Back in 1967, Seiko had a vision: to create watches that could rival the luxury pieces produced by Swiss maisons. To realise this ambition, it enlisted the help of Taro Tanaka, who developed the โGrammar of Designโ, an aesthetic code intended to give Japanese luxury watches a distinctive visual identity capable of competing with their Swiss counterparts. This pursuit resulted in the iconic Grand Seiko 44GS, which has since become arguably the most influential reference in Grand Seikoโs history.
In 2020, Grand Seiko conceived the Evolution 9 collection to ensure the longevity of this design philosophy, carrying the legacy of the 1967 classic into the modern era. Yet the three pillars upon which the original was built remain unchanged: aesthetics, legibility and wearing comfort.
Rather than reimagining these principles, Grand Seiko continues to refine them, chipping away at the imperfections in pursuit of something closer to perfection. For its latest release, the brand takes some of its most compelling existing models and introduces subtle refinements to elevate them further.
The collection draws its design cues from nature, from birch trees in varying hues to the emerald-green waters of the Atera River. Weโre particularly drawn to two references featuring mesmerising dials inspired by the surface of Lake Suwa.
Picture this: the gentle threshold between dawn and day. The slow transition reflected in the shimmer of light on the water, framed by mountains, fog, and silvered buildings on the horizon. Lake Suwa lies tranquil and still, disturbed only by the morning breeze rolling across its surface.
Both watches capture this mesmerising moment on their dial, where intricate patterns meet subtle texture to evoke the same quiet, dreamlike melancholy right on your wrist. Itโs enhanced by a radial finish, helping the dial catch and reflect light. This means if you rotate your wrist, youโll notice the surface oscillate between deep navy to something closer to a silver-blue.
The Lake Suwa pattern has long been a favourite among Grand Seiko fans and a mainstay of the Evolution 9 line. What sets these latest references apart, however, is their lighter blue hue. Applied to the textured surface, the softer shade lends the dial a delicate shimmer reminiscent of the morning sun dancing across the water.
The SLGB013 keeps to the collection's familiar 40mm case, 11.7mm thick. Meanwhile, the SLGB015 goes svelte with a 37mm case, just 11.4mm thick. Itโs a thoughtful addition for anyone who finds larger watches cumbersome on the wrist. That said, with smaller watches continuing to gain traction among enthusiasts, we suspect the SLGB015 will appeal to far more than just those with smaller wrists.
Additionally, both references are cut from Ever-Brilliant Steel, Grand Seiko's corrosion-resistant alloy thatโs said to have a PREN (Pitting Resistance Equivalent Number) value of over 40. In simpler terms, this places the material in the "super stainless" category, offering superior corrosion resistance and a brighter colour that far exceeds that of ordinary steel.
The bracelet sees some slight reworking as well, implementing a three-step micro-adjustment mechanism that allows users to fine-tune the fit in 2mm increments without the use of any tools. This comes in handy particularly on those humid afternoons, where the wrist tends to swell, making the watch feel tighter than it usually is. Those 2mm increments will give your wrist room to breathe in moments like that.
Under the hood, both watches run on the calibre 9RB2, the Spring Drive U.F.A. (Ultra Fine Accuracy) movement, which yields a strict regimen of ยฑ20 seconds a year. This is a huge step up from the calibre 9RA2, its predecessor which offered only a deviation of ยฑ10 seconds a month. According to Grand Seiko, this qualifies the 9RB2 to claim the throne of being the most accurate mainspring-powered wristwatch movement on the market.
Such precision, however, comes at a cost. For all that enhanced accuracy, the new calibre trades its previous five-day power reserve to three. But itโs a compromise that feels reasonable, considering 72-hours is more than enough for a watch to survive a long weekend in the drawer. Though, with a dial this mesmerising, we suspect you might find yourself reaching for it simply to admire its beauty, even when you have no intention of putting it on.
The SLGB013 and SLGB015 are now available at Grand Seiko Salon - Watches of Switzerland, located at Jewel Changi Airport.
Seeing an Aston Martin is usually enough to stop you in your tracks. The Valen, however, looks like it was designed to make sure you stay there and listen.
Limited to just 150 examples, the Valen is Aston Martinโs latest front-engined special. The supercar takes the brandโs familiar front-engined formula and turns everything up: more power, less weight, sharper handling and, most importantly, a soundtrack that refuses to be ignored.
At its heart is Aston Martinโs 5.2-litre twin-turbocharged V12, producing 838hp and 1,000 Nm of torque from just 2,500rpm. That makes it the worldโs most powerful front-engined production car, while 0 to 100kph takes just 3.0 seconds and top speed is electronically limited to 344kph.
The numbers are impressive, but the real story is how Aston Martin has gone about making the Valen feel faster. The eight-speed ZF automatic transmission uses shift strategies developed for the Vantage GT4 race car, bringing quicker, crisper gear changes. Three driving modesโSport, Sport+ and Trackโalso alter the carโs throttle response, allowing it to feel urgent on the road or more progressive when precision matters on a circuit.
Then there is the weight. Aston Martin has managed to shed up to 110kg compared with its core V12 platform, using carbon fibre, aluminium, titanium and magnesium throughout. The steering, suspension, brakes and chassis have also been reworked to give the car a more agile, connected character.
Then comes the noise. Because what would a supercar be without a soundtrack to match? The Aston Martin Valen gets a bespoke titanium exhaust system with four tailpipes, giving its V12 a sharper, more dramatic sound. In other words, this is not a car that plans to arrive quietly.
The design follows the same philosophy. The Aston Martin Valen takes the brandโs classic long-bonnet, front-engined proportions and gives them a much more aggressive interpretation. Slim, deeply recessed headlights sit beneath the plunging bonnet, while an angular grille, sharp splitter and enlarged side vents give the front end a more purposeful stance.
The rear is perhaps the most dramatic part. A solid tailgate replaces the traditional rear window and boot lid, with an integrated aerodynamic wing and full-width light bar.
Originally published on Esquire ME
Chiwetel Ejiofor has always been fascinated by the water. He thinks it might have something to do with being a Cancer; the actorโs early-July birthday means he is, as you might have surmised, a water sign. Whatever the reasonโastrological or otherwiseโhe has always found peace at sea: during lonely periods living in new places, and especially in his twenties, he would always try to get on a boat and see the world from a different perspective. The London-born actor has lived in waterside cities, such as New York, and during a stint in Los Angeles, he even sailed in races. โIt right-sizes everything in a weird way,โ Ejiofor says, two steps away from rhapsodic. โIt makes it not as intimidating and complex. Itโs just this place, you know, thatโs all it is. I can go back into it and not feel like itโs crushing.โ
Listening to Ejiofor explain this, in a voice that is both resonant and familiar, I am right there with him. He has a knack for transforming interior feelings into memorable scenes: a quality that has made him so convincing in roles as diverse as a drag queen (Kinky Boots), an underground resistance leader (Children of Men) and a crime boss (American Gangster). He is, in short, both an adept storyteller and a masterful shapeshifter.
When we meet, we are nowhere near the water. Itโs the very start of September, and Ejiofor and I are on the top floor of an east-London office block. Itโs an unsettled day in the capital: grey skies, late-afternoon heat. (And thick, oppressive air: I imagine it would be a lousy day for sailing.) The actorโclassically handsome and visibly fit even beneath loose knitwearโhas been shooting in the adjacent studio for the cover of this magazine since late morning. Heโs one of our Better Men: an individual whose contribution to culture, in all senses, runs deep.
The day, as these days tend to, has run late, so weโre an hour past our scheduled interview time. But he soon slips off his reading glasses and unscrews a water bottle. In the next room, a set is being disassembled; crew members are heading home. And even though we are not on a sailing boat, sinking instead into an enormous leather sofa, Ejiofor seems very much at ease.
We start with Backrooms, this yearโs defining horror film. Ejiofor plays Clark, a disaffected owner of a furniture storeโโCapโn Clarks Ottoman Empireโ specialises in pirate-themed piecesโwho stumbles into another dimension via his shopโs basement. This is a liminal space: endless, yellow corridors that are populated by a murderous entity. The movie was made for just USD10 million and has taken in almost USD400 million at the box office since its May debut. Critics, including this one, enjoyed its elusive approach to the genre.
Ejiofor had a feeling that people would be into it. The 21-year-old director, Kane Parsons, had found attention online by creating a 25-episode YouTube series about a spooky meme that originated from the community forum 4chan. That means, as Ejiofor points out, the filmโs storyline had effectively been โpressure-testedโ by people online. โThey feel free to really give you their opinion, for better or worse, or ignore you entirely,โ he says. Even still, the stratospheric success took him by surprise: YouTube virality does not automatically equate to ticket sales.
