The air was thick with a mix of sombre resignation and a palpable sense of excitement on 22 June 2024. Right on the outskirts of Paris, beloved Belgian fashion designer Dries Van Noten was about to stage his Spring/Summer 2025 menswear runway show—his final. Thirty-eight years, 150 collections and 129 shows later, Van Noten was prepared to take his final bow.
That the show venue, a stunningly rundown defunct factory, was also the location of his still memorable 50th runway show was not lost on longtime fans of the Antwerp Six member. I asked a PR rep if Van Noten was set to recreate the same Spring/Summer 2005 womenswear show where the runway was essentially a long dinner table. “Not at all. But it will be very special,” he said. But of course; I should’ve known better. Van Noten’s oeuvre has rarely been about looking back. His deft use of colours, prints and textures have been stylistically refreshing collection after collection, and while he dealt with both menswear and womenswear, the former became a blueprint of how men choose to dress.
The physical show invite was simple: “LOVE” printed on a silver foil card. And there was plenty of it going around. Pre-show cocktails revolved around a massive cube onto which Van Noten’s illustrious moments were projected. As the crowd streamed in, I began noticing the wonderful array of Dries Van Noten archives that accompanied them, each interpreted in one’s own sense of style. And while it was a given that editors from around the world had congregated, so too had Van Noten’s contemporaries and fellow designers. At one corner was Diane von Furstenberg chatting with Derek Blasberg, Pierpaolo Piccioli arrived together with Haider Ackermann, Harris Reed’s imposing figure was hard to ignore, Thom Browne was in classic Thom Browne, and of course there were fellow Antwerp Six members Ann Demeulemeester and Walter Van Beirendonck.
Van Noten made his rounds after a while. Together with his partner, Patrick Vangheluwe, he greeted and thanked guests for their attendance, both visibly touched by the quietly deafening awe and respect that permeated through. They say to “never meet your heroes” but I took the opportunity to ask for a photo together.
“I’m a forever fan. Thank you for your brilliance,” I managed to muster after our quick snap.
“Thank you,” he replied.
His brilliance continued on in the next room as pitch black curtains fell to reveal a silver foil runway set atop the concrete floor. The 69-look collection was showcased by male and female models old and new to the brand. From Karen Elson to Cole Mohr to Clément Chabernaud to Sang Woo Kim, it was a true-to-form diverse cast. I spotted Thomas Riguelle—a model I’ve had worked with before and who I’d gush with over Dries Van Noten collections he’d walk for throughout the years—in a multi-layered fit consisting of clashing floral prints. He told me the day after: “I’m still emotional.”
Van Noten is far from the only designer we’ve lost in menswear this year.
Just a few months prior, Piccioli announced his departure from Valentino after 25 years at the Maison. Piccioli joined Valentino in 1999 and eventually became co-creative director together with Maria Grazia Chiuri in 2009. He then took sole creative reins in 2016, continuing the legacy of the Maison in his own dreamy vision of bold menswear proposals founded on Valentino’s couture heritage.
It’s difficult to find a Piccioli for Valentino menswear collection that was nothing short of awe-inspiring. This was after all, the man who cleverly collaborated with Japanese designer Jun Takahashi of Undercover in 2019 to create arresting graphics set against contemporary fusions of tailoring and streetwear that would still fit in with today’s sensibilities. He mashed typically couture fabrications like silk taffeta in rich hues with denim, and made them relevant and wearable for the everyday. Who could also forget that one collection where Piccioli created his own shade of pink and bathed half of the collection with it, juxtaposed with all-black ensembles.
Then, for Valentino’s Autumn/Winter 2024 menswear collection, it seemed like Piccioli finally had an off moment. Showcased in rooms that were painted a specific shade of azure blue, it was as though he attempted to recreate the Valentino Pink PP magic that had us all enthralled two seasons prior, but without so much as a spark. The collection was so pared back that I was left completely unaware that it was all he had to give. Little did we all know then that he would part ways with the Maison a couple of months later.
Unlike Piccioli’s rather shocking departure, the rumour mill was in overdrive for months with regard to Hedi Slimane’s exit from Celine. It became an unescapable, ongoing topic among editors and insiders—the whats, whys and whens of his leaving. It was almost baffling too because Celine was then on the cusp of finally launching its first makeup line, and it even launched a few new fragrances that were very much Slimane-concocted. The Maison was also doing relatively well, buoyed by the presence of its strong army of ambassadors the likes of Lisa and Park Bogum. But where there’s smoke, there’s fire.
