Going to the movies is a favourite pastime in Singapore, and the numbers certainly prove it.

According to the Singapore Film Commission, cinema attendance in 2010 was at 20,321,000, which amounted to a staggering $162,338,743 earned in box-office receipts — not bad for a resident population of about five million people.

On average, each resident goes to the cinema just over four times a year — a rate topped only by Iceland and Ireland.

This, despite the proliferation of DVDs in homes and faster movie downloads courtesy of high-speed Internet broadband, is a testament to the popularity and prominence of cinema multiplexes (specially-built theatre complexes with multiple screens).

Many of these in Singapore have been upgraded in recent years and now boast digital screens, state-of-the-art sound systems and even more comfortable seats. Several shopping malls — suburban and in the heart of the city — boast multiplexes alongside myriad shopping and dining options.

Movie distributors say there are not enough screens here to meet demand, and the movie-going business seems to be doing better than ever — cinema attendance in 2009 was at 19,640,000.

A slew of ultra-modern multiplexes, owned by five cinema chains, dot the island. Golden Village (GV) boasts the most cinema screens, followed by Cathay Cineplexes, Shaw Organisation, Filmgarde and Eng Wah, and their regular revamps, renovations, technological upgrades and expansions attest to how intense the competition can be. There are about 190 movie screens in Singapore.

First look
Singapore cinema-goers don’t need to wait very long to catch the latest blockbusters as many open here on the same day as or the day after their American premieres, ahead of much of the rest of the world.

And though Singapore’s ticket prices are moderate (standard tickets range from $7.50 to $11 depending on the multiplex and whether screenings are on weekdays or weekends), movie fans here demand an experience: not just watching the latest offerings of digital and 3D films, but doing so ensconced in plush, spacious seats with ample legroom while munching on choice snacks.

A spokesperson for Cathay Cineplexes says that despite “the saturation of the market”, the average yearly attendance statistic looks set to be bettered.

“Based on a year-on-year comparison, the industry as a whole in Singapore is already faring five per cent better than last year,” he notes.

A pioneer of Singapore cinemas, Cathay offers the widest range of movie show times (including 4am and 10am screenings), its signature 24-hour movie marathons (the first here), ergonomically-designed seats and, of course, the latest technology available.

Another cinema powerhouse, Shaw Organisation, reopened its iconic Lido Theatres in May this year after a $20-million revamp, ushering in a swish new look and 11 halls, including one that utilises Singapore’s first IMAX Digital Theatre System.

This hall features a significantly larger screen that offers a higher-resolution display. With a total seating capacity of 1,960, all halls feature stadium seating with seats staggered across different levels, wider legroom than before, and allocated lots for wheelchairs.

Movie distributors say there are not enough screens to meet demand, and the movie-going business seems to be doing better than ever

Seven of the halls, including the IMAX theatre, only screen digitalised movies. And the experience starts even before the lights dim —there is a $1 million video wall screen, as well as digital video movie ‘posters’, to engage patrons pre-showtime.

“We wanted to create and champion change in the movie-going landscape in Singapore,” says Mark Shaw, Executive Vice President of Operations, Shaw Theatres. “With the IMAX hall, we are able to offer our consumers more choices for any single movie title with 2D, 3D and IMAX 3D.”

GV — unlike homegrown players Cathay, Shaw and Eng Wah — is a joint venture between two companies from Australia and Hong Kong. But ever since it set up Yishun 10, Singapore’s first multiplex cinema, in the Singapore suburb Yishun in 1992, it has cemented itself as a benchmark for new cinematic experiences by constantly pushing the standards with many cinema firsts.

With nine multiplexes featuring 73 screens island-wide, GV upped their game in 1999 with the introduction of Gold Class.

The luxury cinemas offer — for $28 a ticket — a pre-movie lounge, a gourmet selection of food and drinks and plush pillows and soft blankets on lush reclining seats that wouldn’t be out of place in an aeroplane’s first class cabin. Cathay and Shaw have since followed suit with their own luxury cinema halls.

In 2006, GV opened a 15-screen multiplex at VivoCity, one of Singapore’s biggest shopping malls. They followed that in 2010 with Asia’s first green cinema, GV Yishun, a refurbished Yishun 10.