The movie takes place in San Jose, California, but was filmed in Vancouver, British Columbia. The streamlined castโRenate Reinsve plays Clarkโs therapist, who eventually follows him into the nightmarish zoneโwere acting on a 30,000-sq-ft set. โI didnโt find myself lost exactly,โ Ejiofor tells me, pausing to recall this strange, specific experience, โbut I would definitely just be trying to find the bathroom and end up at the wrong side of the stage.โ He recalls opening a door and not knowing where he was. This had the intended effect: โIt disorientates you and makes you feel like youโre a bit untethered.โ
Backrooms is eerie. There are jump scares and monsters and suitably creepy scientists. But do you know whatโs more frightening? Human nature. In Ejioforโs hands, Clark is a desperate and lost man. He has failed at an architectural career; he has failed at marriage. He has a drinking problem. I found the characterโs desperation, and the lost potential that fuels it, moving. Ejiofor nods in agreement; Clarkโs trajectory has resonated with a wide audience. โItโs just something in the psyche and in the atmosphere at the moment,โ the actor posits. โThat feeling of being untethered and a bit lost and wanting to reconnect and to be understood.โ
Ejiofor was born in Forest Gate, east London. His parents had emigrated from Nigeria during the Biafran War in the late 60s; his father was a doctor, his mother a pharmacist. Later, when they moved to south London, Ejiofor attended the fee-paying Dulwich College. His first role, in his early teens, was in a school production of Measure for Measure. โI really fell in love, not just with performance, but also literatureโI became excited about these forms of self-expression,โ he says, and for a moment, that boyish wonder is alive in the 49-year-oldโs face. โThings that I considered to be interior, and seeing them presented, written, spoken about.โ In retrospect, Shakespeareโs thorny legal drama was a very suitable entry point for Ejiofor, who speaks equivocally about almost everything.
At 11 years oldโand just a few years before his stage debutโEjiofor was heading to a wedding in Lagos with his father when their car hit a lorry. His father was killed; Ejiofor was seriously injured. A scar is still visible on his forehead. When you watch Ejioforโs face in films and you know this story, it is hard not to think of the tragedy. I am trying not to play armchair psychologistโthough our seating arrangement makes my approach seem especially inelegantโbut finding an outlet for those emotions must have helped him at that age. โI think thatโs probably true,โ he says. โThere are certain thingsโtraumas and emotionsโthat need a release. And art obviously can do that. Or it can become clear through art that itโs necessary.โ
He says he would have fallen in love with drama anyway. โSeeing characters in Shakespeare, in heroic and in dastardly ways, pursue their own goals ferociously, was interesting,โ he recalls. โI just didnโt know, before engaging with literature, that that was allowed. That you could think of yourself in this way. That you could think of your own future in this way. That you could pursue your dreams.โ
Later, he attended the London Academy of Music and Dramatic Art, though left during his first year after he was cast in Steven Spielbergโs slave drama Amistad. In an art-imitating-life flourish, he played a sailor. Ejiofor never went back to drama school. Throughout the 2000s, he instead made progress onscreen, in the human-trafficking drama Dirty Pretty Things and the divisive festive staple Love Actually. People still approach Ejiofor to discuss the film from Christmas to Valentineโs Day.
Before engaging with literature, I didnโt know that you could think of your own future in this way and pursue your dreams.
In 2007, Ejiofor played the title role in Othello at the Donmarโhe had played the tragic hero a decade beforeโand won an Olivier. Ejiofor was 30 at the time, and beat out competition from Ian McKellen, Patrick Stewart and Mark Rylance. In The Guardian, the theatre critic Susannah Clapp wrote: โHe is the best Othello Iโve ever seen: the best for generations.โ If you were hoping that Ejiofor might revisit that role, complete a hat-trick, then you may be waiting a little longer. โOnce youโve done a character, itโs hard to revisit unless thereโs a really compelling reason,โ he says, โunless something has really shifted, and Iโm not sure if thatโs happened yet.โ
The film 12 Years a Slave tells the story of Solomon Northup, an African American free man who is kidnapped, taken from New York to the deep South and sold back into slavery. Northup really existed; in Steve McQueenโs 2013 dramatisation of his life, we watch as a proud, intelligent man is toyed with by slave owners over the course of a dozen years. The film is 134 minutes long. With McQueenโs direction, the story moves along at a clip. It is a testament to Ejioforโs power that the performance feels lived-in, wholly his own, unlike countless other hagiographic biopics. You are watching 12 tortured and desperate years of this manโs life.
He bagged the Bafta for that performance and also became the first Black actor from Britain to earn an Oscar nomination for Best Actor. His co-star, Lupita Nyongโo, won the Academy Award for her supporting role, and while McQueen just missed out on Best Director, the film scooped the top prize at the end of the night. How does Ejiofor look back on that time? โItโs complicated,โ he says, proceeding to delineate the process of making the film and the campaign afterwards. โIt just felt so singular in its own way,โ he says, โthat you donโt think you could ever repeat it, and wouldnโt want to in that sense.โ
Ejiofor was not just interested in Northupโs narrative. He was fascinated by the ways โin which people arenโt able to talk aboutโor werenโt at the timeโtheir exposures to other peopleโ. By exposures, Ejiofor doesnโt just mean physical violence, heโs talking about harassment or bullying, any injustice. โWhen the film came out, all of that was just on the cusp of being spoken about in a global way but hadnโt, and so the film was somehow speaking into this space,โ he says.
He mentions the #MeToo movement, which became mainstream in 2017, as well as Black Lives Matter, which gained international attention in 2020 after the murder of George Floyd. โNone of that, prior to that, was spoken about very much, and then hereโs Solomon Northup,โ Ejiofor says. โWeโre looking at a story thatโs hundreds of years old about slavery, and yet within that are all these themes, these personal dynamics, these unspoken realities, these hidden relationships.โ
Later, as I transcribe this conversation, I realise just how often Ejiofor, in his low, determined rumble, returns to this idea: the pursuit of self-expression. Itโs why he was drawn to Shakespeare at school and, throughout his career, to characters that are, in some way, โuntetheredโ. When I ask about an audiobook he narrated during lockdown, he discusses โusing voice to express these emotions of this character in this extraordinary circumstanceโ. Often, when I am asking a question, he asks me to expand on a point so he can better understand where I am coming from. Ejiofor is, often compulsively, on the lookout for the right word.
It is fair to say that 12 Years a Slave changed things for Ejiofor. His value stateside rocketed, and in the years following his Oscar nomination, he has played a Nasa director in The Martian, the Marvel baddie Karl Mordo in Doctor Strange and Scar in the photorealistic reboot of The Lion King. But for other Black actors in Hollywood, progress was slower. The year after 12 Years a Slave swept the Oscars in 2014, only white actors were nominated in the leading and supporting categories. Immediately, a new hashtag: #OscarsSoWhite. That movement prompted a diversification in the Academyโs voting body, which seems to have effected change: earlier this year, Michael B Jordan scooped the top acting prize for Sinners, becoming only the sixth Black man to do so. Is there more recognition for Black actors now? โThereโs no doubt,โ Ejiofor says, though adds that it is a โcontinuingโ process.
โIf Iโm sitting down to watch a film, thereโs no part of me thatโs either drawn to it or repelled by it by the nature of those racialised dynamics,โ he tells me, โand so itโs still surprising to me that for so many people that is a part of it. You know, I can watch films with white people and not think Iโm watching a white-people film.โ He understands the flipside, too: that it can be important to watch a movie and feel like you are represented. โOne just wants to get to a point where people are able to engage with things on the merits of what they are, as opposed to who people are. Thatโs not that revolutionary, I suppose.โ
If Ejiofor has a way of making the ideal sound attainable, we ought to thank his forebears. They raised an ambitious group of children; one of Ejioforโs sisters is a correspondent for CNN, and the other is a doctor. โWe were encouraged, in some ways, to think of ourselves as important, that we were precious,โ he says. He recalls visiting his grandfather in Nigeria, who bestowed a sense, that when it came to his grandchildren, โeverybody was epic in their own wayโ.
Ejiofor spoke with that same grandfather at length when the actor reached another milestone: the offer of an OBE in 2008. His grandfather had worked as an accountant for Nigeriaโs mining corporation, which was intimately entwined with British colonialism. โIn a very front-line way, he had encountered all these different dynamics, and had a fascinating relationship with [the UK],โ Ejiofor says. โOn one hand, there were things that he really responded to and engaged with, [but there were also] things he thought were just devastating and cruel and unnecessary.โ Ejiofor concludes his grandfather was โfascinatedโ by the idea that attitudes could change. That was partly why the actor eventually did accept the OBE. Seven years later, in 2015, Ejiofor was upgraded to a CBE.
