with wine. It’s a place for the people and no passwords needed.
What were some challenges setting this place up?
MS: I think it’s getting the team to work together. After the first year it’s just automatic and it’s just like a ship, which you just have to gently steer. But in the first month, it’s chaos, even when you have run-throughs. We’ve also got quite a small space here—only 34 covers at the restaurant space, so it’s about organizing the space cleverly.
Do you have plans to do events here?
LW: Definitely, the different spaces allow us to do that. For private dining, we can arrange for a private bartender for the night and we’ll source some really cool vintage spirits from the UK: vintage gin and vintage glassware. We also hope to do Sunday brunches and things.
Plans to expand this concept to other parts of Asia?
MS: I think that’s on the cards potentially but like anything, you got to get the first one right first. I think it’s going to be a long time to make sure this is perfect, and then look at other things like that.
LW: We’ve definitely got such a great team for the design, bar, food and front of house, I don’t see why not.
Mark Sargeant and Luke Whearty are part of the team behind Oxwell & Co.
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Every artist dreams of having a big concert at least once in their life. But it can be a double-edged sword: do your fans really love you enough for your concert to sell out?
Dreams come true step by step. I can’t remember when all my nervous energy turned into confidence. Now it’s like my duty to make people happy.
My dad is a real god to me. He’s created miracles for himself and for us many times. He was the one who got us to play music and to enter the national band competition in 2001 with a strong belief that we would win—and we did! That led us to sign with GMM and we released our first album, So Cool, in 2004.
When I was at my lowest point, dad said to my mom that no doubt I would one day be famous. How did he know that?
Artists have an expiry date. As I earned lots of money, I spent it like a rich person, buying expensive guitars and giving hand-outs to the jackals around me. But artists can’t always rely on a big payday.
So Cool were an ill-fated band. We tasted some fame but weren’t there yet. We decided to go in for a big operation, but we ended up like a coma patient. From doing straight-up pop, we tried to parody old-fashioned rock bands, but people didn’t get the message. We were left out in the cold.
I wanted to turn back time. I called my mom and cried to her on the phone that I wouldn’t accept being a loser who used to be famous and just sits at home. I wanted to delete my past and start again as an ordinary musician who plays at bars.
Dharma turned me around. A friend of mine suggested I read a dharma book. I practiced it like I was a monk. It rid me of all suffering.
Reading dharma books without truly understanding them can drive you nuts. I was like a dharma geek who couldn’t communicate with people. I saw others as sinners and would preach to them about doing good things. I finally got back on track, thanks to my desire for work.
Social media helped me get back in the game. Some people online finally got the idea behind So Cool and helped spread the message to a wider audience. They also gave me the nickname Bra Jao Joke (Joke the God).
Being a playboy is agonizing. I dumped my ex-girlfriend just because I felt I could do better than her. I ended up stuck in the same loop of dating and breaking up for four years. I was afraid it would never end.
Never date someone out of sympathy. It’s bad for both sides. Don’t tell someone you love them if it’s not from your heart.
My marriage is all wrong, except for the love. My wife married a man who gave her his undivided attention. We wed when my music career was at a low point and we planned to do a business together. But when So Cool bounced back and I received lots of job offers, I didn’t have time for her or my babies.
I was a coward. I was too courteous to everyone, except to my wife. We would have big fights and I would put my ego first by saying she was destroying my dream and I had to find money to feed our family.
I nearly quit music after my wife had a breakdown. When I came home one day, she sat before me with unresponsive, blank eyes. She was in hell because of me.
Everyone is important. It’s easy to take sides—but I can’t. My band has fought hard to be where we are while my family is my life. I’ve promised myself that I will die holding onto both things.
Finding a balance is the most important thing. I’ve finally done it. As a married man, I’ve decreased my hectic schedule and all’s going well now.
It’s not easy. If I’m not appeasing both, my wife will hate my job and my friends will hate my wife.
Taxis and office maids are like my pastors to whom I confess all my problems. When I get in a cab, I start telling them my story. It’s a type of relief.
Having children unleashes a parent’s real character. I understand why people get divorced because they don’t love each other enough. You must be so strong to get through it.
I’m so blessed by my fans. It’s incredible to have people love you without knowing you personally. They love me, my wife, my children—they even bring stuff for my kids at school. How wonderful is that?
Artists must find a backup plan. I always tell my bandmates to find other sources of income, then we will be able to keep performing full of happiness like Carabao.
Those who you love and love you are the most precious things in your life.
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When did you first start fishing?
I was probably only three or four when my uncle took me fishing. I did it off and on during high school but could never really afford to do it properly. It was only when I started working that I was able to really take it seriously.
What is the appeal?
