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Around the beginning of the 20th century, jewellers started making ornaments that depicted insects and blossoms. Metal moulded into snake bracelets coiled around a woman’s arm. Jewelled insects paraded on her lapels. At the same time, these artists experimented with new techniques to bring to life traditional subjects as the sinuous line of a bare branch, a woman’s flowing hair, and the female form.

The graceful pins and adornments crafted by talented artisans made all things beautiful. A pendant by Berlin painter and goldsmith Wilhelm von Cranach shows two ugly fish, face-to-face, holding a large opal octopus between their profiles. A brooch by French jeweller René Lalique called Winged Sylph is a delicate, pastel-coloured, fairy-like figure who stands on the back of a gold animal that resembles a snarling wolf at one end and a raging eagle’s head at the other.

These are among the more than 250 unique jewelled objects — bracelets, brooches, rings, cloak closings, necklaces and tiaras — being featured in the Maker and Muse: Women and Twentieth Century Art Jewelry exhibition, on view through January 5, 2016 at the Richard H. Driehaus Museum, Chicago. The international collection comprises jewellery from the late 19th and early 20th centuries. Most of the pieces are so interesting and timeless that a stylish woman may wear them a century later and still feel confident that she’s very much in fashion. Maker and Muse also pays tribute to several women jewellery artists. Society was in flux at the turn of the century, and the social changes affected women’s roles. A woman had more options. She might pursue a less traditional path. It was even possible for some to establish their own studios.

The jewellery in the exhibition is in the style the French showed at the 1900 Paris International Exposition and famously christened Art Nouveau, the new art. Based on simple lines and organic shapes, and fashioned by an artist’s hand, Art Nouveau contrasted markedly with the currently popular Victorian styles, which were heavier and more opulent. The new art quickly won universal favour. It was adapted to the full range of material culture, including architecture, graphic arts, textiles, and ceramics.

In Belgium, as in France, the style was called Art Nouveau; in Germany and in Austria, it was called Jugendstil. In England, where it had developed in the late 19th century, it was called the British Arts and Crafts Movement. By whatever name, it was a repudiation of the shoddy products produced by the Industrial Revolution, especially arts and domestic crafts produced by factories and mechanisation. But the British Arts and Crafts Movement went further. It was a social movement that protested against the dehumanising effects of factory work. The British aimed to abolish the specialisation and repetitive workshop practices that relegated one person to such mind-numbing labour as only casting gold, another to enamelling, yet a third to setting gems.

The British championed the art of simplified forms and organic shapes, but also the purity and virtue in handwork. They celebrated the designer as maker. In the United States, several Art Nouveau artists, notably Louise L. Tiffany in New York City, followed the British lead. Artists organised the first American Arts and Crafts societies in Boston and Chicago. The turn of the century called for a new style, and Art Nouveau satisfied the desire of an era in transition. It presented a new way of looking at and seeing nature. For their part, artists found inspiration in all of nature, the traditionally beautiful as well as what they had previously overlooked. Jewellery artists adapted the new ideas to their creations. And people appreciated the unique handwork and talented artists who produced such attractive jewellery. Art Nouveau fostered new possibilities and optimism for a new century, which women eagerly embraced as maker and muse. What to expect at Singapore Comic Con 2019 happening this December The Singapore Toy, Games & Comic Convention is back for its 12th run this year, this time, with a laudable renaming of the event to Singapore Comic Con, so we can all now say we’re heading to comic con without being in San Diego. Happening Dec 7-8 at the Marina Bay Sands Expo & Convention Centre, expect the many worlds of video games, anime, cosplay, movies, television, toys, and of course, comics, to converge into one epic event that’s the stuff of nerd dreams. Artist appearances this year include Jock (real name Mark Simpson), best known for his graphic novel works such as 2000 AD, Wolverine and Batman: The Black Mirror. He is also known to have worked on promo imagery for films like Iron Man 3, Star Wars: Episode VII and The Dark Knight trilogy. Also get to meet and greet Greg Capullo, the renowned artist responsible for Quasar, X-Force, Angela, Spawn and Batman. World of Warcraft fans will also find some of his works familiar. Adding to the line-up is pop surrealist Tara McPherson, known for creating otherworldly art pieces that delve into the complexities of the human psyche. All the things we know and love from previous editions will return too. Catch pro gamers in action and try out console and VR games at the Good Game Experience area; walk down Artist Alley and peruse works by amateur artists; find collectibles and merch you won’t see anywhere else; get your hands dirty at tabletop gaming; and lots more. So come dressed in your favourite outfit and join in the fun. Our guesses for the most common costumes this year? Other than the obvious Marvel and DC ones, we reckon Elsa princesses will make a comeback given Frozen 2’s November release, plus a few Chucky appearances thanks to the Child’s Play reboot and Halloween costumes being reused. Oh, and Jedis of course, plenty of Jedis.