The exit was confirmed on 2 October. The announcement was short, listing Slimane’s overarching vision for the Maison for the past seven years that saw it expanding into menswear, couture and haute parfumerie. And then within hours, the announcement of Celine’s new artistic director was released. Michael Rider, who had worked under Phoebe Philo during her time at the Maison, is due to make his return.
Those are just three of the major menswear losses. Other recent exits include Glenn Martens out of Y/Project after 11 years, Phillip Lim from his namesake brand, Peter Hawkings’ quick two-collection turn at Tom Ford, and Peter Do from Helmut Lang. The circumstances that led to each are seemingly unique—Y/Project, for example, is experiencing financial troubles—but a creative loss is a loss nonetheless.
There are reasons why the departure of Van Noten, Piccioli and Slimane are especially upsetting. Each have built such strong legacies that they’ve amassed a fair share of admirers and fans—the ones that would turn up to a fashion show proudly bedecked in their creations, and those who have adopted the designers’ aesthetics into their own. Being an ardent fan of one is essentially a lifestyle.
Slimane’s singular vision at Celine was initially met with division. The stark contrast from his predecessor’s more structural forms and cerebral designs had many feeling that Slimane should have started his own brand instead of turning Celine into his own. Yet, the vision evolved and became a universe of its own, extending into a haute parfumerie collection that spawned new categories for the Maison beyond just fashion. The look was consistent: unapologetically Parisian luxe across fashion, beauty, lifestyle accessories and an assortment of curated artistic partnerships.
Change is constant. And while many are rejoicing over Rider’s appointment at Celine (assuming he is intent on bringing back the Philo era), those mourning Slimane’s aesthetic will either have to start binge purchasing his final designs or resort to resale platforms for their fix.
There is absolutely no pleasing everyone in fashion. Even the most celebrated designers have their fair share of critics, especially with fashion being as subjective as it is. But changing in hopes of appealing to a wider demographic is tricky due to a risk in alienating core customer demographiscs; customers who have grown with the visual language set by Piccioli and Slimane for more than five years now have to change with the maisons or divert their attention to a different brand. It’s an unfortunate conundrum as brands prioritise profits over a consistent identity.
Valentino has already begun its new era with Alessandro Michele injecting his own interpretation of what the Maison is. In many ways, it’s a familiar aesthetic to when he was helming Gucci, and has resulted in a reception similar to how Slimane’s initial collection at Celine was initially viewed. And as Slimane has shown, time is needed for a full universe to be realised.
On 9 December 2024, Dries Van Noten announced its new creative lead. Its Spring/Summer 2025 womenswear collection was the first after Van Noten’s retirement and was designed by the in-house studio team. The spirit of the founder was still there and it felt like it could have very well been designed by Van Noten himself, with all the elements that make Dries Van Noten beloved present. But if change is constant, at the very least, there's hope that newly installed creative director Julian Klausner—he's worked alongside Van Noten since 2018 on the women's collections—will continue the legacy beautifully.
At the end of Van Noten’s final show, he walked to the middle of the silver foil runway and waved to a standing ovation. The cube of projections that was the centrepiece of the pre-show cocktails was uncovered and out came a disco ball, spinning with enough speed to completely envelop the space with a kaleidoscope of lights. It’s so good, it’s so good, it’s so good coos Donna Summer as “I Feel Love” starts to play. At the end of the day, change is inevitable and all we can do is embrace it.
CELINE has finally made its presence at ION Orchard, one of Orchard Road's unmissable landmarks. Building on the House's architectural design concept that had been put in place since 2019, the latest CELINE boutique greets eyes with a curved glass façade and Calacatta oyster marble that stretches from floor to ceiling. The interior is a constant juxtaposition between the natural and the industrial as metallic elements and furnishings (together with a lot of mirrored surfaces) are positioned with natural stones such as Basaltina and marble as well as warmer, wooden accents.