There’s a quote I heard by a guy called John Buchanan that sums it up really well. He said, “The charm of fishing is that it is the pursuit of what is elusive but attainable, a perpetual series of occasions for hope.” The biggest thing is you never know what’s going to happen. Every time you go out it’s like buying a lottery ticket.
How did you get spotted for King Fishers?
Well, when I decided to pursue this full-time I really worked hard at marketing myself—as well as learning how to fish properly. My website makes use of all the skills I learned in my media jobs. If you search for fishing in Thailand, my website comes up on the first page of Google. The production team found me through that and, because I speak good English, I was the right fit for the Thai contestant.
What’s the show about?
Basically three fishermen have to go and fish in each other’s countries then score each other based on the fishing and on the cultural experience.
Where do you like to go fishing and what do you like to catch?
I probably prefer to go fishing in reservoirs as that’s where you find giant snakehead. They are very vicious and very intense—they fight dirty which makes catching them very challenging.
You fished in different countries for the show; how was it?
Fishing in Darwin, Australia, was just great. There are so many regulations in place there that are strictly enforced, which makes fishing that much more interesting. Here, if someone finds a good spot, it gets hit hard and fished out quickly. The idea of catching a fish then releasing it back to grow further is totally alien to Thais. There are no regulations.
What’s your strangest fishing experience?
Well, a couple of years ago my stepfather died in a violent accident. Afterwards, it was a very tough time and I decided I needed to go fishing, as therapy. My mum got the monks in to do a ceremony at our home while I was out fishing and, as they were chanting their prayers, I caught this huge giant catfish. To make things even stranger I caught it surrounded by a group of Japanese fishermen. My stepdad was Japanese and the fish weighed almost the same as he did.
What’s next for you?
I’m in talks about the possibility of having my own show, but it’s still quite early days. But my experience on the show has made me realize that I want to go and fish around the world. I want to go everywhere.
You can see Oz on King Fishers on National Geographic Channel Aug 7, 9pm.
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How did you first get involved in filmmaking?
I never studied film in university. But a love for film has always been in my blood. I’m a real film junkie, especially when it comes to artistic films. So, at the age of 30, I decided to leave my job as an organizer and pursue my dream of making a film. I gathered the funds from many sources and made my debut film, Dae Por Nak Pattana Phoo Ying Yai (2009). After realizing I could make films on my own, I followed it up with 9 Mahadsajan Ong Rajan Phaen Din (2010), Siang Tao Fah Nah Tao Klong (about Thai traditional music, starring Lek Carabao, 2011), and Menu Kong Por (2013).
What’s the story behind Pawn Shop?
After Menu Kong Por found some success, Golden A founder Somchai Ongarj saw my work and asked if I had any ghost-related plots that could work with his studio. I gave him a very brief outline of the film and how I wanted it to be a different kind of ghost movie where the living really confront and interact with the ghost. Surprisingly, he entrusted me to work on it. It’s made on a small budget and most scenes happen inside a single room, but with Noi Pru starring, the ensuing hype probably makes it my first so-called commercial film. The film is carried by the performances of the actors, who make it a really powerful statement.
We heard that your film will be screened abroad, too.
It’s already been shown in Hong Kong, where some people from the UK took interest and asked that the film be screened at an event in Coventry. It will be screened in Malaysia, too, right after Thailand. I think this interest is mostly down to the fact it’s a rather different approach to a ghost film. I hope my work can act as encouragement for lesser privileged people who don’t have the chance to study in a university that you can eventually achieve something big through diligence and a strong work ethic.
What’s your signature?
I think it has to be the picture style, which is quite obvious if you’ve seen my previous movies. It’s all about the framing, the intensity, and the fact that I never compromise on dialogue and acting. As a director, I need to get my hands on every detail; I used to do all my films’ posters by myself.
Where do you get your inspiration?
From everything around me. Inspiration doesn’t have to come from watching an epic film. The idea of Pawn Shop actually came to me when I went broke last time making a film and had to go in and out of the pawn shop all year round. As another example, now I’m really fascinated by Thai people’s love of football, so I plan to do a film about it next year.
What do you think about Thailand’s movie industry?
Thailand is not really a film-producing country, like the USA, India, China or Europe. The industry is so small. It seems Thai movie-goers are more into the hype surrounding a film than the film itself. And unfortunately, only films from the few big productions houses have the opportunity to be promoted.
What’s next for you?
A film that I directed called Rang (The Parallel), which should be out next year, with Paula Taylor playing the lead. It’s inspired by a real incident where an old woman was punched and robbed. It’s about this little girl whose mother dies in front of her, and her doll who takes on her mother’s soul. I think I’ll do a film every year. I don’t need anything but filmmaking; it means a lot more to me than gold or sport cars.
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You’re no stranger to the local theatre scene. Are you seeing plenty of quality local playwrights like Jean Tay these days?