The eco-friendly multiplex — with its electronic posters, self-cooling air-conditioning system, energy-saving LED lights and motion sensor lighting in the restrooms — was recently awarded the Green Mark Gold Award by Singapore’s Building & Construction Authority (BCA).

The BCA Green Mark Scheme is an initiative designed to promote sustainability in the built environment and raise environmental awareness among developers, designers and builders in pre and post construction phases.

A new 10-screen multiplex — the Cathay Cineplex Jem — set to be Cathay Organisation’s first environmentally-conscious multiplex, is scheduled to open in the second quarter of 2013.

Cinemas going eco-friendly also means the increasing popularity of associated businesses like the “ticketless” system, as well as smartphone applications. Already, all cineplexes offer various e-ticketing systems which allow moviegoers to buy tickets online or from their mobile phones.

The last word however, rests with the customers. And it seems like a happy ending.

“I’ve been to cinemas in Australia and in the UK; most aren’t as clean, comfortable and high-tech as ours. And at the ones that are, the tickets costs so much more [than here]!” says Kara Tay, 28.

“We have everything! From a variety of food to choose from and 24-hour cinemas! What more can you ask for?” quips Marcus Lee, 19.

Neo Chon Teck is the last of his kind in Singapore. The traditional movie canvas painter started out in the 1960s and has since produced a steady slew of larger-than-life movie posters. Up until the ’80s, he painted around 20 posters a week.

But technology and inevitable modernisation have rendered these works of cinematic art largely redundant.

Although today’s digital prints are of “better quality”, the movie murals are “more sentimental and precious, since they were all hand-painted”, the artist — now in his early 60s — said in an interview with TODAY newspaper.

Though he is retired, Neo’s work still lives on.

Local filmmaker Eric Khoo, who has lovingly kept the movie canvases from his films Mee Pok Man and 12 Storeys, enlisted Neo’s help to paint the poster for his 2008 Cannes Film Festival contender My Magic.

Berlin-based Singaporean artist Ming Wong also commissioned him to make posters for the Singapore pavilion at the 2009 Venice Biennale.

Ming’s installation, Ming Wong: Life of Imitation, which explored the gradual disappearance of hand-painted movie billboards in Singapore, went on to win the Special Jury Mention Award.

An Assistant Professor at the University of the Philippines’ Department of Art Studies, Tessa Maria Tan Guazon was here for an attachment with the National Art Gallery, Singapore.

“I did research on Filipino artists as well as Singapore’s Philippine art collection,” says the 37-year-old Filipina. “I also got to take part in Art Stage Singapore, and attended [Filipino conceptual artist] Roberto Chabet’s plywood works exhibited at LASALLE College of the Arts.”

Through this artist residency programme, SIF seeks to build a network of Southeast Asian art professionals to share experiences and perspectives. “It’s a good opportunity for mid-career curators and art historians to establish related contacts in their fields,” she says. “In many ways, Singapore is becoming a bigger hub for the regional art scene because of the vast resources it allocates for culture and the arts, as well as its strategic location and facilities.”

Indonesian Alia Swastika agrees. The curator and Programme Manager at Ark Galerie in Jakarta, who was also attached to the National Art Gallery, considers the art scene here to be stronger than that of Indonesia’s.

“The Indonesian art scene is very dependent on the market’s stability,but Singapore has very strong government support,” says the 30-year-old.

“In fact, it is interesting to see that Singapore has hosted so many Indonesian artists over the last five years. It wouldn’t be surprising for Indonesian artists to think that exhibiting in Singapore is the first step to being internationally recognised.”

The SIF artist residency programme provides an immersive experience for artists through dialogues and interactions with other artists, stakeholders and the larger community, giving rise to insightful research and culturally dynamic creations.

For more information, please visit www.sif.org.sg.

A selection of art on sale at the Affordable Art Fair Singapore 2010

Mention art, and images like the Mona Lisa, France’s Louvre Museum and paint-splattered canvases and floors spring to mind. It is also a term that might soon become synonymous with Singapore.

According to the National Arts Council (NAC), which oversees the development of the arts scene in Singapore, there were 915 art exhibitions held here in 2009 – 380 more than in 2003. Couple that with the number of companies in Singapore that sell and promote works by local and regional artists – they’ve grown twofold from 153 in 2003 to 328 in 2009 – and it seems there’s a pattern forming.