Like other CELINE boutiques the world over, the furniture (some commissioned) were curated specifically for the boutique. They're especially opulent in the boutique's private salon that can be easily closed off for added privacy with movable mirrors. It is also here that a CELINE Art Project piece is on full display, among a selection of other art pieces. Created by Royal Academy of Art alum Machteld Rullens, "Dolphin Creme" is a wall object reflective of her usual practice where used cardboard boxes are reshaped and then covered in epoxy resin—turning something that was once fragile into a sturdy piece. The artwork hangs to the right of the salon, a stark contrast from the glossy black wall that it's positioned against.
The ION Orchard boutique is dedicated to both the men's and women's universe of the House, including ready-to-wear, accessories, leathergoods, and the beloved Haute Parfumerie collection. It also marks the first time in Singapore that a CELINE boutique has a dedicated counter for the new CELINE Beauté line premiered a few months ago. While only one lip colour has been launched thus far, more are on the way.
There's no doubt that this new CELINE boutique is striking from the outside, but its interior offers a more playful and luxurious feel that needs to be experienced in person. Sure, online shopping is convenient but luxury shopping is all about the experience and living the brand, even if it's just for a moment.
The new CELINE boutique is located on the first level of ION Orchard.
It might be odd to think that something as angular as this tote is called the Rocking Horse. The name actually refers to the line’s initial bag designs constructed with a curved base that allows them to easily rock like a rocking horse, and are distinguished by the “b” closure. Its tote incarnation keeps things classic with a briefcase-like silhouette for some serious corporate-appropriate style chops.
We could all do with some added height and when it comes to heeled boots, hardly anything comes close to Hedi Slimane’s versions for CELINE. These are cut in a familiar Chelsea shape for fuss-free slipping in and off and the pointed toes immediately help to elongate the legs further. Also, peep that subtle Triomphe branding right at the ankle—an extra touch of if-you-know-you-know branding.
Gucci’s connection with London’s The Savoy goes all the way back to when founder Guccio Gucci worked as a porter at the famed hotel. The experience prompted him to found his own luggage atelier upon his return to Florence (no guesses what that eventually turned into). This cabin trolley is a nod to the very beginnings of Gucci, but of course, updated with wheels and a telescopic handle. When not in use, it makes for quite an ornamental interior piece much like a classic travel trunk.
Nothing comes close to being as classic and unbelievably versatile as a pair of leather lace-ups. You’d easily be able to dress them up or down and they go with just about anything. Tod’s may be known for its pebble-soled Gomminos but the comfort of its footwear translates even to something as sturdy as a pair of leather lace-ups. The lugged rubber sole gives it a more contemporary flair and traipses the line between formal and casual seamlessly.
The TUDOR Black Bay is an icon. And like most icons, it requires little tweaking. This latest iteration keeps all the design aesthetics with a monochromatic intent that successfully highlights every detail to perfection. The black sunburst dial is undoubtedly subtle but perfect for a timepiece you would want to put on every day, for any occasion.
RIMOWA’s Personal crossbody bag receives a new seasonal colour in a stunning shade of emerald green, and it’s quite honestly one of the more eye-catching shades in its aluminium series yet. The shell is wrapped around leather straps in a darker shade of green that matches the leather interior, and the palladium hardware contrasts beautifully against the rich hue. It could be an intimidating colour to wear but match this with neutrals for a surefire way of pulling it off.
With an Art Deco-inspired bottle design, you would think that Penhaligon’s The Dandy is somewhat of a traditional, masculine fragrance—heavy, woody and mildly overbearing to most. Yet, the fragrance surprises by being woody without that heavy lingering of intensity. The hints of warm, spicy notes cut through slightly after a while for a more balanced take on a liquor-forward scent. The Dandy is definitely more of an evening scent but its lightweight quality could just as easily be used in the day too.
Never underestimate the power of a scarf, especially one with hand-rolled trims and in colours that will never go out of style. Loro Piana updates the paisley print with bold, stark lines for a more elevated look. It’s a cashmere-silk blend that’s incredibly lightweight yet will definitely provide some warmth should you need it; or wear it loosely around the neck (in as many permutations as you could think of) to simply add a touch of irreverent elegance to an outfit.
The beauty of a Loewe candle is that the moment the wax completely burns off, the ceramic vessel can be used in a myriad of ways, all while looking like a piece of art. The latest Wasabi scent is one of the line’s more intense offerings with its green and spicy notes reminiscent of that first whiff of a spoonful of wasabi. Fair warning: this may make you crave for some sushi.