There are a whole new generation that are breaking out but they need more time and mentoring and encouragement. I am heartened by those I have worked with; recently I directed two winners of Theatreworks’ 24-Hour Playwriting Competition who were 15 and 16 years old respectively at the time they won and the audiences were surprised at the level of sophistication and achievement of the plays. I am also workshopping new plays with a group of young playwrights that are being mentored by veterans like Chong Tze Chien and Huzir Sulaiman and they are producing exciting work. All these bodes well for the future.
What do you think of the title’s recent adoption as an “O” Level literature text in schools?
It’s fantastic. This play has so much to offer. Its achievement is enormous! A gripping story that is accessible, its storytelling is complex: allowing the play to unfold in an easy to follow manner, yet allows the audience to experience the expansion and collapse of time with many themes and worlds; physical, emotional and intellectual!
What are some of your own quirks?
Quirks? Everybody has them. I think a lot or sometimes, I don’t think and just jump in to play and have the most fun. I just try to be as instinctive, yet aware of what happens and what to go for, which might seem like a contradiction. But actors have to function on multiple levels. As long as the environment is safe I am willing to try anything.
The cast is one with a mix of veterans and young ones. How do you cope with them?
Sure it’s amusing for me to say the least. Sometimes when I explain things I have to use metaphors and names that are as unfamiliar to me as my references are to them—like swopping Joni Mitchell for Taylor Swift, Frank Sinatra for Adam Lambert, Steven Spielberg for Chris Nolan, Robinson’s departmental store for Uniqlo, cold calling for social media. I love it because it keeps me on my toes and keeps me current!
How do you unwind after a long day of rehearsals?
I unwind by travelling, taking photographs and playing tennis. I love catching up with friends as I don’t see enough of them during intense periods of work.
What advice do you have for aspiring local actors?
Be sure this is what you really want to do; it’s not easy or glamorous! Once you do, then fill yourself up with as much knowledge and culture as you can, both in terms of training and studying in many fields that are related to art, performance, music, literature, cinema, architecture and philosophy. An actor must be an athlete of physical, emotional and intellectual dimensions.
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How did the plan come about?
The genesis of the event was when a group of University Scholars Program (USP) alumni came together, wanting to give back to the programme. We were brainstorming for innovative and exciting fundraising activities that diverge from the ‘pull-at-your-heartstrings’ campaigns, which are the norm in Singapore. It's about getting Singaporeans to step out of their daily routines and doing something extraordinary for a cause they are passionate about. Participating teams challenge themselves to dance anything between one to ten hours, in order to raise funds for a charity of their choice. In a sense, we are advocates for advocacy.
In line with our original motivation, any profit made from the event will go towards helping financially disadvantaged students from USP, our alma mater.
If it wasn’t for this activity, what would it have been?
Probably something boring and typical like a fundraising dinner targeted at USP alumni? Then again, the dinner wouldn’t happen because we don’t want to be organising something boring and typical.We started off with the idea of a dance marathon. Along the way, we experimented with iterations of the concept, including a karaoke component, or bringing on board side-events to engage members of the public who are too shy to dance.
In the end, we decided not to be overly ambitious. This is the first time such an event is happening in Singapore, and everyone who signed up is taking as much of a risk as we are. We promised our participants a 10-hour dance marathon, so we want to focus on delivering ten hours worth of challenging, memorable and awesome dancing.
Did you pick Hong Lim Park to make a statement?
No. In fact, we had reservations about holding our event at Hong Lim Park because we didn’t want it to be misconstrued as an activity with political intentions. We sought out other potential venue partners, but eventually went with Hong Lim Park due to practical logistical considerations, and cost considerations as well. Having said that, Hong Lim Park is actually a great space that Singaporeans can utilise for all sorts of activities. Many of the limitations and restrictions placed on other venues don’t apply here, and we are very thankful that such a space exists in our society.
What can participants/ non-participants expect besides dance instructors to bring them through a seemingly endless dancing session?
You make it sound like 10 hours of dancing will actually be boring! We Will Dance is structured such that every hour, dance instructors will lead participants in learning the basic dance moves of difference dance styles. This includes the likes of K-Pop, Zumba, Street Dance and so on. The event is open to the public and anyone can come by to soak in the atmosphere, join in the fun, or just watch. There will also be performances from various bands and dance groups throughout the day. Light refreshments will be on sale, and you can look forward to interesting booth activities from our partners.
At the end of the day, we will focus on delivering a great 10-hour dance marathon for our participants. But since Hong Lim Park is a public space, it’ll be interesting to see how the public reacts to our events. Some people have even written in to ask if they can come by with their children and have a picnic while watching the marathon. To that we say: Yes, definitely!