In the days leading up to this interview, I undertook routine preparation: I watched Ejioforโs films, I listened to him on a podcast. I also spent a lot of time on his Spotify profile. This month, he clocked in nearly 34,000 listeners. His most popular song is The Lion Kingโs โBe Preparedโ, which has almost 12 million streams. But the real gems are from the Kinky Boots soundtrack, which he sings in character, as a drag queen called Lola. I tell Ejiofor that, during an at-home spinning session, his sultry rendition of โYes Sir, I Can Boogieโ provided as much pep as any Top 40 hit. โThat is kind of an inspirational song, especially for a spin class,โ he notes.
Perhaps it was because Ejiofor had been living inside my ear for the past week, accompanying many a sweaty moment atop a stationary bike, but itโs easy to feel like you know the actor personally. He has starred in so many beloved films that Iโd forgive most people for feeling like they have a sense of connection to him.
But, as my research turned up, Ejiofor is a very private man. In past profiles, he demurs on most personal matters. In this conversation, he is rarely evasive, but he does guide a few individual stories to professional observations. It is easier to discuss roles than romance, and this is not an unusual redirect when interviewing actors. But even still, Ejiofor has done a very good job at maintaining a sense of privacy. โI donโt necessarily want my life to be advertising,โ he says, when I ask about this tension: how we know very little about a man who is so well-known. โI donโt want it to be an extension of trying to get people to see things that I do.โ
What we do know is that Ejiofor has a partner, Sacha, and a child. โMy wife is French,โ he tells me, and so heโs brushing up on the language. Like most British children, he studied it at school. But Ejiofor is taking it up a notch: last summer, he spent a lot of time in Paris having lessons. Now, he is reading Le Silence, the French-language translation of Dennis Lehaneโs Small Mercies, which he picked up in a New York bookstore. I wonder if fatherhood has influenced his acting choices. Does it inform any parental characters he might play? โTheyโre just more accessible to you. You understand a few other different colours of the rainbow and thatโs, you know, massive.โ
Ejioforโs grandfather, the one who believed his descendants to be epic, would approve of his grandsonโs upcoming blockbuster Children of Blood and Bone, an adaptation of Tomi Adeyemiโs young-adult novel that sold more than three million copies worldwide. We enter the fictional land of Orรฏsha, where magic once ruled supreme but has now been stamped out by a brutal monarch. That would be Ejioforโs character: King Saran, a dictator who plays his children, Inan (Damson Idris) and Amari (Amandla Stenberg), off one another, with committed performances from the young leads.
He was familiar with the three-part book series, so when the director Gina Prince-Bythewood called up, Ejiofor had an idea of the role she was thinking of for him. One of youngโuns? Ejiofor laughsโhe has, as you might expect, a good laughโand begins to describe the complexity of the role. โItโs not just lost in fantasy,โ he says about the movie, โyou can feel it being grounded and emotionally real for the people involved. The experience of shooting it was a bit like that.โ Another noticeable feature? Ejiofor is still jacked. When I point that outโhow he has not really aged since Kinky BootsโEjiofor thanks his personal trainer. (He describes his experience at the gym in two words: โpain roomโ.)
The film is not without controversy. Adeyemi has distanced herself from the adaptation, even though she co-wrote the screenplay with Prince-Bythewood. โI have not seen the film, and I will not watch it,โ Adeyemi wrote on a post on TikTok. The exact reason for the authorโs discontent is not clear, though it has been the subject of plenty online conjecture. Was Ejiofor aware of it during filming? โItโs completely not for me to talk about in this context, so I wonโt,โ he says, and we move on.
It is a clichรฉ of profiling to ask what advice a celebrity would give their younger self. But I am curious what Ejiofor, the Oscar-nominated Hollywood star, would say. Would he even need guidance? He was 19 when he starred in his first feature film. โI definitely needed to relax,โ Ejiofor says. On reflection, that periodโone day he was at drama school, the next in a Spielberg filmโwas both โchaoticโ and โterrifyingโ. He spent a lot of energy pretending that he was fine, not feeling like he could admit to any of that insanity. โAnd as you get older, you are allowed to understand,โ he says, โand find it emotional and, you know, important.โ
Here is an oft-quoted story about Ejiofor. Early in his career, he was advised to change his name. This is the type of casually shocking tale that pervades the entertainment industry: just change your identity, and you will be more successful. Ejiofor doesnโt think that would happen nowadays: โThere are enough people who have done very well and navigated a notoriously difficult profession with different names,โ he points out, though he wouldnโt have a problem with anyone who did want to adapt. โBut if someone doesnโt want to make a choice like that, I think they can,โ he says, โI think thereโs a roadmapโof which Iโm included I hopeโof people who have done that.โ
It would have been a shame if he had. Chief among them: his name sounds great. In Igbo, one of the native languages of Nigeria, Chiwetel means โGod bringsโ; it is not particularly hard to pronounce or spell. And, I suspect, this would have betrayed something in Ejioforโs nature. Here is someone who has done things his own way. When I ask what heโd like to do next, Ejiofor is unsurprisingly single-minded. There are directors heโd like to reunite with, yes. And he has thought about the stage. But he really wants to think about his hometown.
Born in the east, raised in the south, he now lives in the west. โI feel like London itself is underexplored cinematically,โ he says. โAnd Iโve had such a rich experience of being in this city.โ Heโs intrigued to hear how his home town is representedโperhaps more accurately, misrepresentedโin the press. Whether as a writer-director (he has helmed two feature-length projects already) or actor, he is not quite sure. He would just like us all to reconsider the capital.
From the water? These days, Ejiofor spends more time on land. He does have a Dutch barge, but it has been a while since heโs been โchunting around on the canal circuitโ. Life is busy enough: thereโs an upcoming reboot of The Exorcist he has just finished filming, his family and the small matter of mastering French. โItโs a weird thing to say that one feels like one still has a lot to do,โ he says, โand that maybe I am still kind of in the first part of my working life.โ I tell him that I donโt think this is weird at all. โYeah,โ Ejiofor says, sounding as though he had genuinely been waiting for my opinion. โAnd Iโm optimistic about the future.โ
Styling by Rudy Simba Betty
Grooming: Marcia Lee at Forward Artists.
Set design: Murdo Hepburn.
Styling assistant: Emma Kennedy.
Tailor: Summer Lahti
Originally published on Esquire UK
A lot can change in 12 years. For lululemon, the Canadian technical athletic apparel company has grown to nine stores in Singapore, including two within Changi Airport. And in the process, the brand has built and actively engaged with a community that shares its belief in the importance of movement. One would be able to just as easily purchase a full yoga kit before heading to a class in the very same store (a partnership with Within at the lululemon Takashimaya store), or take part in community runs that are done on the weekly. In between, lululemon organises movement-focused classes as well, and all open to the public.
Community is certainly one of the driving forces behind lululemon, and it continues to shape how the brand caters to this growing community. And after 12 years, it was time for an upgrade to its ION Orchard storeโlululemon's first official physical outpost in Asia.
Moving away from its original unit within ION Orchard, the new location expands the floorspace to 5,821 square feet, almost double that of the original. The size matters because it allows lululemon to better cater to its community. Built around three core pillarsโMovement, Joy, and Connectionโthe store is intentioned to be more than just, well, a store. It's the first in Singapore to debut this latest global concept that aims to elevate the lululemon experience. There's nary a sharp corner nor finishing throughout the interior of the space; smooth curves reflect a sense of unrelenting movement as they seemingly guide customers to explore the different product offerings. The colours and tactility in the choice of materials took inspiration from the natural landscapes of the Pacific Northwest, with contrasting neutral and vibrant tones defining distinct zones. Statements of empowerment are peppered throughout specific touchpoints in the customer journey, acting as thoughtful reminders as well as to emphasise a sense of belonging.
It's in a dedicated space within the store that customers are able to engage with the lululemon community. The space is designed to spotlight local happenings and upcoming events to bring people together through movement, connection and wellbeingโall to help them feel at their best.
The expanded space also leads to new in-store-only exclusives. For the first time in Singapore, lululemon introduces a personalisation service. Customers who purchase the Everywhere Belt Bag have the option of embossing it, and those who purchase select water bottle designs will now be able to get them engraved.
The store, naturally, is where the tools to aid in a movement-centric life can be found. lululemon's ethos of merging style and performance is one of the reasons why the brand has been able to penetrate into the consciousness of anyone gearing up for an active lifestyle. The store stocks both women's and men's categories, offering gear for training, yoga, and running with zero compromises to style. The Fast and Free capsule collection, for example, focuses on lightweight and moisture-wicking materials with thoughtful design elements that any runner would appreciate on their short or long runs. The ION Orchard store will exclusively stock the capsule as well as run products in seasonal colourways, ensuring a fresh rotation of the tried-and-tested favourites.
The emphasis on movement continues with lululemon's newest seasonal run collection that looks just as stylish as it is technical in performance. The collection is designed to "Outrun the noise" so that all one has to do is simply focus on the run itself, by ensuring that the pieces are lightweight in construction, breathable, and fast-drying. Beloved signatures like the Fast and Free singlet, Pace Breaker shorts, and Mile Maker shorts are all refreshed in seasonal colourways that, dare we say, look uplifting too.
