Tag: Heritage

  • Amber Tan on Taking Over the Fish Business Alone, for Her Daughter

    Amber Tan on Taking Over the Fish Business Alone, for Her Daughter

    Intro

    Amber Tan left Singapore Airlines and put 170,000 dollars of her own savings into a fish business she set up for her then-partner. She lost most of it. When the relationship ended and he left her holding the company’s debts, she took the business over herself, taught herself the trade on the Jurong Fishery Port floor in the middle of the night, and turned it around as a single mother.

    In this episode we get into how she learned the business by making expensive mistakes with her own money, what it took to win over a port full of uncles who told her to go home, and the two selves she carries: the polish Singapore Airlines trained into her, and the woman swearing in Hokkien on the wet market floor. She would have fought to save the business either way. Leaving him, she says, is the part she could not have done without her daughter.

    Story Highlights

    • Setting up the company for her partner, funding all of it, and watching 170,000 dollars of her savings go before she knew the first thing about fish or business.
    • Getting stuck with the bill, as she tells it, when he shipped in fish from Indonesian suppliers under her company name and then went quiet, leaving her to settle it because you cannot owe the government money.
    • Taking over with her last 10,000 dollars, letting the worker go, and going down to the port herself in the middle of the night.
    • Breaking even by February, the Chinese New Year after she took over.
    • The uncles at the port, shirtless and skeptical, telling her to go home, asking if her hands had ever done housework, handing her a calculator because they assumed she could not count.
    • The aunties and uncles who call her Xiao Mei, little sister, and now say goodbye to her as their wet market stalls close one by one.
    • Apologizing to every Grab driver for the smell, and learning that the slime gets into your nails no matter how hard you scrub.
    • The correction to the headlines: the 300 dollars everyone read about was the company account, not her personal savings.
    • Working a wet market stall for cash and realizing on the fly that she could own all three levels of the chain, port to stall to your door.
    • The grandfather who flew the family somewhere new every birthday and wanted to see his tomboy granddaughter become Singapore Airlines crew.

    Quote

    “Both the SQ thing and this fishery port thing, both are part of me, and I’m just learning to weave them together to form this person that’s my authentic self.”

    About Amber Tan

    Amber Tan is a Singapore fishmonger who runs a wholesale seafood business out of Jurong Fishery Port, supplying live marble goby to restaurants and running door-to-door deliveries, with a small warehouse across the border in Johor Bahru. She spent years as Singapore Airlines cabin crew before setting up the business, and took it over on her own after her relationship ended, teaching herself the trade from the port floor up. She is opening a wet market stall this year to close the loop between port and customer. Find her business at Pao Ker Seafood on Instagram.

    Why This Conversation Matters

    The version of Amber that went viral was a headline: the cabin crew who lost everything and ended up at the fish port. The conversation is the part the headline skips. She can tell you why the auntie buying five fish gets fresher seafood than the supermarket, what a farmed marble goby looks like next to one from the sea, and how she is stitching port, stall, and delivery into one chain. She is not a survival story. She is someone learning a hard trade in real time and thinking several moves ahead, doing it with a two-year-old and no partner.

    Turning Points

    • Realizing about five months in that he had lied about everything, and pulling the handbrake on putting more of her money into the business.
    • Her friend’s line: if you stay, your daughter grows up thinking this is how men are allowed to treat her. That is when something snapped.
    • Being left with the suppliers’ debt and deciding she had no choice but to take the company over herself.
    • The night she let the worker go and went down to the port floor alone, in what she calls survival mode, just trying to make it to the next day.

    Key Lessons

    • Keep the business and the relationship separate. The advice she got from every business-owner friend, and the one she wishes she had taken. Tangling the two meant losing both at once.
    • Expensive mistakes teach fastest. With her own money riding on every shipment, a bad supplier or a wrong call gets etched in. She learned the trade by feeling the losses.
    • The wet market is dying, and most people do not see why that should bother them. Her point is that the auntie taking a few pieces straight off the boat sells you fresher fish at lower overhead than the supermarket, and convenience is quietly killing that.
    • Own the whole chain. She took a market stall job because she needed cash, and realized she could hold all three levels: port, stall, and delivery. Desperation turned into strategy.
    • Do not let one person rewrite how you see everyone. Even after being lied to about everything, she refuses to go guarded into new relationships, because that would let him take more than he already did.

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  • Nini Marini on Becoming a Full-Time Artist and What It Cost

    Nini Marini on Becoming a Full-Time Artist and What It Cost

    Intro

    Nini Marini spent close to 20 years in Malaysian broadcasting before she walked away to make art full time. Then she found out that being a full-time artist made her unhappy, which is not the ending anyone wants from that story.

    In this episode we get into the two lives she ran in parallel for two decades, and the painting that finally collided them. Nini talks about being sent into sports television by her father with no interest in sports, building a job title that did not exist, pitching a three-day week to a company that was not ready for it, and what it actually felt like when the art had to pay the bills. We also get into the work she does now in art philanthropy, and the Malay word her country’s master craftspeople use to describe themselves. It means the lowest of the low. This is a conversation about leaving the safe version of your life and finding it more complicated than the story you tell about it.