You’re going to have dance instructors teaching participants dance moves at every hour. How much dancing can a person take in ten hours?!
Participants can choose to sign-up in teams of one to three members. There are also different dance categories [where] team members can tag in and out every hour, so most people wouldn’t actually have to dance for ten hours straight! As of now, we have four people signed up as solo participants in the Dance Maniac category. We admire their courage and look forward to seeing them complete the feat on event day!
What are some of the challenges you faced in the process of organisation?
On the whole, it’s been an amazing experience organising We Will Dance. We have many more reasons to be thankful than frustrated. Our sponsors, partners and the entire USP network have gone out of their way to contribute to an event without asking for anything in return.
Then again, we don’t want to paint an overly rosy image of what it takes to organise an event like it. It takes a lot of time, effort, and dedication, dedication, dedication. If you ever want to attempt something of this nature, be sure to do it with people who believe in it as strongly as you do, and will stick with you through all the late-night meetings, paperwork and rejections.
Besides raising funds for charity, what do you hope to achieve from this?
As mentioned above, we see ourselves as ‘advocates for advocacy’. There is a lot more room for people in Singapore to step out of our comfort zones and play an active role in society. Oftentimes, all it takes is a good first experience, so we hope for We Will Dance to be that first feel-good experience, which will spur participants to do more in future.
As USP alumni, another objective of our event is to bring together the entire USP community – students, faculty, staff and alumni – for a day of fun in the sun. As a relatively young academic programme with no official Alumni club or society, we hope for this to spur greater alumni involvement in USP.
Do you think you were made to do such charitable acts?
I don’t think anyone is ‘made’ to do anything. Everyone is exposed to his or her own unique set of experiences, which affects our outlook on life and how we react to it. Everyone also has different sets of resources available to us. I just think we can fully utilise what we have available to us to act on issues we believe in.
Do charitable acts happen by chance or a conscious effort?
Charitable acts can happen on an everyday basis. Sometimes, small and simple acts that take little effort can be just as meaningful as a big-bang charity event.
Yet there are all sorts of inequalities present in Singapore society and issues that need to be addressed. These require groups of dedicated individuals who commit time and effort over long periods, to work together in a structured manner in order to effect change.
Do you think charity efforts in Singapore have plenty of encouragement from society and government?
There are tons of charity efforts happening on a regular basis in Singapore. The government also has a lot of funds and schemes in place to support charity efforts. But there is no perfect society, and there are endless areas in which Singapore society and the Singapore government can improve.
At the end of the day, if you believe something can be done to improve a situation that you think deserves to be changed, it is up to you to seek out like-minded individuals that can work with you to change it. Stop waiting, complaining or criticising. Do something about it.
We Will Dance is happening August 17, noon at Hong Lim Park. For more information, check their website. Tickets are $25-50.
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How did the production come about?
In 2006, we created Mobile with artists from Japan, Thailand, the Philippines and Singapore. It opened at the Singapore Arts Festival and in 2007, it toured to Setagaya Public Theatre, Tokyo. It went well and we knew one day we will work with Japan once again. By 2012, we were ready.
Describe some of the themes in the play.
Human beings desire identity and are attracted to join groups and movements and by default, citizens of a country. Yet after some time, while some become loyalists, nationalists, imperialists or fascists, others end up feeling limited and restless. They resist the traits that initially provided the identity they so desired. The identity is then contested when it can no longer include new elements. The group becomes exclusive, closed and determinate.
You sound like a nostalgic person. Are you?
Yes I am a very nostalgic person but I train myself to historicize instead. It’s not easy but it’s interesting and more beneficial to do that. Mobile 2: Flat Cities is a work that historicizes the relationship between Japan and Southeast Asia. So instead of romanticizing the past, we juxtapose the past with the present to envision a future we can then invest in to build towards.
How’s it like working with artists based in different location coming together?
Fortunately, we started in September last year when we went to Tokyo for a workshop with our Japanese counterparts. Playing together, sometimes without translation helped us to find ways to relate to one another outside of language. Being artists, there are some common sensibilities like mutual respect.
How are our local artists different from them?
The Japanese read the script through a different cultural lens. Because they are less attuned to the politics in Malaysia, they read a scene differently from our local actors. So discussions help clear things up. Generally, Singaporean and Japanese actors love to work. They share similar work ethic and friendships develop through the work..
Do you think the out-of-bound markers restricting theater have been lifted? If not, how far have we progressed?
We’ve come a long way. Although we are still being regulated, it’s a different scene from what we had say, five years ago. Today, we have an advisory system. I believe the conservatives among us have every right to be protected. Let’s share the space. So perhaps with advisory and rating, we can warn each other of the content of the work.
Where do you see yourself five years from now?
