Through the Cat Flap

Ryan Tan Thanks Chris. First of all, just thanks for having us here today, very happy to share whatever we know and I hope it’s helpful and beneficial to anyone listening.

Yeah so, I was definitely raised in the US and I got to further my studies in the UK. I was actually born in Singapore. I would consider myself actually raised in Singapore as well, and definitely also served my national service here. I think having the exposure overseas definitely helped, you know. I think in terms of framing your perception and your world view in general and definitely I am very blessed to have the opportunity to further my studies overseas. My parents actually emptied their pockets for my brother and I to do that. They believed very heavily in education. And I think like, for me, it was very valuable to be exposed to different types of cities, different types of people, cultures and environments. But ultimately, being overseas really made me realise how much I love Singapore.

And I love the creative sector here as well. So I think, I was actually even more compelled and excited about these things as I was overseas. And I was really keen to come back to contribute in any way I could. I think it was really much about whether or not I wanted to try to plug myself into a creative sector that was already very well established, or whether I could be helpful in the uplifting and supporting of something that was still in the process of developing, something that was still fighting to make a name and a space for itself. So I think that was really the fire in the belly that I had, even as I was overseas.

Ryan Tan Yeah, I think when we did that we already had the reason why we set up a collaborative model to begin with, as a lot of people do ask: why, why exactly did you do that? Because it's so 'le-che' right? Don't you feel five-ways is going to cause some tension, some heat? The idea was actually to be able to take someone else's artwork, cut it up and produce something new from that. And collaborations in this format could take a few days, some of them could take a few weeks to complete; but you actually end up with things that you would never be able to create unless it was through this model. And at the core of it all, it wasn't just a game that we wanted people to play. But it was actually a way for us to celebrate the people and the hands and the skills and the background, behind creatives around the world. So we had collaborators from different parts, different design cities, including Paris, Berlin, Barcelona, Singapore, Tokyo, Malaysia, and even though they couldn't speak the same language, they could definitely still converse through the work that they're producing and the meaning behind that work. So the initiative was really about questioning consumers, right? Do we pick our artworks or our printed t-shirts based on how cool or how beautiful they look? Or is this something more that we can create, that we can showcase within the retail sector, and the meaning behind the art piece; maybe the names and the stories behind these art pieces as well. So that was the collaborative model. That was what it was set out to do. What was surprising was that we later got approached by numerous brands who are interested in t-shirts. Yeah, the t-shirts were cool, but they're actually more fascinated by the platform of creativity and the platform of collaborations. So we actually got to start working with them to produce their own collaborations. And that slowly evolved through a lot of hardship, and a lot of hard work, it evolved into a more consultative business, which is what we do now.

Ryan Tan I think what was interesting is that, you know, of course, we entered this industry through the cat flap. We started off with all intentions thinking to be the next 'Threadless' if you like, the next t-shirt online store that will conquer the world, right. But it was quite serendipitous in a way, of how we got to work on a B2B (business-to-business) scale. By evolving the collaborative platform that we had and trying to solve other brand's and other people's problems in communication challenges through that. I think what was quite exciting and surprising to us was actually how open some brands were to how work is to be done, not just to focus on what is meant to be created at the end of the day; but to focus on the process of creativity. And to try to uplift, the creatives that you work with as well as the work that you're looking to produce together. So I think that was quite an amazing epiphany for us to focus on how that work is to be done in values and principles that underpin it as well. As to whether there was a period where we felt that we had made it, whether we felt we've been recognised. I think this is an ongoing struggle for us, because I don't think we ever think of it that way. But I know one project that we worked really hard to get in. And then once we got it we realised the timeline was so short that we had to quickly get it out. And as best way as possible, and that was 2019's: Street of Clans for Singapore Design Week.