Because when you feel your best, you perform your bestโthat's the lululemon way.
As a precursor to the reopening of lululemon's ION Orchard store, the brand engaged with its community as way of celebrating the milestone. A series of pre-opening activations were held at Design Orchard Singapore leading up to the opening, where run, yoga, reformer Pilates and train classes were made available for anyone to participate in. These were led by lululemon ambassadors and leading instructors. In addition, there were also a curated selection of food and drinks by local partners as well as a photobooth to capture moments being with the community.
For the first time in Singapore, lululemon has launched exclusive limited-edition blind boxes to celebrate the reopening of its milestone store. Like an act of mindfulness itselfโletting go of control and going with the flow, so to speakโeach blind box contains one of five charm designs rendered in signature lululemon red. In addition to that, each blind box also contains a "made to feel" charm in silver. The only way to get your hand on a blind box from 12 November is to spend at least SGD288 from at the ION Orchard store, while stocks last. So perhaps, get moving.
Discover the reopened lululemon store and the exclusive personalisation services at ION Orchard, 2 Orchard Turn, #B1-06/07, Singapore 238801. Follow @lululemonsoutheastasia for the latest updates.
The Embassy of France in Singapore presents the 42nd edition of the vOilah! French Film Festival in collaboration with local cultural institutions, partners, and distributors. A handful of 34 films including aspirational narratives on women who challenge the world, French history and Paris, and animation will be screened.
Screenings will occur across the island, where special activities and open-air experiences will take place concurrently. Enjoy classic French cinema, discover fresh favourites, and share a few laughs with your loved ones at the French Film Festival.
When: 12 to 19 November 2026, across various timings
Where: Across various locations
More info here
Singapore's anticipated year-end lifestyle tech party is back for celebration. Browse the latest products in smart home, audio, work tech and everyday lifestyle tech and start looking for the perfect festive gift for your loved ones and yourself. There will be a 6-7 Year-End Cash Rebate for the transition into the year 2027, with deals starting from as low as $5, over $300,000 in lucky draw prizes to be won, and more.
When: 13 to 15 November 2026, from 11am to 9pm
Where: Suntec Convention Centre, 1 Raffles Boulevard Singapore 039593
Halloween may be over, but horror lives on. Something Strange Festival will be offering a free-for-all experience for only 3 days taking place in the Festival Village where haunted houses, exhibitions, and installations will be open for exploration. Dark History awaits you at the walking Haunting Heritage Tours and browse all kinds of merch at the Curiosity Market.
Or, stay put as everyone's horror favourites and never-before seen short films will be screened at Golden Village, Cineleisure. If you're more of the skittish type, enjoy music and drinks with others at Social Night hosted at Ceni Bar & Kitchen on Level 1.
When: 13 to 15 November, across various timings
Where: Cineleisure, 8 Grange Road, Singapore 239695
More info here
Singapore Gentlemen Collective presents a gathering of fragrances, watches, and style. A Best Dressed award will be handed out to the deserving winner, as well as Watch Awards for the following categories: People's Choice for Best Watch, Best Vintage Watch, and lastly, Best Microbrand Watch. Don't miss the exclusive preview of Scentrum's new fragrances and the chance to view Reference Roomโs curated watches and mingle with other guests over a welcome drink, and in commemoration of Singapore Watch Week.
When: 15 November 2026, from 10am to 1pm
Where: Reference Room, 46 Tras Street, Singapore 078985
This holiday market has curated over 100 artisanal brands offering beauty, fashion, lifestyle, home, and gourmet delights for everyone's taste. Immerse yourself in a whimsical Christmas wonderland that will not only bring its guests exquisite shopping, but festive photo opportunities, indulgent treats, and an iresistible holiday charm.
Watch live carols, but don't miss out on Santa's meet-and-greets. You can also get your portrait drawn, try jagua henna art, or make your own bag charms. Mark your calendars to join the Christmas Atelier's eighth edition, to spend time enjoying the festivities laid out, or start ticking off wishlists.
When: 12 to 14 November 2026, from 11am to 9pm
Where: Marina Bay Sands Convention Centre, Level 1 Hall C, 10 Bayfront Avenue, Singapore 018956
As an effort to strengthen national identity and social connections through the arts, ArtsEverywhere@CDC is bringing arts experiences to the heartlands. Patrons can look forward to various arts performances, workshops, and activities across the country. Happening every Saturday throughout November and December, these experiences offer the perfect opportunity to spend quality time with the people closest to you.
When: 7 November to 12 December 2026, from 11am to 8:30pm
Where: Across various locations
More info here
Escentials will celebrate its 25th anniversary in November, hosting exclusive masterclasses, workshops, and presentations for various brands' holiday collections. Just for this weekend, Maison Francis Kurkdjian will organise a Rituals Masterclass (limited slots available), where guests will be pampered with a hand massage, and a Leather Craft Workshop conducted by BYND Artisans, allowing participants to create up to four accessories. Look out for more events hosted by other brands over the upcoming weeks, and sign up early to secure a spot at these classes and workshops.
When: 3 to 22 November 2026
Where: ION Orchard, Level 1 Atrium, 2 Orchard Turn, Singapore 238801
Potterheads, don't miss out on this one. MINISO is commemorating Harry Potter's 25th year with fans and collectors. Stand a chance to receive an exclusive gift bundle by participating in the Harry Potter trivia challenge, or browse the available blind boxes, limited-edition bags, and other collectables. Opening-day shoppers will also get MINISO discount vouchers.
When: 7 to 29 November 2026
Where: Funan, Level 1 Atrium, 107 North Bridge Road, Singapore 179105
More info here
"Haw Ror Villa" is back for a fifth year, courtesy of Hell's Museum and its very Asian take on Halloween. This time the whole thing is built around the Ten Courts of Hell, where old-school tour of sins and the creative punishments waiting for you on the other side. Wander in and you'll move through four zones: a performance tour of Sin City that walks you through vices and punishments, an interactive puzzle hunt at the Gateway to Hell, a properly eerie haunted maze, and finally, the aptly named Point of No Return, where your journey wraps up. The experience blends both heritage and horror in one go, and surprisingly, there's something in it for everyone, even for the kids.
When: From now till 15 November 2026, from 6:30pm to 12am
Where: Haw Par Villa, 262 Pasir Panjang Road, Singapore 118628
Save a spot here
Ultraman and Kamen Rider fans, your time is now. Jakarta-based illustrator Ardhira Putraโwho's done work for Apple, Vice, MTV and the Las Vegas Sphereโis taking over Heartware Store & Gallery with Atomic Daydream for a technicolour mashup of superheroes, kaiju and mecha that remixes 90s nostalgia through an Asian retro-pop lens. Expect a fresh batch of illustrations and limited-edition prints, five one-of-a-kind originals, and the debut of HeartwaveRobo, Ardhira's first sofubi vinyl toy, made with the Heartware crew.
When: 3 October to 22 November 2026, from 12 to 7pm
Where: Heartware Store & Gallery, 350B Joo Chiat Road, Singapore 427598
In the Ether returns for its third edition, and this yearโs theme, โsanctuary technologies,โ is less about hiding from tech than about using it to give people more choice and a bit more say in how things work. The festival mixes art, installations, talks, and workshops which cover everything from the tech we already live with to research-driven projects and open-source microchips. Keep an eye out for Mimus, a giant robot arm built from repurposed factory machinery by roboticist-artist Dr Madeline Gannon. It canโt actually see you, but it knows youโre there, and if it takes a liking to you, it might lean in for a closer look. There are also hands-on workshops where you can make your own microchip, put together a small digital archive, or get a peek at how modern AI really works.
When: From now till 6 December 2026
Where: ArtScience Museum Marina Bay Sands, 6 Bayfront Avenue, Singapore, 018974
Somewhere between the 4th and 14th centuries, a bunch of monks, merchants, and wandering pilgrims turned the city of Dunhuang into one of the great crossroads of the ancient world. This history was carved into the walls of the Mogao Caves to preserve a record of life in the city. The Asian Civilisations Museum is bringing that history home in a way it never has before: life-size cave reconstructions, centuries-old paintings and sculpture, plus manuscripts and textiles that trace how goods and ideas moved along the Silk Road.
When: 25 September 2026 to 7 March 2027
Where: Asian Civilisations Museum, 1 Empress Place, Singapore 179555
Tucked up on the third floor of a shophouse on Lorong Telok, Lifted Trax is the type of record store thatโs worth a proper visit. It's got secondhand records, rare grooves, and fresh pressings from artists across Asia for all your crate-digging needs. But the real draw is the listening stations scattered around the shop, built for actually sitting with a record instead of just flipping past it. Throw in the incense, the zines, the vinyl care kits for the gear-obsessed, and you've got a solid, unhurried way to spend a Saturday afternoon in Boat Quay.