I see myself creating more meaningful and challenging intercultural work in all realms of theater-making.
Mobile 2: Flat Cities runs from Aug 28-Sept 9 at The Necessary Stage Black Box. Tickets go for $30 from SISTIC.
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The Only Son is not exactly new; the brand was started back in 2009, selling through selective multi-brand stores such as Opening Ceremony in Japan, Harvey Nichols in Hong Kong and American website ASOS. But it wasn’t until this year that founder Ekbutr shifted his focus back to Thailand, opening a counter at Siam Center’s 979 multi-label store. It’s not only his cutting-edge, unconventional designs that have drawn our attention, we love that The Only Son is a Thai example of a Western-style fashion studio, involving an investor, design team and sales and marketing experts—a model that Vogue Thailand editor Kullawit Laosuksri has said he wants to see more of in Thailand.
Who are you?
I studied fashion at the Sydney Institute of Technology, worked at Ksubi and Sass & Bide in Sydney, and Imitation of Christ in New York. Danai, the owner of A-list investment company, and I were having a conversation [about launching the brand] for a while until we decided to start The Only Son in 2009. I made connections with a number of select stores and decided to launch the brand’s identity with a fall/winter collection. As this was more suited to cold weather, we decided to start off abroad.
What’s the style of The Only Son?
Minimalist, innovative and functional. That doesn’t mean form comes before function; they are balanced. I want people to perceive The Only Son as a conceptual-yet-wearable brand. In the end, clothes must be wearable. I hope people can understand the messages I put in each collection—it’s like narrating a tale through pieces of clothes.
What’s it like to be a fashion designer nowadays?
It’s not just about designing clothes to sell, any more. The market is competitive and you need to take more responsibility. The world is borderless and people are more educated about global trends and style. You have to be adaptable and convey the right message. There are still many loyal customers with strong purchasing power; you just need to find them.
What’s next?
I’m opening a flagship store soon—probably before the end of the year—at a shopping center. I can’t reveal too much yet. While I’m familiar with shopping at street-side shops, like in Sydney and New York, I do understand Thai people’s desire to be in an air-con space. My dream store would be an artsy destination that combines fashion boutique with art gallery.
Studiomake is a design team comprising seven members, including founders and couple Orapun Sarasalin and David Schafer, who returned to Thailand from the US for work and creative reasons. According to Oraoun, Thailand has a long and interesting architectural history, yet not many people in the design industry have opted to build upon that solid foundation. Their recent designs include several residences in Chiang Mai, their own office in Nonthaburi, as well as the Patana Gallery at Rangsit University, which contains galleries, meeting facilities, a library, workplaces and a rooftop garden. This latter venue also boasts a massive, eye-catching moire pattern that appears to move as you wander around the space.
What are you working on?
A project for the Chinese-Thai Institute of Rangsit University, which will float on the water’s surface. It will get underway in the next few weeks and should be complete next year.
What makes you different?
We take a very close look at our materials to see how we can make use of them beyond their traditional functions. We also take a very hands-on approach, working closely with the construction team, experimenting on our own prototypes, whereas other designers get bogged down in forms and sketches.
What’s your inspiration?
Understanding the value of craftmanship and combining it with the latest technologies.
What’s next?
In the future we’d like to take complete control over our work, bridging the existing gap between design and construction.
Artist and illustratorPayoon was first recognized as an up-and-coming graphic designer back in 2004, but then disappeared going off to study at Japan’s world-renowned design institute Tama University. While studying for her Master’s and Ph.D., she also designed and co-wrote the popular OK Go Tokyo (2010) guidebook to the Tokyo design scene. Earlier this year, she collaborated with hip local swimwear brand TIMO on a pair of jungle-inspired trunks. Payoon has just finished three art exhibitions in Japan and Korea, but the coming year promises even more exciting developments. First up, there’s a pattern design for a Japanese fashion brand next month (sorry, we can’t reveal the brand) and then there is character design and brand image for Japanese fabric brand AITIM. She also has at least three book projects set for release this year, two of which are Japanese guidebooks for Thais. On top of that, she will put on another art exhibition at the end of this year, too.
What’s your inspiration?
If you stick to one style, you won’t progress. I love to see my work go beyond what I’ve previously done. I’m pleased to create art pieces that look realistic, but I like to go beyond, into the realms of hyper-realism. I’m trying to be an artist and illustrator at the same time. I hope to merge those perfectly one day.
What’s your ideal project?
I would like to work with a small brand. I just want to build something and grow together. If they have a great vision, I can learn from them, too.
What’s next?
I’ve got no plans to base myself in Thailand any time soon, but I will be appearing as a guest at TCDC’s Good Citizen event on Aug 10.