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Singapore Comic Con 2019 takes place Dec 7-8 at the Sands Expo & Convention Centre. Tickets from $21 available here.     An AR walkway, infinity mirror room and more at Love, Bonito’s largest store yet Checked out the new Funan mall yet? If you weren’t one of the many who rushed down during their opening weekend (Jun 28-30), here’s one reason why you should. The new Love, Bonito store at Funan is the local fashion brand’s third in Singapore and their largest yet. At over 6,000 sq ft, it’s larger than their 313@Somerset flagship. And with that size, comes plenty of space for bells and whistles that make shopping there such an experience. First, the cool stuff. Along their central corridor is an augmented reality-enabled walkway. Simply scan a QR code with your smartphone and you’ll be brought to a Facebook camera that erupts into colourful blooms when you point it at the walkway. Then there’s the infinity mirror room. Essentially a walk-in space with mirrors around you in a 180° spread, it’s the perfect spot for a glam shot for the ‘gram. Actually, the entire pink pastel hued space is so photo-worthy that it’s hard not to snap away at everything. But it’s also the practical stuff that turns this store into an experience zone. The modular fitting rooms they’re known for, where you’re able to open up the dividers between them, makes its appearance here. Then there’s the new and supremely spacious VIP fitting rooms. Those in wheelchairs and those with prams will get priority access to these rooms. They are also used for those enlisting help from Love, Bonito stylists—it’s a new service they’re offering—so they can give their two cents in the fitting room with you. There’s also a community space at the back of the store, where fashion, beauty, health and wellness events as well as thematic workshops will be held. Need more reason to head down? Just for the month of July, a minimum spend of $120 will get you a free limited edition scarf. There are also Funan exclusive graphic tees ($23.90) themed around Love, Bonito’s values of confidence, community and change. Grab one while you can.