When: Daily, except Mondays and Tuesdays
Where: 25 Lor Telok, #03-01, Singapore 049037
PREVIOUSLY
Thereโs a new library in town, and this oneโs loaning out physical media that spins instead of flips. Swee Lee has recently launched Southeast Asiaโs first vinyl lending library, allowing members to bring home up to three records at a time with no fixed loan duration. Thereโll be listening stations where you can drown out the world by your lonesome, or in pairs.
Spend the day browsing their massive collection of vinyl, take pictures in photobooths, and linger over a cup of coffee from their cafรฉ corner as you enjoy music the way it was intended.
When: Daily, from 10:30am to 10pm on weekends, and 12 to 9pm on weekdays
Where: Swee Lee Clarke Quay and Swee Lee The Star Vista
More information here
If you've ever wanted to feel like you're raiding a royal treasury, the Asian Civilisations Museum has you covered. The Louvre is bringing over a hundred pieces from its Islamic art collection to Singapore for the first time. Crosscurrents: Masterpieces of Mughal, Safavid, and Ottoman Art traces the rise and fall of three empires that ran the show across West and Central Asia from the 1500s to the 1700s, through jewels, artifacts, and objects pulled straight from their royal collections.
When: From 19 Jun 2026 to 24 Jan 2027
Where: Asian Civilisations Museum, 1 Empress Pl, Singapore 179555
If you've ever wanted to know what it feels like to drop several thousand metres below the surface, Into the Ocean: Journey Beneath is your weekend sorted. Built around never-before-seen footage from OceanX, the exhibition pulls you through the ocean's shifting depths using footage captured by submersibles that go where cameras rarely follow. It's less of a museum visit, rather than a full sensory immersion, with interactive elements that tie back to actual marine conservation work.
When: 6 June to 1 November 2026
Where: ArtScience Museum, 6 Bayfront Avenue, Singapore 018974
Save a spot here
Perhaps itโs time to pick up a new hobby that distracts you from the incessant humming of productivity. This beginner-friendly crochet session at KADA is low-stakes, softly paced, and designed for absolute first-timers. Guided by a coach with an interior design background, the session will feel less like a class and more like a laid-back session with patient guidance and a small handmade piece to take home. Thereโs even a complimentary drink to ease you in.
When: Various dates
Where: The Possible Space, 5 Kadayanallur St, #01-01, Singapore 069183
Save a spot here
After completing my nightly YouTube-before-bedtime routine, I switch between Instagram and TikTok, stumbling across numerous posts and videos with clickbait-y captions. I recalled the videos having discourse on the ongoing genocides, AI's potential social impact, such as the safety concerns of deepfakes and the more recent coverage of the Cornell Case. So many of these short-form posts seem to have skewed viewpoints, and often the commenters under the post are unanimous in agreeing with the points being made.
While I appreciate the global outrage over human rights violations, I wonder how often these statements are actually credible because the delivery of some of them is questionably exaggerated. There seems to be a rise in virtue signalling and pseudo-intellectualism among content creators across social platforms we all knowโTikTok, Instagram and X; but what is alarming are the yes-men, taking every word for gospel.
Essentially, pseudo-intellectualism refers to the performance of being knowledgeable and having depth to impress rather than pursuing genuine learning and truth-seeking. This is commonly observed in Jubilee's "Versus 1" debates. As for the moral posturing, the public would display certain moral or political values to possess a good self-image, without taking real action to demonstrate said values. For example, people raving online about their full support for domestic-violence survivors and speaking out against it only to be following Chris Brown.
In the past, there used to be public debates where opposing philosophical ideas were being discussed and rebutted between individuals known as public intellectuals. Their work usually had to be substantially written, published independently or in magazines. This indicates that public intellectuals have done the field-work of conducting extensive, credible research and academic work, quintessentially being educated. For example, French philosopher Michel Foucault was renowned for his expansion on panopticism, and the 1971 debate with another philosopher and linguist, Noam Chomsky, on human nature.
The modern iteration of public intellectuals would be influencers or podcasters. Perhaps the middle ground of the past's intellectual discussions and today's short-form content of influencers would be TED Talks, where the occasional debates and topics discussed at hand still hold weight and are culturally impactful. Regarding the think pieces from influencers today, the delivery and presentation of their ideas have adapted to the current digital algorithms, where they incentivise shock value and provocation. Thus, there has been a clear pattern where a positive reinforcement loop is created, and extremism gets sensationalised and rewarded for it. The cadence of these influencers is usually more emotionally driven, and complex ideas have now turned into shallow, watered-down short-form content that feeds into confirmation bias.
When complex topics are repackaged to exclude nuance and credible information, this gives rise to a sea of misinformation and the spread of potentially harmful ideologies. Additionally, the push toward increased use of AI is a factor in the rise of misinformation, and points toward more detrimental consequences even when initially presented otherwise. Yes, we may be able to summarise an email or document, which is helpful in time-based environments. But what about academic contexts? Students used to be required to read and analyse texts, and come up with their own string of sentences for their thesis. Now, many at a university level are using AI as writing assistants for their dissertation papers and even as decision-making tools. Global reading and literacy rates have declined; hence the decreased ability to comprehend topics that require deep, critical thinking.
This is unsurprising, as there is a worrying phenomenon among social media users being unable to consider opposing viewpoints. Take it from me, a Gen Z devoted to doomscrolling through the occasional brainrot and its comment sections (all in the name of anthropology). When defending a viewpoint, some write a whole paragraph, even citing statistics and studies, to defend and back up their arguments. Only for it to be refuted with "not reading all that" or a personal anecdote somehow also speaking for others. Or the source being a link to an influencer's TikTok. This leads to my discussion on virtue signalling, initially a positive act, if unchecked, leads to empty promises and deception. Again, being an avid viewer on TikTok, I have come across exposรฉ-style slides of screenshots where people comment unprompted, unhinged things about someone, only to be called out for reposting self-righteous posts, implying that they align with those values.
When self-affirming virtual signallers with performative pretentious wisdom are able to monetise their content, it is no wonder they are increasing in numbers. But how do we bring back culturally significant work? I can only hope, but these are my proposals: going analogue, not interacting with clickbait or flagging slop by clicking "not interested", and developing a craft or a niche.
Go analogue by visiting museums; study or read about an art movement or historical time period that interests you, and watch and read the classics. This places emphasis on literacy and critical-thinking skills by investing the time to understand various perspectives. Avoiding clickbait means less reach and viewership for the creator, hence demonetisation and the decline in these sorts of baseless content, because there's no more motivation to spread misinformation.
Lastly, getting a new hobby would mean less time being spent online and actually cultivating a new skill or habit, and if it allows, meeting new people and making potential friends. Refining a craft would not automatically mean having to participate in public debates or writing manuals about it, but it would mean being well-versed in the skill-of-choice, rather than just talking about it online.
The hierarchy of power at DC Studios is changing again. On 9 November, news broke that writer-director James Gunn and his producing partner Peter Safran leftโlater reported as ousted fromโtheir jobs as co-CEOs and co-chairmen of DC Studios. Jeremy Latcham, a former Marvel Studios producer whose past credits include The Avengers and Gunnโs own Guardians of the Galaxy, will replace them on December 1.
Suddenly, DC fans woke up on a Monday to a new regime. But how will we look back on the four years that a prolific genre writer and director, who came up under Lloyd Kaufmanโs B-movie studio Troma, oversaw an entire superhero universe?
It was a time of a lot of promise, not all of it fulfilled.
Before we start the eulogies for the DC Universe, itโs important to note that things arenโt over. Yet. Latcham will take over Gunn and Safranโs posts, so DC Studios is still up and running with more movies in the pipeline, many of which bear Gunnโs fingerprints. Man of Tomorrow, for example. The 2027 movie is a direct sequel to Superman, also written and directed by Gunn. Among its biggest moves is introducing a new Wonder Woman (rumoured, but not confirmed, to be Adria Arjona). The Batman: Part II, the long-awaited sequel to Matt Reevesโs The Batman, will also open in 2028 with Gunn and Safran involved as producers. Gunn also said on Instagram they have been โengaged on another DC project which Iโm writing.โ
Both Gunn and Safran are expected to stay at DC, with Deadline confirming they will โcontinue to produce on various DC projects.โ That said, Matthew Belloni at Puck published a story citing sources who say the DCU will reboot, again, after Man of Tomorrow. And at The Hollywood Reporter, Borys Kit and Aaron Crouch detailed the friction Gunn faced while at the studio, and how Gunn and Safranโs exits were forced by new Skydance leaders David Ellison and Ynon Kreiz. THR reports the DC heads felt secure after the big Warner-Paramount merger; Clayface had grossed USD100 million, and Gunn was preparing a draft for the third Superman movie when they were told they were out. You can say the DCU is in a crisis right now.