Yes, you don’t necessarily need a card case any more since everything is pretty much be done with your mobile. But neither do you need a watch nowadays too. It’s all about the aesthetics and this piece by Saint Laurent is a slim iteration with four card slots (just right). It also comes with a detachable strap you’d able to secure around a belt loop or wear around the neck as an accessory. The design is clever—the card slots are enveloped within a leather housing for added security.
Photography: Jaya Khidir
Styling: Asri Jasman
Photography Assistants: Aliy Alam and Syed Abdullah
You're lying in the sand, shaded from the sun, children are running around, and people are dressed in swimsuits, and linen or crochet coords. It's that time of year again for that Euro summer feeling. Unfortunately, we're not in Europe so all that fun in the sun (it's just not the same this side of the equator) will have to wait. Or does it?
Celine Plein Soleil is as close as you'd get to an Euro summer without getting a flight ticket out. Inspired by the timeless allure of the French Riviera and the sophisticated ease of Saint-Germain-des-Prés—places dear to artistic, creative and image director Hedi Slimane—the collection merges seaside charm with a sense of city elegance.
The Celine Plein Soleil collection reimagines iconic lines such as the Triomphe in wicker, textile, and natural leather with intricate braiding. New variations of the Celine Panier showcase elevated craftsmanship. Summer-essential accessories include sunglasses and handmade straw hats—the latter crafted with unique weaving techniques for a distinctive touch.
Furthermore, Celine's lifestyle pieces enrich the collection. A deckchair, a pétanque set, a leather fan with Triomphe-shaped blades, a hammock and more are lavish pieces fit for anyone looking to embrace the Celine lifestyle.
Slimane went as far as to capture the collection on the Amalfi Coast, highlighting its blend of coastal charm and Parisian chic. If you can't experience a European summer firsthand, visit the Celine pop-up is a pretty close taste.
The Celine Plein Soleil pop-up runs until 2 July at Ngee Ann City.
The song you're listening to heralds the birth of psychedelic symphonies, predating The Beatles by a staggering 130 years. Hector Berlioz, the French composer who wrote "Symphonie fantastique" (French for "fantastic symphony") in 1830, offers one of the earliest musical depictions of a transcendent journey. Celine creative, artistic and image director Hedi Slimane stumbled upon this masterpiece at just 11 years old and was instantly captivated.
Berlioz's composition vividly captures the torment of unrequited love and obsession. Regarded as an "immense instrumental composition of a new genre", "Symphonie fantastique" showcases Berlioz's unmatched orchestration skills, impressing critics with its avant-garde essence. Transitioning seamlessly to Slimane's fashion narrative for Celine's Winter 2024 menswear collection also titled "Symphonie Fantastique", the collection boldly revives tailoring, epitomising the designer's pure sartorial essence.
The fit: Bold and cutting-edge, the garments featured in the film embody Slimane's unmistakable design language in menswear. Embracing the iconic "I" line silhouette—reminiscent of 1960s tailoring with a nod to 19th-century Anglomania—the collection exudes timeless sophistication. Frock coats, three-buttoned suits, and intricately hand-embroidered waistcoats are meticulously crafted from sumptuous fabrics like silk, cashmere, and vicuña. Throughout, matte black, satin, and lacquered finishes dominate, infusing each garment with an unmistakable sense of opulence and refinement.
Standout pieces include iconic motorcycle jackets with cropped hemlines, elegantly paired with 1970s flared bottoms as well as pinstriped peacoats transformed into militaristic uniforms. As with every collection, embellished accents adorn a number of garments, adding a captivating touch. Well-dressed cowboys take the lead in ballooning denim and multi-pocket button-down shirts for more casual proposals from the collection.
The details: Silver hardware embellishments on leather jackets inject that signature Slimane edge into the garments. They create a striking contrast to the refined aesthetic of the collection, all the while maintaining the rebellious spirit of Celine. Wide-brimmed hats and square-framed sunglasses further punctuate the collection's distinctive style.
Three exceptional looks: An embellished golden coat catching the sunlight; a sleek mandarin-collar jacket; and a pin-striped coat accentuated with a velvet collar.
