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When Odette opened at the National Gallery 10 years ago, Singapore\u2019s fine dining landscape skewed dark, heavy, and overwhelmingly masculine. Leong \u2013 then a Design Project Leader at Universal Design Studio \u2013 conceived something different. Working with Singaporean artist Dawn Ng, whose ethereal aerial installation of suspended paper sculptures became the restaurant\u2019s signature, he deployed a pastel palette of pinks and creams that felt radical in its restraint, whilst mirroring Royer\u2019s culinary philosophy: ingredients at their purest, presented with elegance and restraint.<\/span><\/p>\n The new Odette retains that foundational DNA while speaking in a richer, more assured voice. \u201cIt\u2019s an evolution,\u201d Leong explained, pointing to a space deeply familiar in its bones, yet utterly transformed in its skin \u2013 much like Royer\u2019s cuisine, which has similarly deepened in sophistication over the years. The pastels have given way to a sophisticated palette anchored in warm timber marquetry that celebrates the 90-year history of the former Supreme Court building. The curved screens remain, though now reinterpreted through intricate patterns that reference French art deco. Mohair velvet banquettes, cast mirrored glass panels, and brass pendants by Michael Anastassiades heighten the sense of tactility and craft. Dawn Ng returns with a new installation at the entrance, her sculpture now drawn from seasonal botanical and culinary palettes.<\/span><\/p>\n \u201cWe have chosen a more contemporary look,\u201d noted Leong, who worked with local craftspeople to create bespoke marquetry. \u201cThe new version features a richer, more tactile palette that emphasises craftsmanship and plays with the different tones and textures of timber.\u201d<\/span><\/p>\n<\/div>\n