For now, we can say that a critical chapter of DC is over. Gunn will no longer apply his vision and filter across all DC projects, which he must feel a little relieved about. By his own admission, which he wrote on Instagram on 9 November, Gunn expressed feeling stretched thin, having to exert energy on movies and shows he wasnโt emotionally invested in to begin with. Said Gunn: โ[T]he thing my ADHD hyperfocus has had the most difficulty with has been dividing my time between projects Iโm incredibly passionate about and the ones Iโm not so much and all the things I have to do as a studio head.โ
Gunn and Safran got their jobs in late 2022, but it wasnโt until 2024 that people saw the first glimpse of their reign. Though Gunn had already worked for DC on 2021โs The Suicide Squad and created the spin-off Peacemaker, those projects were separate from other things at DC, then run by Walter Hamada. At the time, its biggest bet was Black Adam, Dwayne Johnsonโs long-in-development antihero project that fell flat and led to nowhere. When Gunn took the reins of DC soon after, the former Marvel director had carte blanche to tailor the sandbox to his vision.
In January 2023, Gunn revealed his plans for DC Studios in something he called โChapter 1: Gods and Monsters.โ In a six-minute YouTube video, Gunn ran down his plans for the movies and shows that made up his master plan for the next decade of DC Studios. But for every mention of this movie or that HBO Max show, the first project carried significant weight. It was the first step, the real first impression, as a showcase of what Gunn would do with a DCU bent to his will. What icons would make it to the screen? What legend would get their spotlight? What iconic storylines might be retold on the big screen? What, really, will James Gunnโs DC become?
His first order of business was... Creature Commandos.
In fairness, Creature Commandos was a great show (if you saw it). It was an adult animated series where horror and pulp-inspired superheroes teamed up as a black ops strike force. While a show like that wouldnโt be anyoneโs idea of a great introduction, Gunnโs background as the writer of movies like Tromeo & Juliet and his success with Guardians of the Galaxy for Marvel at least made sense. It basically said without ambiguity that this new DCU is being moulded by no one else but Gunn.
Then, Superman premiered in summer 2025. Initially written by Gunn, the DC Studios head eventually named himself the director of DCโs first theatrical release under his stewardship. Despite my own misgivings about the movie, it was the reorientation a refreshed superhero universe needed. You simply canโt have a DC Universe without the Man of Steel, whose first appearance in Action Comics #1 in 1938 kicked off the modern superhero as we know it.
Superman made a solid first impression for DC at the cineplex. So there was plenty of optimism for the 2026 spin-off Supergirl starring Milly Alcock. Largely based on the acclaimed Tom King and Bilquis Evely graphic novel Supergirl: Woman of Tomorrow, the pseudo-sequel was poised to keep up DCโs newfound momentum. It didnโt. Supergirl hit a wall, much like Black Adam. No superhero universe is immune to duds, but given it was just DCโs second time at bat, a blemish on what still felt like a new, fresh-out-of-the-box DCU felt grave.
But one dud wasnโt enough to kneecap the DCU. The same summer saw the premiere of Lanterns, which fostered a faithful audience on HBO Sunday nights during its buzzy eight-episode first season. Despite mixed reviews, Clayface has grossed a profitable USD100 million against a slim budget. Between the next Superman and Batman sequels, there was still plenty to look forward to. Until now.
James Gunnโs reign wasnโt impervious to bad news either. Since his January 2023 reveal, many of the projects have wound up on the back burner: The Authority, which had been a โpassion projectโ for Gunn (with plenty of setup for it in Superman); Waller, a TV show with Viola Davis reprising her role from the Suicide Squad films; Paradise Lost, a political epic set in Wonder Womanโs home; and Booster Gold, a superhero comedy about a goofball from the future. And throughout his reign, Gunn put up with questions about his Batman (not Matt Reevesโs), which he would have introduced in The Brave and the Bold. Gunn sweated over the character so much that a cameo of Batman in Creature Commandos was shrouded in shadow, because he said he was still deciding on what the costume was going to look like.
Since the start of Gunnโs DC, it was clear his architecture came from a place of affection for the brand, and for very specific corners of it. His body of work reflected his scraggly upbringing as a punk creative, with empathy for characters who were too weird for their own Saturday morning cartoon. The Suicide Squad elevated such figures, like Weasel and Polka-Dot Man, whose climax involved a fight with Starro, a colossal evil starfish. Though his Superman was a sunny throwback to the Christopher Reeve classics, it was also jam-packed with the likes of Green Lantern, Mister Terrific, Metamorpho, and a villain Gunn was clearly setting up to be Bizarro.
Multiple times on social media, Gunn shared artwork from one DC book in particular: Kingdom Come, written by Mark Waid and illustrated by Alex Ross. Published in 1996, the story was a treatise of sorts by Waid, who lamented the state of superhero comics at the time. The story sees an older Superman who comes out of retirement to reform the Justice League, only to meet physical and philosophical resistanceโpredominantly from Batman.
Gunnโs allusions to Kingdom Come, including the exact shape of Supermanโs โSโ in his film, suggested he was laying the groundwork for a Kingdom Come-style event movie. It would have been an ambitious endeavour, oddly fitting to Gunnโs sensibilities. In the few years we saw Gunn at work for DC, he was building a universe where tried-and-true icons of superhero comics brushed up against the prickly and the bizarre. Where weirdness leaked from the orifices of a summer tentpole with an action figure set.
It often feels like Gunn was just getting started, but four years with two (soon three) movies written and directed by him, several TV showsโand Supergirl and Clayface, whatever you think of themโleave a big enough impression to suggest that Gunnโs DC had no shortage of imagination, even if his signature flourishes had grown familiar. Not every superhero film needs to have shock F-bombs and action scenes set to ironic licensed music, but Gunn had a lane. He excelled at staying in it.
Itโs doubtful Gunn and Safran (who took on the business end of things) will stay on at DC under Skydance leadership for long. They will probably see Man of Tomorrow and The Batman: Part II through. If those movies do well, they might stick around to keep making movies, because for the most part, they have a magic that works. If the new movies fail to take off, then Gunn might finally find new stories to tell. Itโs hard to say which path is the better one.
Gunnโs Kingdom Come, whatever it might have been, pointed to a future that never became a promise. In his farewell message, Gunn wrote that โthe characters we set up will live on.โ Whether the next era will let the DCU stay weird is another matter.
Originally published on Esquire US
Future Memories is not what you'd expect from a fragrance by Byredo. At first whiff, you're greeted with a top note of blackcurrant (an unusual fruit note for the brand) before it settles into a floral middle, then the musky base emerges. It's an uplifting scent that, like its name suggests, imprints onto your fragrance wardrobe before you encounter it. A foregone conclusion.
The path to hitting that marathon PB is consistency and the perfect pair of running kicks. Nike's latest Alphafly 4 is touted to be its lightest and most responsive model of the series, thanks to the ZoomX LT foam. Designed for avid marathoners, it is similarly great for everyday runners trying to push themselves further.
The union of two kinds of Japanese artistry, Hibiki worked with Chiso on a collectible limited-edition bottle. One of the most revered kimono houses, founded in Kyoto in 1555, Chiso, reimagined Hibiki's 24-faceted bottle with a bespoke floral design inspired by Japan's changing seasons.
The Loewe Amazona 180 continues to be reimagined by creative directors Jack McCollough and Lazaro Hernandez, and this time, it's designed as a messenger bag. While still retaining the characteristics of the Amazona 180โa more supple construction with whisker-like leather zipper tabsโthis is an easy silhouette to adopt into your style and would easily become a go-to workhorse.
Anyone who works out would be familiar with the importance of creatine as a supplementโa naturally occurring compound that aids in strength, recovery and cognitive function. FOULPLAY's creatine bites deliver 1,800mg of creatine monohydrate per bite, which means you only need three for the full recommended dose. And its Hakuto Peach flavour helps too.
As part of the 50th anniversary of Birkenstock's beloved Boston silhouette, the brand enlisted music video director Cole Bennett to add his creative touch to the slip-ons. The result is a wool felt upper in off-white, finished with a crescent-shaped buckle in antique dark copper. As tactile as the pair feels, you're also encouraged to trim the felt however you like to further customise and imbue character.
Polydeoxyribonucleotide, or simply known as PDRN, has become the rage in skincare. While it's traditionally extracted from a salmon's reproductive cells, vegan alternatives have also been introduced recently. The Ordinary's version is the first in its line-up, offered as a lightweight eye cream that promises to reduce visible fine lines and firm the eye contour and eyelids for a more radiant visage.