The takeaway: This collection vividly embodies storytelling. Each piece reflects Slimane's current fascinations, meticulously crafted in every detail—from the setting and casting, to the music and garments.
View some of looks from the Celine Homme Winter 2024 collection in the gallery below.
In season five of Friends, there's an episode aptly titled "The One With Joey's Bag". The central narrative was of Joey Tribbiani (played by Matt LeBlanc), having received a bag from Jennifer Aniston's Rachel as part of his desire to fit into a role of "a real clothes horse" that he's auditioning for, falling in love with said bag. But of course, given that it was 1999, his friends found every opportunity to ridicule him for even carrying the bag.
You'd think that the bag was in a ghastly shade of pink or a tiny purse that could barely fit anything (even so, there's absolutely nothing wrong with a man wanting to carry either) but in actual fact, it's reminiscent of a top-handle briefcase that's far from extraordinary in today's context.
How times have changed, and thankfully so.
The best bags this season are big. They're made to fit more than just the essentials, with some having the capability to be versatile enough to transition from work bag to gym bag. And of course, because we're all for longterm investments, they're crafted from sturdy and luxurious materials that'll not only last but age well too. From Loewe's latest Pebble Bucket bag to Bottega Veneta's massive tote, we've curated some of the best bags of the season made for every man that you are.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Grooming: Kenneth Chia using KEVIN.MURPHY and TOM FORD BEAUTY
Photography Assistant: Xie Feng Mao
Styling Assistant: Chua Xin Xuan
Model: Aaron C at MANNEQUIN
Considering that Hedi Slimane is constantly inspired by music and uses it as a way of crafting the narrative of each collection—his runway shows for Celine often involves commissioned music pieces—Celine-branded audio accessories ought to be a given. It has been almost six years since he's assumed the position of the luxury brand's creative, artistic and image director, and we're finally getting just that.
The first Celine wireless headphones made their debut on the brand's Summer 2024 womenswear runway. To the tune of a specially commissioned extended version of "Too Much Love" by LCD Soundsystem, the all-black headphones were seen around the necks of a number of models—styled as an accessory to complete a look more than anything. But thankfully, they're capable of more than making one look a tad cool.
Celine has partnered up with Master & Dynamic for its first foray into the audio space. If you're already familiar with Master & Dynamic, you'd know that the audio brand is universally known for its make, rich audio quality, and signature design. Celine's variation is an aesthetic update of the MH40 model identifiable by its lightweight anodised aluminium body. Both the headband and removable ear pads are crafted from supple lambskin, with the capabilities of the MH40—Bluetooth 5.2 connectivity, noise isolation, and up to 30 hours of battery life—ensuring that the audio experience is as luxe as it gets.
While its runway debut only showcased the all-black iteration, the Celine headphones come in three colourways: the aforementioned all-black, black and silver, and tan and silver. The black-and-silver iteration features "Celine" right on the exterior of each speaker; the all-black as well as the tan-and-silver colourways are decorated with the Celine Triomphe motif at the same spots. The partnership goes as far as adding more subtle details such as "Celine Paris" laser-engraved on the included charging cables, and "Designed and developed in Paris" marked on the right headphone.
The retail price? Well, it is a collaborative effort and branded with the signatures of a luxury fashion house so SGD1,350 isn't exactly out of left field. At the very least, it does more than say, a white shirt by Celine that also retails for around the same price.
The Celine wireless headphones will be available in boutiques and online soon.
We don’t need to tell you that your fragrance does say quite a bit about you. What you like, where your energy level is at, and even your personality might be discerned from the fragrances you gravitate towards. In the same manner, fragrances can be a tool of projection: you can use them quite effectively to communicate an initial visual impression—be it a sense of confidence, mystery or playfulness.
In the spirit of new beginnings for the new year, there’s absolutely no better time than the present to pause and reset your fragrance roster. While that may seem like we’re asking you to consider more mild-weight options, that’s absolutely not the case. This edit of fragrances—some perennial favourites with a few new releases thrown in—are meant to reintroduce a more refreshing scent profile that cuts right through headier bodies.
Think of this edit as the base on which to build on. The overall profile may be generally clean, but that really allows the opportunity to layer and mix to create ever more nuanced scents.