PRICE TAG

Examples of works by regional artists sold at Utterly Art

This growing buzz surrounding art and the sale of it could stem from an increased appreciation of aesthetics, although some might see it as an opportunity to make a quick profit. In April 2011, Forever Lasting Love, a three-panel oil painting by Chinese contemporary artist Zhang Xiaogang, sold for £6.3 million (about S$12.6 million) at a Sotheby’s Hong Kong auction – a record auction price for a Chinese contemporary art piece.

It’s a staggering amount indeed. It also begs the question, what sets apart the multimillion dollar canvases of dried paint from the ones worth barely a fraction of that?

“Forever Lasting Love’s value comes from its historical context,” explains Phil Whitaker, Director of Sotheby’s Institute of Art in Singapore. “Painted in 1988, it was displayed at the 1989 China Avant-Garde Exhibition, a very important show of avant-garde artists at the Beijing National Art Gallery.

However, the Singapore Permanent Resident is quick to add that just because one painting by Zhang sold for millions, it doesn’t mean that all his works will do so. “What drives the work’s price is its rarity, importance and demand,” says the 55-year-old.

SETTING UP SHOP

Gallery owner Valentine Willie

These relatively high prices are a reason buyers are now turning to Southeast Asian art.

“China’s art market is successful, but it’s also become too expensive, so where else can people invest?” asks Valentine Willie, 57, owner of Southeast Asian art consultancy Valentine Willie Fine Art.

“In Southeast Asia, prices are affordable, which gives collectors room to build a world-class collection. And with its diverse mix of cultures and a population of around 600 million and counting, there’s a lot of potential to be discovered.”

And when it comes to art, it appears Singapore is the place to buy it. “Singapore is a convenient place to come and look at art from around the region,” says Valentine, a 15-year veteran in the fine art industry; he opened his gallery here in 2008.

“It’s financially stable, and given its geographical location, a lot of art from around the region passes through here. I don’t have to go around Southeast Asia to see each country’s respective art; I can come to Singapore.”

He points out, though, that galleries don’t always make huge turnovers. “If we’re lucky, the value of a painting we’ve bought will appreciate over time – say five years – and a nice profit is made when we sell it,” he explains. “We have had a decent share of good sales, but there’s no definite way of knowing beforehand which ones they will be.”

It’s a sentiment that Pwee Keng Hock shares. The managing partner of local gallery Utterly Art notes that the art market isn’t an easy one because of a limited pool of local collectors.

“Though their numbers have grown, the [number of ] galleries have as well,” says the 47-year-old Singaporean. He exhibits established artists from neighbouring countries, but also supports young and affordable artists.

This variety has drawn buyers from all walks of life, from businessmen to students.

Keng Hock attributes Utterly Art’s staying power since it opened in 2001 to the passion for art shared by him and his partner.

“It’s what drove us to keep going, making contacts within the local art community, and now we average 30 exhibitions a year,” he says.

“You can’t just sit there thinking you’ll sell that one work that will make you millions. With so much competition, you have to ensure that your name continues to get out there. We did that by presenting ourselves as a platform for young art students here to showcase their work.”

ART BY NUMBERS

The growth in the art industry has made a sizeable financial impact on Singapore’s economy. NAC figures show that the contribution to the economy from art sold at exhibitions and by galleries has steadily increased from $221 million in 2003 to $470 million in 2008.

These figures haven’t gone unnoticed by the international community, with the Affordable Art Fair (AAF) making its first Asian showing here in November last year. Originating in London in 1999, it is an annual event held in eight major cities worldwide, including New York City, Amsterdam, Brussels and Sydney.

“The response in Singapore was overwhelming,” says Fair Director Camilla Hewitson. “Our next show in November this year already has 85 galleries applying for a spot, 35 more than last year.”

The AAF – whose organisers aim to debunk the myth that art is only for the wealthy – proved their point: 9,500 people visited the three-day fair, which featured works by artists from Asia (including Singapore), Australia and Europe. Works were priced between $100 and $10,000, and generated more than $1.75 million in sales.

“Singapore was a natural choice for the first Asian AAF, says Camilla, a British citizen in her 30s.“With an active gallery and museum scene, and a diverse population, the entire arts scene here is growing very fast. Singapore is becoming one of the premier art hubs in Asia in terms of attracting visitors from all over the region.”