ArtistArin has actually been around a long, long time, first exhibiting internationally in France during an exchange program in 1988. Since then, he’s exhibited at events like the Sydney and Singapore Biennales and the CEC Artslink in New York during Hurricane Sandy last year. However, his profile rose further after he was chosen as one of two artists to exhibit at the Thai Pavilion at this year’s Venice Biennale. His Golden Teardrop exhibition looked to explore the history of the egg yolk-based Thai dessert known as thong yod through a documentary and sculpture installation, in the process delving into a number of cross-cultural narratives.
What’s your style?
I’m not focused on being too Thai but I do have a Thainess in me which makes me who I am today. I’ve realized that most of the things we learn as we grow up don’t come from the library or school, but from our experiences with people in society. I love to pick up stories that have been told over and over and use them to create new experiences for my audience. My Golden Teardrop exhibition explores the connections between thong yod and the story of how it traveled here from Portugal via Japan.
Any suggestions for young artists?
Don’t look for funding from private sponsors. Seek it from the government as it has an important role in supporting creativity. To ensure this support continues, we artists must create better and better art.
What’s next?
I have two ongoing projects that delve into Thai history post-WWII, one which might appear at the Asian Art Biennale in Taiwan and another at the Florence Art Biennale at the end of the year.
Working as a journalist for Bangkok Post and Reuters, Tul came to question whether journalism really reflected people’s lives and had the power to make the world a better place. He then started to contribute his communication expertise to NGOs including Save the Children, Oxfam and MTV EXIT. Around 2005, Tul became fascinated with the power of blogs for voicing people’s concerns, from the most practical level to enacting changes from the top. When online petition platform Change.org was looking to extend its presence into Thailand last year, Tul was a natural fit as the country’s campaign director. Since then he has seen Change gain over 250,000 followers in Thailand for various campaigns from protesting against eating shark fins to fighting for a proper green development of Makkasan. The group will hold an event on Sep 7 to mark Change Thailand’s one year of operations, which will double as a workshop on how to stage a successful campaign.
Following in the footsteps of acclaimed Thai dancer, director and choreographer Pichet Klunchun, Jitti Chompee is fast making a name for himself for combining contemporary dance with Thai traditional khon performance. He is perhaps best known for his groundbreaking physical performances, often in unusual settings—he has put on various innovative shows at Bed Supperclub, for example—while his dance troupe 18 Monkeys Dance Theatre has already performed overseas in countries such as Morocco and is set to visit Buenos Aires in April next year.
What’s your inspiration?
I guess one of my most prominent inspirations would be French novelist Jean Genet. Partly it’s because of my focus on homosexual issues but also because he shows what it means to be a real artist. A real artist is born with his talents, they don’t learn it in higher education. Genet was a thief, a prostitute and spent part of his life in prison. But the letter he wrote for his lovers in jail became his beautiful silent film Un Chant d’Amour (A Love Song). He made the film without expecting anyone to cherish it. It just shows true passion drives the best artwork.
Are Thai audiences becoming more receptive to your shows?
Well, more Thai people are attending my shows these days but it’s still pretty low compared to my foreign audience. But it’s a start. As Dreambox director Suwandee Jakravoravudh puts it, things are good as long as we have good audiences. Good audiences means people who really want to come to the show, pay for the tickets and appreciate it. That’s also my preference
What is needed to succeed on an international level?
Performing internationally will never be my goal. If that’s how you create an artwork then it’s no longer about your passion. For me, the purpose of creating a show is different. I want to create art without having a plan of where it or I should end up. So what comes after that always keeps me excited. What’s the measurement of “going inter?” Jean Genet did it just because he was passionate about it. It satisfies you the same no matter where you perform. If someone happens to like your work and asks you to perform outside of Thailand, well then that’s a benefit for you and your country.
The 26-year-old Thai journalist was raised in Germany and has had a keen interest in news, particularly Thai politics, since he was young. After working as a reporter for a local newspaper in Hamburg, he shifted his focus to his home country and started reporting on Thailand and Southeast Asia. He has since worked for the Asia News Network and in front of the camera for Channel News Asia. But he’s probably best known for his political blog Siam Voices on the Asian Correspondent website, from which he gained a reputation for his sharp insights into the local political scene. Currently doing a course on Southeast Asian studies, he plans to return to Thailand as an international correspondent.
What are the challenges in covering Thai politics?
It’s probably one of the most difficult and challenging stories to cover for an international audience, considering the events of recent years and how multi-layered the issue is—how are you going to explain all that in a few minutes on TV? Another danger is a certain fatigue, since, on the surface, little has changed in the past few years.
What makes a good reporter?
As a journalist, I want to be the first to know what’s happening, who’s behind it and their motivations. I want to know the mechanics behind it in order to then explain and ultimately report on the consequences, its context and the bigger picture—and also to listen to the stories of the people affected by it. I want to use this knowledge to truly engage as a citizen in a democratic society.
