Inside Sentosa Cove’s Plinth House, the first landed home with structural mass engineered timber in Singapore

Often hailed as the pinnacle of seafront residential properties in Singapore, Sentosa Cove comes with its own set of challenges. On the flip side of blue horizons and fresh sea air are bleaching sunlight, salt-laden winds and a public boardwalk that brings the gaze of passers-by uncomfortably close to domestic life. The plot of this home, overlooking Pulau Tekukor and St John’s Island, and flanked by a green linkway, held a relatively new two-storey bungalow with an attic.

Yet, despite its expansive glazing towards the sea, the existing bungalow had already suffered visible deterioration from the harsh coastal climate. More critically to the owners, its openness compromised the sense of refuge that they sought. Hence the decision to go with a new build. 

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At the end of a weathered wooden pier stretching into the turquoise waters of Thai island Koh Mak sits the Blue Pearl Bar, a rustic hut with a thatched roof and bamboo walls. As the sun dips towards the horizon, locals and travellers alike gather here to enjoy cold drinks in the sea breeze. Among the cocktails on offer is Coral Whisperer, a bright, citrusy concoction crafted in honour of Coral Gardeners, a non-profit organisation founded in 2017 by Titouan Bernicot on his home island of Mo’orea in French Polynesia to restore the world’s coral reefs.

What began as a localised effort by a group of island friends who refused to watch passively as their home reef declines has since evolved into a global restoration movement. To date, Coral Gardeners has grown and outplanted more than 220,000 corals across its nurseries and reefs, and established branches in French Polynesia, Fiji and, most recently, Thailand. The last, a dual outpost spanning the neighbouring islands of Koh Mak and Koh Kood, marks the organisation’s largest expansion yet.

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In Opera Tang’s world, love is not something that announces itself loudly. It does not always arrive with grand declarations or gestures. Instead, it reveals itself in quieter, more enduring ways: in a carefully mended garment; in a Teochew steamed fish dish waiting on the table; in the simple question, “Are you coming home for dinner?”

It is in these moments that Tang has come to reflect what a mother figure means. “The first word that comes to mind is nurturing,” muses the 30‑year‑old. “Sacrifice. Love. Maybe not in that order, but all at once.”

Tang, who uses she/they pronouns, is an up‑and‑coming figure in Singapore’s drag scene: fearless on stage, precise with a sewing needle and known for her intricately crafted costumes. Yet, for all the boldness of her public persona, her story is quietly, deeply anchored in family.

Motherhood, for Tang, has never been confined to a single person or a traditional definition. “[A mother] doesn’t have to be a conventional mother,” she says. “Someone [who holds] the values of care and love, that’s what makes them a mother figure.” She speaks openly about the many female influences—her mother, aunts, guiding figures from the drag scene—who have shaped her journey. But at the centre of it all is one constant: her 95‑year‑old grandmother, affectionately and simply known as Ah Ma. Not just a matriarchal presence, she is something more intimate, more profound; in Tang’s words, she is “the embodiment of motherly love that transcends labels”.

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You asked, we answered. After a strong debut in Singapore last year, the Tatler Best Takeover Series returns with a sharper point of view and a more ambitious line-up. Exclusively available to Mastercard holders via priceless.com, this year’s edition spans 10 sessions across May 7 to 9 and 14 to 15, and hosted at Tatler Best-awarded establishments. Bringing together an exciting mix of chefs and bartenders from across the region, the series presents exclusive, one-off experiences you won’t find anywhere else on the island.

The curated programme unfolds through a series of curated sessions spanning collaborative dinners, bar takeovers and diversity sessions designed to spotlight creativity and exchange among talents. Guests can expect collaboration dinners, gastronomy-led experiences that incorporate elements of wellness and watchmaking, alongside dynamic bar takeovers that bring together distinctive styles, techniques and perspectives in drinks.  

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In Roald Dahl’s The BFG, size arrives before language. A child is lifted from an orphanage into Giant Country, where ears enlarge, dreams glow and the world shifts around her. On stage, in a new adaptation by Tom Wells, Dahl’s story asks for a particular kind of belief. The audience must accept that bodies can multiply, that a girl can exist as human, puppet and miniature, that a door or blanket might change dimensions before the eye has fully caught up. Yet the wonder lies not only in how large this staging can make the world appear, but in how precisely it understands the minutiae.

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