An educational art tour conducted by Sotheby's

With trade on the rise between India and Singapore, two local businessmen tell Singapore how they made inroads in the Indian market. BY GENE KHOR

Perseverance paid off for VS Kumar. The 48-year-old Singaporean invested about a quarter of a million dollars as well as a year of his time in getting the Chennai branch of his courier service company operational in 1994—twice the amount of capital and time he had originally estimated it would take.

For him, though, giving up was never an option. “It took me eight years as a lone dispatch rider in Singapore to accumulate enough clients to start my own company, Network Courier, in 1990. So I wasn’t about to give up on my first venture outside Singapore,” he says.

The catalyst for this decision to expand overseas presented itself 17 years ago, when Kumar read in the newspapers comments made by Professor S Jayakumar, then Singapore’s Foreign Minister. “He was encouraging local businesses to explore foreign markets,” says Kumar. “Chennai, as the capital city of Tamil Nadu, looked like a good choice because I speak Tamil, the primary language there.”

In the mid-1990s, 51 per cent of any foreign business venture in India had to be owned by an Indian national. Kumar acquired a local partner but the partnership was dissolved in 1997 due to personal differences. The Indian government had softened its stance on business ownership by then, so after buying over his partner’s share, Kumar set about cementing Network Courier’s Chennai presence.

But losing his Indian partner meant he had to negotiate his own way around a business environment he was then unfamiliar with. Getting the paperwork done was an eye-opener as there were multiple documents to be obtained and approved. “On top of my courier licence, I needed a letter from the airport authorities to allow me to bring packages into the airport,” Kumar remembers. “Then, I needed another one to bring them onboard a plane.”

He was also surprised by how the office rental came with an 11-month contract—with an additional 10-month deposit payable upfront. Looking back, Kumar admits that he had taken for granted that “doing business in India wouldn’t be very different from Singapore”.

Of the experience of investing more time and money than anticipated, Kumar likens it philosophically to “wanting to buy a fishing hook, but ending up buying the fishing boat”. Not that he now has any regrets. The “boat” weathered whatever storms came its way, and last year Network Courier— of which he is managing director— recorded a turnover of $3.2 million from the Chennai branch, about half a million more than in 2009. This sum was “quite a significant” percentage of the company’s total turnover, he discloses.

Kumar attributes the surge to the exposure India has been receiving of late thanks to international events such as last year’s Commonwealth Games. “Now international name brands like [car manufacturers] BMW and Audi have opened factories there, while retailers like MAC [cosmetics] and [clothing brand] Timberland are available in the huge malls,” Kumar observes.

All these developments mean he has no shortage of clients. His Chennai business boasts a database of around 1,500 clients, serviced by 35 staff. Chennai is India’s fifth most populous city, but that’s not the main reason Kumar—who spends around a week there every three months or so— receives a host of applications each time he advertises a job vacancy. “I’ve earned respect by showing that I don’t quit once things get tough; that’s why I’ve had around 20 people apply for one dispatch rider’s position.”

FINDING THE RIGHT PARTNER

India—the world’s second-most populous country—doesn’t have a one-child policy, unlike China, which currently ranks first.

And that was the main reason Dr T Chandroo felt that the Indian market had enormous potential for a Modern Montessori International (MMI) preschool.

“MMI’s options are limitless in India,” says its chairman and chief executive officer.

The middle-to-high income group are the school’s key clientele. “In a country with a population of close to 1.3 billion, what percentage does this group make up?” asks the 57-year-old Singaporean rhetorically. “Even if it’s just one per cent, that’s still 1.3 million. At full capacity, my schools there still wouldn’t be able to cover even half my targeted demographic.”

Dr Chandroo became a franchisee of MMI London by opening a teacher training and preschool enrichment centre in Singapore in 1989.

“At full capacity,my schools still wouldn’t be able to cover even half my targeted demographic.”

Dr T Chandroo on the opportunities for growth in the preschool industry in India”

But it wasn’t until 14 years later that the wheels to venture overseas were set in motion. “Unlike other businesses, education [in India] still adheres to the 51 per cent Indian citizen ownership rule,” says Dr Chandroo. “Though opportunities with smaller establishments had presented themselves before, working with a bigger corporation would take our company to the next level, allowing us to build ourselves up to their standing in the business hierarchy.”