2012 was undoubtedly the year of Panda Records. The label’s head honcho, and general music man-about-town, Wanarit Pongprayoon (Pok Stylish Nonsense) had plenty to celebrate, including the surprise success of the label’s thrilling psych trio Chladni Chandi. However, we’re thinking the year ahead could well belong to another group of media/music types (and friends of Pok’s) who are teaming up as the brand new label Rats Records. One of the founders, Anucha “Off“ Ochareon, introduced us to the label with his electro-punk project Dot’s electrifying single “Another Lie,” which shot up the Fat Radio top 40 chart earlier this year. The second artist on the roster is Part Time Musicians, a folk trio who caused a stir with their latest release, “Would You Mind?” featuring Chladni Chandi. Off told us a third artist should be unveiled before the end of the year, while Dot’s debut album should be out by then, too. What really seals the deal for us, though, is the Rat Records’ HQ-cum-rockin’-live-venue Haus20 Design and Dine, which we just named one of the coolest places to catch indie gigs in Bangkok.
Tongues started wagging when 70-year-old grocery store Lor Yaowaraj received a bold makeover (complete with decorative bicycle out front) at the turn of the year. Pasprapa Kanyaviriya, 27, is the mastermind behind this change, which looked to modernize the old business without losing its unique charms. Vehemently opposed by his family initially, a year spent explaining his business concept finally won them over. With more than 5,000 categories of products, Lo Yaowaraj isn’t just a wholesale and retail shop, anymore—it’s also become a popular destination for tourists strolling around Bangkok’s famous Chinatown.
With this new-found popularity, Pasprapa is confident that the next step will be to expand this local business regionally.
What’s the store’s concept behind the store?
We aim to represent our surroundings by gathering all the best stuff in Yaowaraj to sell in one place. Regular customers can find the best selection, while tourists can find the perfect souvenirs.
What’s next?
We don’t want to open other branches in Thailand, but we are eyeing new spots in neighboring countries. We dream of opening Lor Yaowaraj in Yangon, Luang Prabang and Hanoi soon.
RestaurateurEh is the man behind the growing restuarant empire that spans the chic Minibar Royale to the popular Somtum Der and Supanniga Eating Room, among the first in a slew of restuarants focused on serving up authentic Thai flavors in more refined settings. He’s planning to head to New York, where he aims to take real deal Thai food to the world stage.
What inspired you to open a restaurant in New York?
New York is already known for its excellent culinary scene. What I’m hoping to bring is something exciting that’s still missing, an authentic Thai restaurant with an urban concept. People in New York already have a good perception of Thai food. They are not just familiar with tomyam, but regional dishes, too. Somtum Der is suited to New Yorkers, especially in the area where we will be located, which is in the NYU neighborhood filled with artsy, hip people. Supanniga is more complicated—we need to better understand the market first and work on our ingredients and recipes. It’s long been my intention to present authentic Thai food to the world. We will also try our best to educate customers about Isaan culture, what the food is like and how to eat it.
What are the challenges?
There are limitations regarding produce and many restaurateurs compromise on flavors to suit the foreign palate, but our selling point will be presenting authentic versions of Thai dishes. In Bangkok, 50% of our customers are foreigners and we know they can handle it all, barring the very spiciest. No need to worry, our chef, Kornthanut Thongnum will be very tough. The people of New York will get the closest taste possible to what we eat here.
Where to next after New York?
First, we aim to open more branches in different areas around New York before expanding to other major metropolis like London, Hong Kong and Shanghai. I get a lot of inspiration from traveling and like to connect what I’ve seen elsewhere with my roots. My restaurants are not just about lifestyle, they tell my story as well. We’re not about new trends. We’re here for the long run—10-20 years. We don’t just want to open a restaurant that is really trendy, then close and open another one.
DirectorHaving worked on GTH’s Bangkok Traffic Love Story and Top Secret, Ter finally stepped into the spotlight on his own last year with his directorial debut, 36, which has claimed numerous awards, including New Currents at the Busan Film Festival, and is still doing the rounds at many of the world’s top film fests. And we’re expecting even bigger things from Nawapol this year. His second full-length film, Marry is Happy, Marry is Happy [formerly The Year of June], is receiving funding through Venice’s Biennale College-Cinema and will make its premiere at the Venice Film Festival in August before hopefully arriving in Bangkok later this year.
Can you describe the inspiration for your latest movie?
It’s pretty experimental. I’m interested in the current obsession with social networking so I tried to write a script from following newsfeeds on Twitter. It’s meant to be a year in the life of a female Bangkok student as relayed through her Twitter status.
Do you think indie films are more valuable than mainstream movies?