Shermeen Tan Thank you! I think in a sense, like what Ryan said, it's not so much like whether, have you made it? Because I think we're still trying to make it. I mean, there's a lot more to go that we can learn about. But I think Street of Clans was so iconic for us, because, you know, collaborations for us is being able to play with other creatives, not just in the design industry. But you know, beyond that, as well. I mean, like scientists can be creative, someone in the Lego field can be creative as well. And so I think, it felt always about how can we become a platform that allows emerging creatives, as well as established creators to come together to produce something more? So I think with Street of Clans we were able to really do that on a bigger scale. So in the sense of being able to have that kind of impact and do something that's that meaningful together with our team, then, in that sense, that was something that we felt like: Okay, wow! We have really honed our skills to this point. That we can actually pull something like this to happen and to make it a success in the sense that people are impacted by it and people from different communities as well.

Shermeen Tan So I think our background is that we are located at Bukit Pasoh, and we're actually located in one of the clan houses, the Koh clan. So when Design Singapore actually called for a district activation, we immediately thought of our street because we just shifted in that year and there's just so much heritage in that street, right? But you are right, like, I don't think our landlord actually knew fully what we did. And I think when we first came to them and said: "You know, hi, we kind of wanted to do this." "Oh is it like Heritage Festival?" Then we said: “No, it’s or something like that, but we kind of want to do it through a lens of design and creativity.” And you could kind of see like the question marks that were growing up above their head, but they're very open about it. They said: "Okay, let us introduce you to the other clans as well." So we ended up going for Koh clan’s 70th anniversary and meeting the Gan clan, and then Tung On Wui Kun. So that was really interesting to see and it then led to the further conversations.

And your question about whether it was difficult or not; I think yes, at the start, you know, to get something as an idea as new as that: to bring heritage and creativity and design across multi generations across multi races and bring it to life. I don't think people actually knew what we wanted to do at the start. So I think it took a lot of actual relationship building first, and kind of them giving us the trust, and then being open to just letting us try this out, for us to really get across. But you could see, that once Street of Clans actually took place and it clicked, in the mind of all these different communities about what we were trying to do, then it was like a spark that you knew that next time, it could go further and it could go bigger as well. And even without our involvement, it's something that they could take on to spread.

And I think that's really the part that's meaningful to us and what we mean by making an impact. So it's not just like, impact in the sense of: do you get more publicity out of it? Or do you get more money out of it? For us? It's at the heart of it is really like, you know, design can change the world and change people's lives. And hence, how can we do our part in (other aspects of) Singapore as well?

Ryan Tan Great question, oh yeah. Thanks for asking that question. I think that the original brief was mainly to do with district activations. So this is a relatively young brief, I think it only had happened one or two years prior to 2019. And the idea behind district activation is to see how designers can spruce up life and interest around various neighbourhoods in Singapore. Yeah, so I think that previous versions of this initiative were street parties, maybe craft markets, lots of music, you know, lots of good vibes, you know, within a festival sort of space. And I think that when we came across the brief, we were obviously very interested to see how we could participate in the design. But for us, I think it was an opportunity to really showcase the impact that design can have on communities who otherwise wouldn't have a reason to interface with design or designers.

For us it was really imperative that the community was involved with us in some way, shape or form. I mean, I think we felt that there was our interactions with our landlords, you know, as we're walking up towards our floor, as we pass by their space, they will share with us their aspirations, what clans can become. Or they'll share with us what they were before, how they were involved in Singapore's roots in establishing hospitals in schools, including giving out bursaries to their family members, or even people outside their family members as well. And they also shared with us their concerns for what clans will become, or what the future of the clans will be in the future, that was just a local story that really needed to be told. And in our interactions with the other clans, we felt that that sentiment was the same, there was a lot of uncertainty.

Shermeen Tan The original brief was very much about the location itself or the heritage of the location, the history of it. But I think where we took a step further, was really looking at the people that are still existing, living within that location, what spirit did they have, what spirit anchored them previously, but is still present today? And how do you translate that to the audience.

Ryan Tan For this question, I can try to answer this, then you (Shermeen) can fill in the gaps, and plug in all the holes before the ship sinks.

