Question VII:

Identify characteristic ideologies which define current local design practices, describe the qualities of design works which define them, that have meaningful impact on social cultural norms of Singapore or International Asia?

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The Local Nostalgia Boom and National Identity-building

“Nostalgia is the gentle narcotic for a bruised soul. It can be canned and sold.” — Dr Terence Chong

Nostalgia is an essential and extremely powerful human condition that privileges a utopian imagined past over reality (Helfand). Often criticized for its role in over-romanticization of the past, nostalgia can heavily encourage creativity by helping people access more information in their brain, providing more material for creativity (Pucker). This psychological phenomenon, when applied to design practices, tap into the audience’s sense of belonging, endowing a sentimentality that connects with the user in a way unlike any other. By using nostalgia as a design-making tool, the created works elicits the feeling of social connectedness in the consumer (Cordaro). 

In recent years, the global boom of nostalgic consumer products continue to grow, exemplified by an increased accessibility to classic films through streaming services like Disney+, and re-launches of vintage video games like Pokemon Go. The Singapore design industry itself feeds off this cultural phenomenon, with a trend/practice that is entering its 10th year, but showing no signs of slowing down. NDP 2018 Float https://bk.asia-city.com/city-living/news/understanding-local-nostalgia-do-singaporeans-actually-car

National Heritage Festival https://www.facebook.com/SingaporeHeritageFest/photos/ms.c.eJxFzckNADEIBMGMVgw3~_Se2Mhb4W4JpZJmXipGakeFDg3hIZKrxQNC5AHxALcBIioGifuEayOjReuC9QbSVzoI3q35HX0Uu7IbngUj9AfScJiw~-.bps.a.1879541912070295/1895694350455051/?type=3&theater 

Coined by some as a “hipster heritage impulse”, the nostalgia boom in Singapore is evident across multiple industries, corporations, and even in national projects. Some examples include UOB’s 2018 National Day Parade float taking the form of the “Dragon playground”, The Singapore Memory Project initiated by the local government, and nostalgia-themed cafes and food festivals like “Let’s Go Jalan Jalan”. However, the local design industry, especially within the field of product design, can be seen as an initiator and key player in perpetuating this cross-industry trend. Meykrs Cushions https://www.buro247.sg/instagram/naiise/29644669 

WhenIWasFour Kopi Bag https://mothership.sg/2017/09/iconic-spore-takeaway-kopi-plastic-bag-is-now-an-actual-bag/

Little Drom Store Products https://thelittledromstore.com/collections/mosaic-playground-series

Today, one need not look too far to find design goods with local iconography, ranging from Ang Ku Kueh cushions, to stickers and enamel plates plastered with stylised illustrations of iconic local playgrounds. These can be attributed to the many local brands, such as The Little Drom Store, Red Republic and Meykrs, that have sprouted within the past decade, specialising in producing these “heritage” items. Consignment stores like Naiise, Megafash and Gallery&Co carry these local brands, and in turn also help in market these heritage designs to both tourists and locals that form their consumer base.  

There are various key themes in the spectrum of goods that make up the “heritage” or nostalgic design movement. These key themes include, old playground architecture, hawker culture, local snacks, and analogue toys. Designers within this movement often reproduce the forms of these iconic object and re-interpret them into fun and kitschy home goods — best exemplified by Meykr’s range of Cushions resembling Fishballs and Kuehs, or subversive wearable items like WhenIWasFour’s Kopi tote bag. Another common practice of this design movement include designers translating iconic motifs into playful, colourful and often humorous illustrations. These illustrations are then printed onto a myriad of home goods, stationery and wearable products. 

Although the movement has garnered criticisms relating to the over-romanticization of an idyllic past — with key players in the local arts industry such as the Substation launching a programme specially to interrogate this “national obsession”, the movement has continuously gained traction, appealing to an audience way beyond the design-literate circle, and entering the mainstream. This trend’s acceptance within the general public has been widely attributed to national milestones such as SG50— the Golden Jubilee of the nation’s independence (Chai), and the Bicentennial, commemorating 200 years since Raffles’ arrival to Singapore. However, by examining the ‘mushrooming’ of these local brands in Singapore, one would notice a pattern that indisputably links Singapore’s rapid development to the widespread generation and acceptance of such “heritage” design items.

As posited by Dr Terence Chong, senior fellow at the Institute of Southeast Asian Studies, “ The influx of foreigners and the unrelenting urban development mean we are changing in a stream of change, which can be discomforting and disorientating.” This rapid development has “ resulted in gentrification, or neighbourhood[s] being displaced by new user[s]”, according to NUS historian, Dr Chua Ai Lin. To cope with this rapid change of landscape, Singaporean designers  have turned to a nostalgic and idyllic representations of local history to preserve the fading cultural memories, which is evident when examining the boom of these local brands, a majority of which opened shop in 2010-2011, following the wave of political, social and landscape changes in the years prior. The rapid pace of development is most evident in 2009, with Singapore slipping into the global financial crisis, non-stop construction of new malls, train stations and educational institutions, as well as multiple landmark events in the socio-political sphere, such as the hostile takeover in AWARE and the initiation of Pinkdot in 2009. These culminated in a need for Singaporeans to latch on to a familiar national identity or narrative.

Many critics have pointed out that “It can turn ugly when [this movement] feeds into the idea that there is an authentic Singapore, which can become fodder for xenophobia” (Chai). However, a more optimistic outlook would see the movement creating an avenue for Singaporeans to express their idealism and aspirations, strengthening a national bond through the construction of a collective identity.

Given that the Bicentennial this year has brought issues regarding the Singaporean identity into the public consciousness, Singapore needs now more than ever to figure out a national identity. This design movement has continuously served to root us in our collective past, but it is yet to see if this rootedness would aid in the development of a new and inclusive future. 

References (MLA)

Tang, Louisa. “Nostalgia: A force for good, but a double-edged sword?” Today Online, 9 August 2014, https://www.todayonline.com/singapore/nostalgia-force-good-double-edged-sword 

Helfand, Jessica. “The Shock of the Old: Rethinking Nostalgia.” Design Observer, 27 October 2005, https://designobserver.com/feature/the-shock-of-the-old-rethinking-nostalgia/3807/ 

Sneed, Annie. “How Nostalgia Fuels Creativity.” Fast Company, 25 May 2015, https://www.fastcompany.com/3046676/how-nostalgia-fuels-creativity 

Cordaro, Filippo. “Nostalgia as a Repository of Social Connectedness: The Role of Attachment-Related Avoidance.” Journal of Personality and Social Psychology, April 2010, pp 573-575, https://www.researchgate.net/publication/42388158_Nostalgia_as_a_Repository_of_Social_Connectedness_The_Role_of_Attachment-Related_Avoidance 

Chai, Amanda. “Understanding local nostalgia: Do Singaporeans actually care about heritage?” SG Magazine, 16 August 2018, https://sgmagazine.com/city-living/news/understanding-local-nostalgia-do-singaporeans-actually-care-about-heritage