    Story Highlights

    • Growing up between a mother who taught her about bread and butter money and a father who told her to get a job and pay him back for her overseas education.
    • Coming home from a UK visual communications degree trained for a role that had no name in Malaysia yet, and landing in Formula 1 production instead.
    • Writing a university thesis on why the Powerpuff Girls looked different from Dexter’s Laboratory, at an art school, and getting away with it.
    • Practicing art on the side for years with a deliberate goal: keep a portfolio alive for the life after television.
    • The “why not” rule that got her onto a billboard and onto a pair of sneakers, mostly unpaid.
    • Freestyling a phoenix rising from the ashes, posting it, and having it reach the group managing director whose next company brainstorm happened to carry the same name.
    • Pitching a deck called Doing Things a Little Differently, getting parked in HR for a month, and leaving with a package instead.
    • Discovering that commissions, galleries, and series turned the one thing that was purely hers into something with a deadline attached.
    • Going back into a structure on purpose, this time with art as the subject matter rather than the thing she squeezed in on weekends.
    • Working on heritage craft now, where the fight is convincing the makers themselves that what they do counts.

    Quote

    “When I’m doing art for myself, it’s pure selfishness. I spend a lot of time with myself. I think, I float, I dream, I meditate, and it’s purely a safe space. Which is why, actually, when I was a full-time artist, I wasn’t quite happy there.”

    About Nini Marini

    Nini Marini is a Malaysian multi-artist and art advocate. She spent close to 20 years in broadcasting, moving from sports production into a content innovation role built around her, while running a parallel life as an illustrator and painter. She left in 2018, spent the pandemic figuring out what a creative life could look like, and now works in art philanthropy focused on heritage craft, creative education, and building an ecosystem that does not force every artist to become an entrepreneur to survive. She still paints, and she is deliberate about keeping that part free of clients. Find her at @ninimarini_ on Instagram or at ninimarini.art.

    Why This Conversation Matters

    The story we tell about leaving a corporate career for art ends at the leaving. Nini’s does not. She got the thing she wanted, sat inside it, and worked out that the pressure had followed her in through the income. Then she went back to a structure without going back on herself. That version of the story is less quotable and much more useful.

    Turning Points

    • Being told to earn her keep after graduating during a recession, and taking a job in a medium she had no training in.
    • The phoenix painting reaching her company’s leadership, and a boss who unveiled it to the whole organization instead of asking why she had a second life.
    • Telling that same boss she wanted to flip her percentages: 60% media and 40% art, reversed, just to see how she would behave.
    • Realizing during the pressured years that the problem was not her talent or her market but that the system was never built for people like her.
    • A front-page business feature on creative education that turned into an invitation into philanthropy, and another “why not.”

    Key Lessons

    • You can build the job you want inside a job you did not choose. Nini turned sports production into a content innovation role by treating every unfamiliar brief as something to learn from.
    • Making your art your income changes what you make. When paintings have to be affordable and shows have to be series, the work starts getting intentional in a way that has nothing to do with the work.
    • Structure is not the enemy of creativity. She missed it, went back to it, and got her art back in the process.
    • Naming yourself is a practical act, not a vanity one. She invented “multi-artist” because the alternative was answering the same question about hobbies for the rest of her life.
    • The people making the thing are often the last to believe it has value, and that belief gap is its own kind of heritage loss.

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  • Yeo Min on Food Heritage, Creativity, and Preserving Tradition Through Pastry

    Yeo Min on Food Heritage, Creativity, and Preserving Tradition Through Pastry

    Intro

    Yeo Min is the author of Chinese Pastry School, founder of Pastories Bakery, and co-founder of the Museum of Food Singapore, a nonprofit dedicated to preserving and educating the public about local food heritage.

    In this conversation, we explore how Yeo Min left her career in social work to study pastry, what drew her to traditional Chinese pastries, and how she’s balancing creativity, entrepreneurship, and cultural preservation. From her “cool aunt” sneaking her to McDonald’s as a kid to writing one of the first English-language cookbooks on Chinese pastries, Yeo Min’s story is both deeply personal and profoundly local — a look at how food can connect past, present, and identity.

    Story Highlights

    • The accidental journey from social worker to pastry chef
    • How she met her mentor, Chef Pang, and fell in love with heritage baking
    • Why she wrote Chinese Pastry School to document disappearing crafts
    • The challenge of pricing and sustaining heritage food businesses
    • Building the Museum of Food Singapore to preserve culinary memory

    Quote

    “I feel like we need to be more proud of our food heritage, like our food heritage, and just, just sell it. Don’t be shy about it and just be proud of it like any other person.”

    About Yeo Min

    Yeo Min is a Singapore-based pastry chef, author, and food heritage advocate. After working in social services, she pursued pastry school and discovered her calling in traditional Chinese pastries. She later founded Pastories Bakery, co-founded the Museum of Food Singapore, and published Chinese Pastry School — a first-of-its-kind guide to the craft, science, and stories behind Asian pastries. Her work bridges research, education, and entrepreneurship, bringing forgotten food traditions to a new generation.

    Why This Conversation Matters

    Yeo Min’s story captures what it means to redefine heritage in modern Singapore. Her reflections on craft, pricing, and pride shed light on how traditions survive only when they adapt. In a city obsessed with innovation, she reminds us that preservation is also progress — that being proud of where our food comes from is the first step toward keeping it alive.

    Turning Points

    From making dumplings in a London dorm room to studying pastry in Singapore, Yeo Min’s evolution was sparked by curiosity. Meeting Chef Pang shifted her direction from Western-style baking to heritage pastries, and the closure of old pastry shops deepened her resolve to document traditional techniques. Writing Chinese Pastry School became both a research mission and a love letter to her culture. Through the Museum of Food, she’s extending that mission — teaching children, families, and visitors that food is not just flavor but history.

    Key Lessons

    • Heritage evolves. Tradition survives through adaptation, not imitation.
    • Pride is preservation. Value comes from seeing local food as craft, not commodity.
    • Education drives change. When people know the story, they’re willing to pay for it.
    • Mentorship matters. Knowledge must be passed down to stay alive.
    • Creativity can serve culture. Innovation and respect can coexist in the kitchen.

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