Enter the Jaipuria Group, Pepsi-Cola franchise holders for North India and Nepal, and the largest bottlers in Asia. “They were already running the Delhi Public School, which covered primary and secondary school classes,” explains Dr Chandroo. “So they wanted to diversify and introduce early childhood education as well.”

MMI’s teaching system, which originated from the United Kingdom,was what the Jaipuria Group was looking for.

A Modern Montessori International preschool class in session in Guragaon

The first Indian school was opened six years ago in Gurgaon, the sixth largest city in Haryana, considered one of the most prosperous states in India.“As Haryana’s industrial and financial centre, it is a densely populated area that has many young couples with children—our key demographic,” says Dr Chandroo. “We also considered Mumbai, India’s most populous city, but rental was too expensive.”

There are now 14 other MMI schools in Indian cities, including New Delhi and Bangalore.There have been few hiccups in the expansion. “With their reputation and connections in India’s business landscape, the Jaipuria Group had no problems with the administration involved in setting up the schools,” explains Dr Chandroo. The only problems encountered have been copycat institutions, claiming to have similar —albeit uncertified—early childhood programmes.

Today, MMI India makes about $2.5 million per year from its schools, but Dr Chandroo hopes to grow this amount to $25 million in the next five years. He also has plans to open 1,000 schools in India within the next decade.

“You’ve got to know what your market is, and capitalise on it,” he says. “But the most important part of any venture is finding a strong, reputable partner who shares your vision.”

UP AND UP

The first of its kind, the India Show in January 2011 at the Suntec Singapore International Convention & Exhibition Centre gave Indian companies a platform to showcase their strengths and capabilities. The timing of this exhibition was apt, as 2010 saw $30.7 billion in bilateral trade between Singapore and India, a substantial increase from $6.9 billion in 2001.

This distinct climb can be attributed to the India-Singapore Comprehensive Economic Cooperation Agreement of 2003. Under this agreement, basic customs duties and tariffs for a range of goods between the two countries were reduced or eliminated, in addition to other benefits. The ASEAN–India Free Trade Area Trade In Goods Agreement was also signed in August 2009.

Under this agreement, India offers four different concession types for Singapore-originating goods by eliminating and reducing tariffs for Singapore exporters. According to a Ministry of Commerce and Industry report on India’s Foreign Direct Investment (FDI) in December 2010, Singapore is India’s second largest investor with a cumulative stock of FDI at over $14 billion.

Enter the rhino — a cool one, at that. For 60 years, the makers of a liquid remedy to ease “heatiness” in the body had chugged along, retailing it in a utilitarian plastic bottle under the label ‘Three Legs Cooling Water’. Not only did grannies believe in it, it struck a chord with their grandchildren too.

Says Fu Jiang Sheen, managing director of the company that makes it, the Wen Ken Group: “It is a drink the whole family can enjoy. We’re happy to see the younger generation using it too. Local celebrity Sylvia Ratonel said in a recent press interview that she must always have a bottle of it in her bag.” (more…)

Kilometres away from the city centre’s swanky shopping malls and skyscraper offices, a small farming community toils away, their work representing small but positive steps taken to boost the tiny republic’s self-sufficiency when it comes to food supplies.

Local agriculture looks set to evolve into a booming industry – with Singapore’s Agri-Food and Veterinary Authority (AVA) steering the course. At its Food Safety Awards event in July this year, the national authority — responsible for ensuring the safety of the country’s primary foods, and for protecting the health of its people, animals, fish and plants — announced that it has put several measures in place to ensure a resilient supply of safe food. (more…)

Plans for world’s first data centre park underway

Singapore is proposing to set up the world’s first and biggest dedicated Data Centre Park (DCP) to support the data and content needs of banks, telecommunications and media companies. The Infocomm Development Authority cites the goal of strengthening Singapore’s position as an economic hub by attracting multinational companies to set up their premium data centre (DC) operations in Singapore. It is estimated that worldwide demand for DC capacity could outstrip supply by 20 per cent in 2010.