Ryan Tan I think our approach is, obviously to make as much impact as we can, the slogan that we go by is to 'make meaningful matter' and you see that listed throughout the website. And I think that's to make meaningful things to make the idea of meaning matter more in contemporary society. And they're going to be projects, which are not going to have much avenue for you to explore this. And I think that's totally normal. And it's totally okay. We genuinely want to do our best for the projects, to go beyond to answer the creative brief, but also go beyond what the clients typically asked for. I think that's just the kind of culture and spirit that we have within our process of work. And of course, if there are projects where, you know, we sniff an opportunity for us to go beyond it and turn it into something that can still generate impact, then we'll always try to propose that as well.

I don't think we wake up assuming that the briefs waltz through the door perfectly moulded to our liking. I don't think that's something that we expect of our clients. But at the end of the day, we're, you know, a consultative service, we are in the service line. So we definitely try to generate the best ideas and not just answer it. And produce the nicest thing from it, but hopefully try to generate a sense of value and sense of purpose.

And in terms of selection criteria, I think over the years, we established like, six or seven prong selection criteria, which of course includes like the usual stuff, you know, is it profitable? Do we have bandwidth for it? But at the same time, I think we try to factor in the team's interest in the projects that we take on. For example, recently the team told us that they will love to work on more beauty style projects or food related projects, F&B. So I think those are the areas that we try to keenly keep an eye out for. I mean you feel like if the team is generally interested and passionate for the stuff that we work at, we can only expect like the best ideas and solutions to come forth from that as well.

Shermeen Tan And the other two criteria are creative impact and portfolio. I think definitely we look out for clients that are open. I mean, they're open to us. We're just trying something new. I mean, we can try something new within the parameters they set as well. But I think just for them to understand that design can do something more for you, as well. So when clients come to us these days, usually, it's not format specific. It's not like they say: Can you please do an annual report, or can you please do a website. They usually come to us and they have a certain need. So we definitely work with them to define, like, what exactly are you looking for? And as to what exactly is going to be the successful deliverable we have, right, then that's something that we discuss first. And it's not set in stone because you could come in thinking that you want a website, but actually what's going to do really well for you is actually maybe a brand experience that's more physical. So I think that's the way that we work here, like Ryan said, that's the way that we want to service as well, like we do want to give you our best and sometimes that means not giving you exactly what you wanted in the first place.

Shermeen Tan The downstairs clients are amazing though! They kept feeding us.

Ryan Tan We didn’t have to ask for food. They are such a dynamic and young team. They will pull us into their R&D kitchen and they will feed us all their prototypes, the dishes that they are experimenting with.

Ryan Tan Might be? It also helps that the team are massive foodies in their own right.

Shermeen Tan And the clients are like amazing. They always feed us when we are there. But definitely, I mean, it does help to understand, you know, the product in order to be able to brand fully for it as well and to tell the story that it needs to tell.

Ryan Tan Yes and no, right, because I think like, over the years, we've actually managed to develop quite a wide range of work that has involved different types of disciplines at the end of the day, and that's something that I think, well, we've heard that it sounds confusing. People are not too sure whether we still do t-shirts. Do we just build Christmas trees every year all year round? Do we do publications? Do we do animation, photography and so on? I think we actually enjoy that diversity of work. In fact, I think recently we just decided to term it beyond disciplinary. It's no longer about being multidisciplinary, but we want to think what's next, like what's the next creative? What's the next way of telling stories in a fresh and interesting way for people out there and I think that's really something that we have to champion.

It's not about us as a creative team doing all the work ourselves; as much as possible stemming back from the t-shirt days, we want to collaborate, we want to champion the spirit of collaborations. So in it being more open and more transparent, more fair. Just trying to stress test, like what it would take to pull a successful partnership off with our partners is something that we're genuinely very interested about. So I think that even though the projects do vary from ten, twelve metre tall Christmas trees to, you know, self initiated photoshoot for XPLR, I think that the principles and values of our team and our brand remain the same in that all of it really celebrates the unique way of telling a genuine story, right? How do we ensure that the work that we have has more meaning than just the product itself, but is a story that we can tell? We can tell the compelling ways in which it can inspire and uplift the lives of others.