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Love, Bonito Funan is located at #02-09, 107 North Bridge Rd.   Celebrate the long Deepavali weekend at Bintan Lagoon Resort for less If you thought that this year’s glut of long weekends were over, think again. This year’s Deepavali celebrations fall on Nov 5 and guess what? It’s another three days of fun in the sun. So hop on a ferry and welcome The Festival of Lights at Bintan Lagoon Resort. You will be treated to a fireworks display in front of its new beachfront restaurant, 3 Degrees, on the evening of Deepavali and party Bollywood style till dawn in dance club, Silk. Book your Deepavali weekend now at www.journeyful.com/bintanlagoon to receive an exclusive 5 percent rebate upon check out. Rates start from S$272 nett.   99-year-old artist Lim Tze Peng still contributes to the local and global arts scene In 1977, Singaporean artist Lim Tze Peng was awarded the Special Prize from the Commonwealth Art Exhibition for his piece “Untitled Bali” in England. But what the world didn’t know was that this artwork—one which gave him global exposure—was the same piece that was rejected by curators of another exhibition in London. “I was told that the piece was neither of Eastern nor Western style,” recalls Lim, speaking in Mandarin. This story exemplifies the 99-year-old artist’s belief that art, like beauty, is in the eye of the beholder. At such an elderly age, Lim remains alert and strong, and speaks fluently. He can’t stop thinking about art, painting regularly in his studio located on the second level of his house at Telok Kurau. His desire to create is strong; even as he chats with his family and guests, he’s impatient (but never brash), to get back to painting. It’s even reflected in his simple ensemble of white t-shirt and paint-stained pants: all he wants to do is paint. Untitled Bali Lim’s expert use of Chinese calligraphy techniques is easily identifiable, as he adores combining Eastern art techniques with a Western colour palette. Drawing plenty of inspiration from our local culture and scenery, the artist strongly believes in creating art to educate the future generations of Singapore. It’s one of the main reasons why he continues to paint. Patriotism and paying tribute to the local arts scene is of vast significance to him. In fact, he longs for the construction of a new, massive art museum, with a revolving door of exhibitions to display local artworks for Singaporeans to behold. He’s also holding out hope for a large, national art competition that will allow his fellow Singaporean artists to gain recognition and build portfolio. He finds grave importance in sharing Singaporean artworks with the world too; which coincided with an offer his representative art gallery Ode to Art received, to showcase his art in Mumbai, India. Named The Spirit of Ink, the solo exhibition will be a ticketed event, held from Aug 3-Sep 15 at Dr. Bhau Daji Lad Museum, and will see many of the artist’s earlier works which feature iconic Singapore locations like the Singapore River and Chinatown; as well as 10 new pieces of abstract art calligraphy, which he focuses on more these days. “I write better than I paint,” the humble artist states, before showing exactly what he means. He first covers the canvas with large strokes, before adding an explosion of colours with finesse, turning calligraphy into art. And while he used to paint what he saw, he now relies on his imagination and experiences to create. He has contributed much to the local arts scene, and till today, donates his pieces to exhibitions and galleries. It’s hard to believe that this is a man who is almost a centenarian. It’s little wonder why the seasoned artist is highly-respected by his peers, friends and family. His works inspire, while his presence and passion for the arts leave all in awe.     What’s In My Portfolio: Jeffrey McCall “A cornucopia of stories spills from my portfolio. Fantastical or genuine, my ‘story’ feels defined by my upbringing and life adventures—all ‘recorded’ in my memories, my collections, and my experiences, both personal and professional.”   “To ‘escape’ the formality and being an only child until age 7, make-believe friends became the characters in my early play-acting and storytelling. Later on, National Geographic and Encyclopedia Britannica became my escape tickets to dreamed of exotic destinations where I envisioned new, yet to be realized stories. A flâneur I was destined to be.”   This Data-Driven Software Can Reduce Time Required For The Design Study Process 0 What if you could save up to 98 percent of the time required for design study through advanced technology? This is what Singapore-based company Digital Blue Foam is hoping to achieve with their eponymous product, which they launched at the Graphisoft conference in Las Vegas last month. A web-based tool, Digital Blue Foam was made to support early-stage building design and automate feasibility analysis. According to its co-creators Camiel Weijenberg and Sayjel Vijay Patel, the architecture, engineering and construction (AEC) industry at present “uses only a fraction of the data available at the early design stage” and “a building proposal remains time-consuming”, although there is ample information and construction data online. The software is thus enabled to bring data and design together and create the solutions and plans at a faster pace. How is this faster pace achieved?  Digital Blue Foam computes data such as climate, program and urban networks to find out the right building configuration, and improves design outcomes by taking liveability, construction and environmental performance into consideration during the process’ inception. The technology also allows designers to steer the design process and output their studies through its generative design functions and web-based 3D visualisation, rather than having to work through 3D modelling. The data gathered and designs created online can then be automatically streamed to collaborative design approach OPEN BIM through the technology’s propriety API. This streamlines design study, with initial user testing showing a 50 to 98 percent time reduction in this process. Digital Blue Foam also allows for cross-platform integration, allowing it to seamlessly join up with other tools being used in the design process. Users can connect the various software systems to a 3D architectural BIM software created by Graphisoft, ARCHICAD, ultimately increasing both quality and speed of designs as a whole. Made to be accessible to both designers and non-designers, Digital Blue Foam’s platform can be taken offline after the early stages of design for further development. The work continues to be automated through its desktop application, once again saving time for architects and designers.