Istanbul-based perfume brand NISHANE has been around for only a decade, yet its growing presence in more than 120 countries is a mark of its niche extrait fragrances. A consistent top-selling fragrance across its entire repertoire, Hundred Silent Ways is part of a collection inspired by 13th-century poet Rumi. The fragrance starts with a citrus top note, which then settles into a vanilla body. The new Hundred Silent Ways X is a reworked version created as a celebration of the brand’s 10th anniversary and leans even more heavily on the original’s gourmand body, adding on leather to amplify the sensuality of the fragrance. The top notes remain prevalent, making this a thoroughly balanced scent.
L’Artisan Parfumeur’s Iris de Gris ranks top as the freshest fragrance in this edit. Part of the fragrance house’s Le Potager collection—a series dedicated to the use of vegetable notes in perfumery—Iris de Gris employs the use of a pea accord as the defining element of the fragrance. You smell it almost immediately, a crisp freshness that’s surprisingly reminiscent of a freshly picked and washed bag of peas. But of course, you won’t exactly be smelling like the vegetable. Iris and galbanum add refinement to the fragrance, with the mint (part of the concocted pea accord) lifting the fresh quality of Iris de Gris.
As classic as they come, English Pear & Freesia is a quintessential Jo Malone fragrance that is the perfect balance of sweet and sensual. It’s not cloyingly sweet in any way, thanks to the main King William Pear note that gives a juicy expression to the fragrance. As with many of Jo Malone scents, the patchouli base provides for the fragrance’s longevity—this one sticks to your skin for awhile despite being a lightweight cologne formulation. While English Pear & Freesia is categorised as a women’s perfume (but what exactly is the point of gender labels in the world of fragrances?), its floral notes lean on the lighter side and, if anything, add a touch of freshness to the overall scent.
Just like the previous fragrance on this list, H24 is created by Christine Nagel, the current in-house perfumer of Hermès. There’s a reason why Nagel is a celebrated perfumer and H24 is one of many examples of her refined take on perfumery. This eau de parfum formulation of H24 is headier than its eau de toilette predecessor but still retains a metallic note—thanks to the inclusion of sclarene—that’s signature to the fragrance. This metallic element cuts through to bring about a fragrance that perhaps isn’t for everyone. But the unique quality of it definitely sets the H24 apart from any other woody and musk-heavy fragrances out there.
The latest addition to Celine’s bath and body range—a range that was only introduced this year—is its first cologne. There’s an overall powdery radiance to Cologne Céleste brought about by notes of orris butter that ties it to the house’s refined haute parfumerie collection. Cologne Céleste, however, is designed to be an after-bath ritual meant to reinvigorate and soothe. The intended effect is brought about by the cologne’s more refreshing citrus and floral notes comprising neroli, orange blossom and sweet lemon essence. And as a way of bringing back old-school self-care gestures, Cologne Céleste can either be used as a splash (think Macaulay Culkin in Home Alone) or as a classic perfume with the removable metal pump included. Either way, the cologne is one you can easily incorporate as an everyday go-to.
Rather multi-faceted in essence, Gucci’s A Floral Verse is quite a journey, beginning with floral notes that then bring you to a green middle before settling down to a white musk base. A Floral Verse opens with Indian jasmine sambac that’s a splendid combination of floral, with semblances of warmth. The middle Sri Lankan black tea note provides a dry expression that counters the more floral elements of the Indian jasmine sambac, while at the same time infuses a dose of smokiness. The name may allude to a floral-heavy fragrance, but A Floral Verse is actually more green than floral, and layers easily with more robust fragrances.
Photography: Jayden Tan
Photography Assistant: Aisyah Hisham
ESQUIRE: I watched you in the original musical Let Me Fly. I was surprised. I had thought it would be a science fiction drama after reading the synopsis about a time-travelling female lead, who dreams of becoming a NASA scientist, and a male lead, who wanted to be a fashion designer. Other than that, I didn’t go in with a lot of expectations since I’m not a sci-fi fan. But 40 minutes in, I found myself sobbing.