We believe nothing beats putting down thoughts through pen on paper, and Montblanc concurs. More than a fancy cover for your journal, this leather notebook holder is a masterfully designed organiser that includes a loop for a writing instrument. Never again will you fuss around for a pen.
The TUDOR Northflag returns after five years with a redesign both in name and aesthetics. Previously known as "North Flag", this revived version sticks to the design elements of the 1973 Ranger II model that the original was based on, now with an integrated link bracelet. The refreshed dial features a 24-hour rehaut angled at 45 degrees, as well as a 24-hour marker in the same striking yellow as the original.
Your adult colouring book needs a new companion, and RIMOWA has just the thing. In a partnership with fellow German brand Faber-Castell, a specially designed Artist Case houses co-branded graphite pencils, 120 Polychromos colour pencils, and a RIMOWA-branded sharpener and eraser. The case itself is crafted from RIMOWA's signature aluminium, and opens up to a two-level tray system so that every piece is visible and within easy reach.
Photography: Jaya Khidir
Styling: Asri Jasman
Styling Assistant: Ashley Guan
Before it was known as Japanโs Wall Street, Kabutochล used to be a swamp. Due to its location at the south bank of the Nihonbashi River, Kabutochล became a shipping hub. Trade was healthy, but what really set Kabutochล up for life was the establishment of Japanโs first national bank called, uh, the First National Bank.
The Tokyo Stock Exchange, and other brokerages and trading firms followed soon after, and turned Kabutochล into a financial district.
In recent years, the once stoic corporate locality has mellowed. Physical banks have moved out and found a home in the online space. Empty bank buildings, constructed during the Meiji- and Taisho-era, now house a vibrant community of start-ups, artisanal bakeries, cafes, natural wine bars, and, yes, even boutique hotels.
Presenting Exhibit A: Caption by Hyatt Kabutochล. Launched last year, Caption by Hyatt is the corporationโs expansion of a select-service hotel thatโs also a social space to build community.
Ideally positioned, Caption by Hyatt Kabutochล is within walking distance of the Kayabacho Station (Hibiya and Tozai lines), Nihonbashi Station (Asakusa, Ginza, and Tozai lines), and Tokyo Station. Travel to both Haneda and Narita airports is just an arrow shot via the Asakusa Line.
Because Caption by Hyatt Kabutochล is set in the Nihonbashi Kabutochล district, one can witness an almost clear transformation of when the streets are bustling with professional-looking men and women going about their important business errands into a nightlife of calm, where bars are boisterous with cheers and conversation, and diners remain busy until closing.
Tarry at Omnipollos Tokyo, a Swedish craft brewery thatโs famous for its dessert-style sour beers. Or Caveman, a restaurant that serves up an international menu centred on seasonal ingredients, and wood-smoking techniques. If you want to add some history to your dessert, thereโs teal, located in the Nisshokan building that used to be the residence of Eiichi Shibusawa, who played a central role in turning Nihonbashi Kabutochล into a financial district. Try their Tico (grilled banana, vanilla, and passion fruit) or gelato.
The idea of Caption by Hyatt Kabutochล is โconnectionโโconnecting with people, making connections with the neighbours. Youโll find that message in its design.
Four artistsโMOTAS., Adrian Hogan, Shinjiro Tanaka, and Straftโwere commissioned to come up with elements that exemplify โconnectionโ. For the rooms, MOTAS. made murals that highlight the rhythm and connection between its present and its past. Adrian Hogan made custom pieces to bring out the liveliness of the neighbourhood, like the 12 different artworks on each floor of the 12-storey building. You can find Shinjiro Tanakaโs geometric mural in the hotelโs 24-hour fitness centre, and in each suite room, an installation made out of metal and straw by Straft.
Created with a playful, minimalist aesthetic in mind, youโll find natural wood textures and earthy tones. There are 195 rooms and suites at the Caption by Hyatt Kabutochล; bathrooms have walk-in rain showers with Apotheke bath amenities.
This is a select-service hotel. So, for all your water and ameniti need, there are water dispensers on each floor, and amenitiesโtoothpaste, Q-tips, facial cleansers, etcโare available in the lobby.
In the lobby is Talk Shop, a social space that acts as a restaurant, bar, and communal workspace. Talk Shop serves up Americana fare, with casual bites like cheeseburgers and a healthy selection of coffees and teas. Working with the tenants in Nihonbashi district, Caption by Hyatt Kabutochล would organise community-focused events, like jazz nights and free workshops. The last workshop held at Talk Shop was led by Haibara, a historic washi shop; during the sessions, guests get to create handcrafted keepsakes out of Haibaraโs chiyogami. (Unfortunately, when we were there, our evenings were quiet, with the only kind of socialising being over a few beers.)
Thereโs a phrase from a Robert Frost poem, โMending Wallโโโgood fences make good neighboursโ. Itโs an admirable notion about boundaries and the unspoken respect for personal spaces, but a place devoid of gatekeeping, where brick and mortar built over marshland is now outfitted with an open doorโฆ now that is a place worth visiting.
Caption by Hyatt Kabutochล Tokyo is located at 12-1 Nihonbashikabutochล, Chuo City, Tokyo 103-0026, Japan
Navigating the messy, often hilarious uncertainty of your mid-twenties is a universal rite of passageโ but few capture its specific anxieties quite like Malik Elassal.
As FXโs hit series Adults returns for a second season, the Lebanese-Canadian comedian steps back into the shoes of Samir, the showโs endearingly emotional mamaโs boy who is still trying to figure it all out.
We caught up with Malik Elassal to discuss the evolution of the show, the complexities of modern Arab identity, and why the best punchlines are always the most personal.
ESQUIRE: Adults Season 1 captured the chaos of figuring out adulthood. What changes for Samir in Season 2?
MALIK ELASSAL: To me, the first season was about not having your shit together, and Season 2 is about trying to keep your shit together. Heโs going through something I think a lot of people experience in their mid-20s, when you think youโve started your life and need to become the person youโre going to be, while youโre still going through so many changes. The difference between 24 and 30 is insane. You really donโt know anything, but maybe that was just me and Samir.
ESQ: Samir became one of the showโs emotional anchors. Was that always the intention, or did it evolve while filming?
ME: Iโm a very emotional person, so I think about everything I do and how that could come through. I also really enjoy playing Samir. When I first read the script, it reminded me of me and my friends at that age, so while filming, I was always casting little nostalgia spells on myself by listening to songs from that time in my life. The creators, Ben and Rebecca, are also great at writing for our strengths, so they may have seen me being a huge crybaby and thought, โThis is how we can get this guy to come alive.โ
ESQ: What surprised you most about audiencesโ reaction to Samir?
ME: I love how often a fan of the show tells me that they have someone in their life who Samir reminds them of. Iโm surprised at how universal the characters feel to people because they are so specific to us. Itโs also really sweet when people tell me that they watch it with their friends, or that they told their friends about it because something in the show reminds them of their life. That, and Iโm also surprised that the audience wants to โslut Samir out,โ which Iโm still trying to learn what that means exactly.
ESQ: The show has been compared to Friends for Gen Z. Do you think thatโs an accurate comparison, or is Adults saying something very different about growing up today?
ME: I think weโre making a show in the same genre but at a very different time in history, where growing up doesnโt look the same and thereโs a completely new set of challenges for young people. To me, Friends did it best, so I hope we can capture some of that magic because these shows are important to me. I remember watching Friends and thinking, โI canโt wait till Iโm at that stage of my life.โ
ESQ: Youโre unapologetically Lebanese in your comedy, but your material resonates far beyond Arab audiences. Was that always the goal?
ME: My only goal from early on was not to reinforce negative stereotypes for a cheap laugh. Iโm definitely still guilty of that sometimes. I donโt think anyone in stand-up only wants to make a specific group of people laugh. You talk about who you are, and I grew up very unapologetic about that. I was in Islamic school and was lucky to have a big Lebanese community around me. I also spent years performing in small towns across Canada, where I may have been the first Arab some people had ever met, so you find a way to make things universal.
ESQ: Arab representation has changed dramatically over the last decade. Do you think mainstream audiences are more open to stories rooted in Arab culture?
ME: Definitely! Itโs amazing to see so many people doing things and for audiences to see that being Arab is not any one thing. Itโll be nice to get to a point where itโs less about representation and more about presentation, but thereโs still a lot of negativity out there. Thereโs a movie coming out called Run Hide Fight Infidels, which seems to be purely Islamophobic propaganda. I donโt think people will ever stop being bigoted. Thereโll be flying cars with Confederate flags on them someday, so we just have to keep doing what weโre doing.
ESQ: What hasnโt changed about you despite all the success?
ME: Iโm in a lot of group chats with my cousins and also comedians, so that really makes you think twice about what youโre doing. In the back of my head, answering these questions, Iโm like, โWhat would the group chat say about this?โ
ESQ: If someone watches Adults and leaves thinking differently about Arab men, what would you hope that difference is?