People need to stop judging movies on whether they are indie or mainstream. Indie does not automatically mean cool, nor does mainstream mean bad. You can take valuable insights from all sorts of films; for instance, Thai people’s love of comedies and ghost movies reveals a love of light-relief and superstition.
What’s next?
I’ve already talked to GTH about my next film for which I’ll be both screenwriter and director. We haven’t gone too deep into the details regarding plot or concept, since I’m now obsessing with Marry is Happy, Marry is Happy. The project should start once I bring that film back to screen in Bangkok, which should be in December.
What kind of film would you like to make next?
Well, I’m not entirely sure, but what I’m really interested in right now is the issue of religion and the monkhood in our country. In social media terms, Nern Kham’s story is undoubtedly the hottest topic at the moment. This leads me to question, what are we, as a society, more interested in, cherishing our Buddhist beliefs or preserving status?
What do you think of the Thai film industry at the moment?
I’m impressed with the Pee Mak Pra Khanong phenomenon. As a filmmaker, I can say that film would not have been easy to produce. The fact it’s made not only B100 million but B500 million is astonishing. For the past two years, we haven’t really seen anything new, but Pee Mak is proof that something different can achieve commercial success, too.
You’ve probably already seen her honey-tanned skin and fierce face in shoots for local fashion magazines, but it’s on the big screen that Chanokporn Sayoungkul (Dream) really caught our attention. After graduating from KMUTT School of Architecture & Design, Dream landed a steady stream of modeling work before securing a role in the Pen-Ek thriller Headshot (2011). She’s now focusing on acting with a part in a telemovie tribute to the King to be broadcast in October where she plays a Burmese girl locked in a jail for 20 years. She’s also got another movie project lined up to start shooting in August.
Any tips for wannabe models?
The fashion industry is a fast-paced world. A good model should be disciplined, punctual and ready to work at all times. You should try to learn little details from photographers, stylists and make-up artists, as these can help you improve yourself. Remember, new faces are found every day. Most importantly, be confident and proud of your uniqueness.
ActorTen weeks ago, no one knew about Thanaphop “Tor” Leerattanakajorn. But 260,000 hits on Google and more than 70,000 likes on Facebook later, and the 19-year-old is suddenly hot. The young actor has found fame from his starring role in the runaway cable TV smash Hormones, in which he’s cast as Pai, a hot-tempered student who is involved in crime, fights and sexual conquests. The series has quickly become a teen favorite, garnering more than a million views for each episode on YouTube. As for Tor, he’s the new teen heartthrob, appearing in a music video for Getsunova and gracing magazine covers. We haven’t had any official word about his next project, but this kid’s definitely worth keeping an eye on.
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What’s the inspiration behind the performance?
It came from my observations of people caring less and less about others. I wanted to figure out why this was the case, and then realized that people generally just decided to sit on the fence. It’s like we don’t know how to react rationally to a problem. I hate it when people say, “I don’t feel anything, I’m indifferent,” even in response to the film they’ve just watched. That’s like feeling nothing at all. Why is it so hard to just say you like something, it’s fun, or to say something sucks. Because we never admit to negative feelings, we don’t know how to handle certain political and social situations. Sometimes I think our plight is hopeless.
Can you give us an example?
The most recent one might be the Bangkok floods in 2011. Everyone knew it was a bad thing occurring, but many chose to side-step the problem by saying things like, “Well, it’s good that I got a lot of days off work” or “Now I have an excuse to visit IKEA.” You don’t have to act strong all the time, come on, your house is under water! We never learn how to deal with loss, because we just let it go, so history repeats. The media, too, dramatizes news to make sales, showing dead bodies and treating murder as a normal part of life. We can’t be sure anymore if this is news or soap opera.
How is this dealt with in (In) Sensitivity?
The performance can be perceived as both following and not following a plot. At a certain level, there’s a storyline, but it’s more about the improvisation of three performers and our interaction with the audience, which means every show will be different. The performers will take on three distinct personas: one is all about entertaining, another is detached and unfeeling, while the last is resolutely positive-minded. These characters will be put through situations where they have to decide if they are still happy when they no longer feel anything. The true message of the show, however, will be in the way it affects the audience.
What do you expect audiences to get from the show?
A mutual experience. It’s an experimental show that relies mainly on movement and lighting, which adds meaning to each and every scene. I don’t expect the audience to understand the show in terms of a storyline, but I want them to feel something, whether it’s a reminder of a past situation or an entirely new experience. And if people are bored by my show, will they accept that as a genuine feeling or choose to escape it by playing with their iPhone?
What’s next?
I want to turn (In) Sensitivity into a dance film. This would be a new thing for me, too. I’ve spoken to some friends who are in the film industry and we’ll explore the possibilities more after the show’s finished.
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