Bosch sets up solar tech HQ

German engineering giant Bosch has opened its new $92m Southeast Asian headquarters in Singapore. The 21,000-square metre facility is the first Asian location for Bosch’s solar energy operations. Over the next five years, the Bosch Group intends to spend some $26m conducting research and development into organic photovoltaics – a form of solar power that is cheaper to produce than the current solar cells.

New appointments for Temasek Holdings

Former CEO of the Singapore Exchange, Hsieh Fu Hua has been named executive director and president of Singapore investment company Temasek Holdings. Mr Hsieh will assume his new post from August and assist CEO Ho Ching. Their partnership will be aimed at building a robust institution for the long term,including talent development and succession planning. Temasek Holding’s latest appointments also include Dilhan Pillay Sandrasegara as head of Temasek’s portfolio management from October 18. He is currently a managing partner of law firm WongPartnership LLP.

FTA for Singapore and Costa Rica

A broad-based comprehensive Free Trade Agreement has been inked between Singapore and Costa Rica to remove trade barriers and strengthen bilateral economic ties. The FTA will also create opportunities for businesses from both countries to expand their networks in each other’s markets. Costa Rica is Singapore’s eighth largest trading partner in Latin America, with the total trade in 2009 valued at $413.7m. Singapore is Costa Rica’s second largest trading partner in Southeast Asia and biggest market for Costa Rican intelligent cards and medical prosthesis in the region.

IT could have been just another pretty pastry from Europe, joining the sugary ranks of the countless macarons tempting Singaporeans in restaurants here. But when chef Then Chui Foong got down to creating the menu for Jewels Artisan Chocolate – her first venture into the café business – she wasn’t content with simply offering the classic French almond pastry in its traditional form.

“I wanted something made with the best of European techniques, but also original and appealing to Singapore palates,” said Chui Foong, who trained in France under renowned pastry chef Pierre Herme and has over 20 years of F&B experience under her belt. Hence the Black Palm Island Salt macaron was born, featuring a very Asian salted egg in its centre. “One thing Singaporeans don’t like is dessert that is too sweet and too rich, so the salt is a good counter-balance to the sweetness of the almond paste, plus the salted egg is something Asians are familiar with,” said Chui Foong.

She is part of a group of local restaurateurs who are mixing things up and giving all things sweet a distinctly Singaporean spin. And in doing so, they’re creating local classics that retain longevity unlike the bubble tea, doughnut and coffee bun fads that have come and gone. As Germaine Lim, 8 Days food reviewer pointed out, Singaporeans may be well-travelled but “you can’t take the Singapore out of them” – or their yen for local flavours.

FINDING FLAVOUR

One does not have to look far beyond Asia to find an abundance of tastes, textures and temptations. As Janice Wong, founder of 2am Dessert Bar points out: “Many of the ingredients we use are sourced locally and have excellent flavour. Singapore has some very good mangosteens, lychees, jackfruits and guavas. Fine dining establishments should not rule out such produce just because they are readily available.”

She creates noveau dessert that play around with Asian fruits and tastes, such as yuzu (a Japanese citrus), hawthorn berry and guava.

Similarly, Chui Foong delivers familiar flavours in new ways, filling maracons with kaya and almond cream and infusing chocolates with flavours such as jasmine tea, lychee, and frangrant pandan (screwpine leaves). Employing local touches and emphasising premium ingredients help make these new food concepts more accessible, gaining new customers and opening the market, she said.

“I think Singaporeans will always want something local and authentic, it’s just natural.”

NOT JUST PLAIN OL’ VANILLA ICE-CREAM

One of the first to infuse local flavours into western style desserts is ice cream café, the Island Creamery. The ice-cream café won instant fans with flavours such as teh tarik (‘pulled’ milk tea) and pulot hitam (black rice pudding).

Island Creamery opened its doors in 2003 when owner Stanley Kwok (left) – a former engineer – realised he couldn’t find quality ice-cream in local flavours: “Right from the start, the aim was always to focus on local flavours… that’s the niche we created for ourselves.” So successful was the idea that the business, which started with $50,000, broke even “right from the start.”