ME: No two people are the same, but Samir is an emotional mamaโs boy, and that is what people already say about us, so I donโt know if weโre really breaking any stereotypes with that.
Originally published on Esquire ME
Picture this. You receive a gift. Itโs Dior; elegantly wrapped within a box emblazoned with the name of the House. In an act of excitement, you untie the perfectly tied bow to get to the contents. Youโd probably discard the ribbon, or for some of us with a tinge of hoarder mentality, keep it in the Dior box as a memento of what was.
It wouldโve probably escaped you that that ribbon is in fact, a hallmark of the House. Itโs a signature element thatโs part of the Dior experience. And Jonathan Anderson knows this.
With his penchant for reimagining things and ideas that one normally wouldnโt even have thought of, Anderson has expanded the use of the ribbon into a decorative element that you definitely wonโt be discarding. The Dior Ribbon sneakers are aptly named due to the fact that the signature ribbon is the central element in its design. The sneakers are shaped after a low-top retro silhouetteโthereโs even jagged edging of the tongueโbut instead of style lines that reflect speed, the Dior ribbons flank the sides, moving upwards from the soles to the laces and to the other side in seemingly continuous motion.
The Dior Ribbon is what youโd expect of Andersonโmerging something so familiar and everyday with a touch of newness. The sportiness of the sneaker juxtaposes with the nod of the refinement of the House, and itโs exactly how he has approached Dior from the very beginning. The sneakers come in a number of colourways, ranging from more sober shades to vibrant hues with colour-blocked trims that are more reminiscent of the retro styles. And for the more hardcore Dior-phile, a version rendered with the Dior Oblique is a maximalistโs dream.
Now, the next time you unbox a Dior gift, perhaps youโd pay a bit more attention to that ribbon. After all, every element is no afterthought, and youโd never know how Anderson will turn it into a wearable element next.
The Dior Ribbon sneakers are now available in boutiques and online.
Would you rather accidentally set your arm on fire with spilled gasoline or spend decades grappling with a paperwork mistake? Gary Streiner, who personally experienced both while making 1968โs Night of the Living Dead, says thereโs no contest: โOh, believe me, I would take the burn again.โ
Streiner was the sound man on George A. Romeroโs classic indie zombie flick, but since everyone on the makeshift Pittsburgh project did multiple jobs, he also helped create visual effects, like the fireball on a porch chair that would later engulf his limb. His brother, Russ Streiner, was another multitasker, playing the taunting brother Johnny in the movieโs opening, and serving as jack-of-all-trades co-producer. Both were loyal Romero confidantes who helped him found Image Ten, the production company that created the apocalyptic undead tale.
So both were among those bitten in the ass when Night of the Living Dead accidentally ended up in the public domain due to a copyright mistake that was anything but simple to fix. Even today, it hasnโt entirely been resolved, which is why there is a right way and a wrong way to watch the movie (at least, if you care about seeing it in the best possible format, while also not picking the pocket of the people who made it.)
Today, Romero is gone, and his debut feature is considered an all-time American classic. Stephen King himself calls it the scariest movie heโs ever seen. But the independent film garnered such success partly because it was so widely and freely shared. The friends and colleagues who helped Romero make Night of the Living Dead have finally figured out a way to pull the movie back into their legal possession. But the freebie versions are still out there, so they are hoping fans will be honest and honourable about the version of the film they choose to play this Halloween.
Donโt worry, they arenโt โcoming to get you, Barbara,โ as Russ intones in the iconic opening of the movie. They are just, once again, asking nicely.
Basically, look for the Criterion Collection logo. The beloved cinema preservation group helped the Streiners restore the original black-and-white negative for the Museum of Modern Art, and by refining the moody imagery as Romero originally intended, they technically created a โnewโ work that Image Ten could officially claim as their own. You can find it on the Criterion streaming service, but also HBO Max is among those that license their version of the movie.
โAll of itโs licensed now. Now we get paid for it. Thatโs the point, every time itโs screened on any of those platforms,โ Gary says.
โThere are other streaming channels that arenโt,โ adds Russ. If you donโt spot that big, silver C when Night of the Living Dead starts playing, youโre probably watching a bootleg.
The average joe might not care much whether these aging producers or Romeroโs estate get their share, but keep in mind that these were average joes too, not Hollywood big shots. They were working stiffs who had a dream, made something immortal (in many senses of the word), and then got stiffed for real.
โTo be honest with you,โ Russ begins. โGeorgeโand I want to measure my words pretty carefully...โ
โHe was not a great businessman,โ Gary cuts in, not measuring his words at all.
โNone of us were great businessmen,โ Russ adds with a sigh.
The Streiner brothers were toiling away on local Western Pennsylvania commercials when they helped Romero bring his feature film dream together, and their collective work inspired generations of other nobodies to max out their credit cards, load up on cameras and lights, and make a crazy movie with their friends. โItโs fair to say that without George A Romero, I would not have the career I have now,โ Shaun of the Dead and Hot Fuzz filmmaker Edgar Wright wrote when Romero died in July 2017. โA lot of people owe George a huge debt of gratitude for the inspiration. I am just one of many.โ
Itโs easy enough to find the right version of Night of the Living Dead, and it happens to be the one that looks the best too. Many of the bootlegs are copies of copies of copies. When the Streiners got MoMA and Criterion to revive a new version of the movie, they went back to the original negatives, part of which they possessed, and some of which belonged to Romeroโs cowriter. โWe gathered up all of the elements from Russโs basement and John Russoโs garage, and we trekked out to their facility, and we were all quite amazed at the good condition that everything was still in, not having been kept in absolute ideal conditions,โ Gary says.
Now it looks as good as it did when the very first prints were sent out into the world. That also happened to be the moment everything went wrong.
You know how old movies have a noticeable copyright tag in their opening credits, usually right under the title? Today, thatโs an affectation, used by filmmakers like Quentin Tarantino and Rian Johnson to conjure a feeling of nostalgia. But once upon a time in real Hollywood, that was actually a legal requirement to establish ownership of a film.
Romero and his team understood this, and had it on their initial cut of the movie. The mix-up happened when they were negotiating to get the zombie picture into theaters and struck an agreement with the indie distribution company the Walter Reade Organization. โThat was the beginning of our nightmare,โ Russ says. โThe movie at that time was called Night of the Flesh-Eaters. They didnโt like the title. They said, โWeโve got to come up with something new.โ โ
The executives had a point: Night of the Living Dead has a certain ring to it, so Romero and the Streiners agreed. They left the print in Walter Readeโs hands. โThey were in charge of changing the title, but when the title got changed, the copyright was left off,โ Russ says. โIt became their responsibility to deal with their lab, and the copyright notice for Night of the Living Dead went by the wayside.โ
No one realised the mistake until the prints were shipped out, and by that point it was too late. โNot that ownership was ever denied,โ Gary says. โThereโs never been any, โWell, no, you didnโt make Night of the Living Dead.โ We made it.โ
Under the United Statesโ 1909 copyright law, this technical mistake just meant no one was legally obligated to account for tickets or pay them a portion of the sale. โThat was the start of it, and weโve been spending tons of money legally to get this thing on its right feet,โ Gary adds.
If that seems both unbelievable and unfair, then welcome to the copyright law revision of the mid-1970s that eliminated this requirement. โItโs totally different now,โ says Russ. โAs a matter of fact, Night of the Living Dead was one of the reasons that the language for the copyright office changed, because it was preposterous.โ
But it was too late for the zombie film and the team behind Image Ten, until the new restoration came about from MoMA and the Criterion Collection. The Streiners learned this lesson the hard way, but they were used to that.
Who could have guessed that a simple line of text could cause so much trouble? Well... who could have guessed that when you pour gasoline on a chair for a zombie attack scene that it could somehow also go wrong.
โGeorge didnโt like the way it was looking, and it took about a half hour for him to reset and get the shot that he wanted,โ Russ recalls of the infamous incident. โSo the chair was put out, and when it came time to do another take in the new camera position, I had been all over that thing diligently making sure that there were no embers or whatever.โ
He didnโt think about what was below the surface. โThere was no fire on the chair itself, but the interior workings of the chair, the springs and the metal framework, were still hot,โ Russ adds. โAnd when Gary started dousing it with gasolineโBOOM!โit was like an explosion that set him on fire.โ
โIโm literally pouring gasoline out of a plastic jug, and the flame shot right up,โ Gary says, mimicking the motion.
Spilled gas on his sleeve meant his whole arm was engulfed. โFortunately, Bill Hinzman, who was a cemetery ghoul, was actually a volunteer fireman, and he had enough common sense to just tackle me and roll me to the ground,โ Gary says.
It was over in seconds, with only relatively minor burns that eventually healed. The copyright conflagration took a lot longer to resolve, but now, finally, they donโt feel so scorched by it anymore.