Island Creamery now has two outlets at Serene Centre and King Albert Park, and a take-away counter at Great World City. “I think Singaporeans always want something local and authentic, it’s just natural,” said Stanley.Catering to nostalgia and tradition has also meant his café not only attracts the young – who prefer classic fl avours like cookies and cream – but an older generation of who prefer the localised creations. Flavours such as Horlicks, chendol (a coconut, palm sugar and red bean dessert) and the aforementioned teh tarik and pulot hitam comprise about half the 20 or so flavours available at any given time.

The ice-cream joint has been joined in recent years by new entrants to the scene. One store, Udders, has gained a following, particularly for their maoshan durian ice-cream (maoshan wang, or ‘Mountain Cat King’ is a variety of durian prized for its rich bittersweet flesh), while Little Ice Cream Kafe (LICK) offers an intriguing kaya (coconut custard) flavour.

Meanwhile, traditional desserts have gotten into the act as well. Germaine cites soya bean milk chain Mr Bean, which sells traditional soyabean desserts and drinks, and a modern update on the Chinese staple with its signature – soybean milk ice cream. “It’s a fun re-invention … Singaporeans always want something new anyway so they have been very receptive to the idea,” she said.

REINVENTING CHOCOLATE

When ‘fancy’ French pastries and cream-filled sponge cakes failed to delight her, Awfully Chocolate founder Lyn Lee (right), decided to start her own cake franchise. While the mousse-filled cakes were a mainstay of many local bakeries and cafés, Lyn wanted something she could sink her teeth into. “[They] were all made with mousse, and I want cake, not cream!” she said.

Tinkering with recipes for over a year to find the perfect dessert resulted in a signature chocolate cake that has become well-loved for its soft, moist and light texture that nevertheless has a deep chocolate flavour. This perfect balance of cake and chocolate fudge frosting hit an instant sweet spot both in Singapore and beyond. Since starting 12 years ago, Awfully Chocolate now has five locations in Singapore, and outlets in Shanghai, Beijing, Dalian, Guangzhou, Hong Kong, Taipei and Jakarta.

She believes the brand to reflect a uniquely Singapore and Asian palate. “Singaporeans don’t like their desserts too sweet or ‘too much’, so heavy desserts don’t seem to be that popular,” Lyn said, “This is 100% Singapore-inspired … It’s not something we tasted somewhere else and decided to bring here.”

LINGERING ON THE PALATE

Distinguishing themselves from mere food fad, the founders of these establishments share some business characteristics, particularly in focusing on quality, not quantity.

For example, Awfully Chocolate offered only three versions of its chocolate cake for over a decade, and nonetheless captured a loyal following. Only in recent years did it expand its menu to include a sultry dark chocolate ice cream and other chocolate treats.

Island Creamery too, despite being around for about seven years, has been cautious in expanding. Stanley, despite interest from Singapore and overseas, has decided not to franchise his business. “I think, as a small, local business, we have the advantage of being able to cater to local tastes,” he said.

And even as western desserts continue to grow in popularity in Singapore, Asian desserts will continue to hold their own in various forms. “We have such a strong food culture that there is space for both traditional local and new fangled western sweets to co-exist,” said Germaine. “There is an Asian foodie in all of us who will crave the black sesame and cheng teng (a clear sweet ‘soup’ made with dried longans, dates and barley) while scoffi ng ice-cream sundaes and lemon meringues. So nothing will be replacing anything and we will see more modern Asian desserts popping up.”

JEWELS ARTISAN CHOCOLATE’S BLACK PALM ISLAND SALT MACARONS

Intriguing combination of sweet and salty that’s surprisingly harmonious
Created by: Then Chui Foong
Opened in: 2010
Number of outlets: 1
Fad or classic: Hard to tell

MR BEAN’S SOYA ICE CREAM

When tau huay or soya bean milk just won’t Created by: Mr Bean soya milk chain
Opened in: 19 95
Number of outlets: 52
Fad or classic: Classic!

ISLAND CREAMERY’S TEH TERIK ICE CREAM

Like having the beverage itself, but in an extra rich, cool, creamy incarnation
Created by: Stanley Kwok
Opened in: 2003
Number of outlets: 3
Fad or classic: Classic!

AWFULLY CHOCOLATE’S CHOCOLATE CAKES

A home-grown idea of how a chocolate cake should be
Created by: Lyn Lee
Opened in: 19 9 8
Number of outlets: 6 in Singapore, 15 overseas
Fad or classic: Classic!