PARK BO-GUM: (laughs) Thank you so much. I still remember the first time I watched this musical. I personally know Shin Jaebum, who was playing the same Namwon role as I am this season. We were classmates majoring in musical theatre at school. When this musical was playing for the first time last year, he invited me to come see the show. I did, and I was surprised because the production was great. I too wondered if it was a story about space, or about the fashion-designer-wannabe male lead. But it was actually a story about time and love. “It was our journey through time together. Even if I were to be reborn, I will not go back and will choose this path again.” Everything including this line, the numbers, each prop, and stage elements were perfect. On the day I watched it, everyone in the audience cried so much that their masks were wet from tears. I remember leaving the theatre with such happiness and emotions that exceeded whatever I expected before I went in.
ESQ: There were many people in the audience crying loudly on the day I watched it as well. I didn’t want to make a sound, so I clenched my fists like Zo Insung (in the drama Something Happened in Bali). They weren’t tears that emphasised sadness though. They were tears of intense happiness. I enjoyed the show.
PBG: That’s so true. You can hear Namwon’s voice as he sincerely expressed his love to Jungbun despite not remembering anything. This might be a spoiler, but the moment the word “cupcake” is mentioned, the audience realises Sunhee’s true identity.
ESQ: The audience actually knew it before that. But it didn’t matter, we just enjoyed it.
PBG: I’m glad. It makes me so happy to hear that.
ESQ: I’m also surprised that Let Me Fly is playing in such a small theatre with only 300 seats. It’s not every day that we get to see one of Korea’s top drama actors dancing and singing like that. I’m curious about what made you decide to accept this role.
PBG: Productions like this usually cast multiple actors for a role so that they can take turns. As I mentioned earlier, when Shin Jaebum invited me to watch the show last year, Oh Euishik and Kim Jihyun were also playing Namwon. When I met them backstage, they half-jokingly said, “Bo-gum, let’s do this show together next time and bring it to a bigger theatre!” I think that played a big part in my decision to accept the role. I told them at the time that I’d be waiting for the call. I heard that the producers had no intention of casting me, but Jaebum persuaded them to just try reaching out to me. My seniors and batchmates were cheering me on, so I had no reason to turn down the role.
ESQ: Your timing was great. I heard that original Korean musicals and theatre productions were badly hit during, and even after, the Covid shutdowns. At a time like this, staging Let Me Fly and having a superstar like Park Bo-gum in the lead role can bring life back to Daehakro.
PBG: That it’s an original Korean production was the main reason I took the role. I wanted to share the emotions I felt when I watched the show last year. If my being cast can help promote this production to not only Korean fans, but international fans as well, I’d be so thankful.
ESQ: When I watched the show, there were many fans who seemed like they were from North America or Southeast Asia. What’s interesting was that when I went to buy a programme at the merchandise booth, there was a foreigner in front of me who said “Give me one of everything you have.” They must have really liked the show since they wanted to buy everything.
PBG: Really? I had no idea. That makes me so happy!
ESQ: The show I watched had Lee Hyunghoon playing the older Namwon, Hong Jihee as Jungbun, and Bang Jinhee as Sunhee, and the chemistry between them on stage was just remarkable. I can’t imagine that it’s easy achieving the right chemistry, especially when all four characters are played by three different actors. Kudos to them. They made it look and feel so believable.
PBG: That is why I can confidently say that no matter which actors you watch, they all bring their own charm to each of the shows, and they are all great. I also feel a different excitement when I’m on stage with different actors. You are showering me with so much praise that I think I’ll do really well for tonight’s performance.
ESQ: You’re going to perform tonight after this interview?
PBG: Yes. It’s going to be with Kim Dobin, Choi Soojin and Na Hana tonight.
ESQ: When will Let Me Fly be staged in a large theatre?
PBG: Large theatre... I don’t think it’s time for that yet. The small theatre right now is great. It feels intimate. Expanding to a mid-sized theatre might work, but a large theatre... At the end of the day, that decision is not mine to make. It depends on the production company.
ESQ: That is true. There’s a charm to small theatres because we can see the stage from a closer proximity, and it does feel more intimate.
PBG: That’s right. That is also what I like about this production. I can see and feel the immediate reaction from the audience. Of course, I can’t see their faces or expressions from the stage, but I can feel how engaged the audience is. It truly feels like we’re communicating with the audience because I can feel it when they burst into tears. This is my debut on a theatrical stage, so it’s my first time experiencing this sort of energy.
I mentioned earlier that Jaebum was my classmate from the musical theatre department in college, but I was usually just working behind the scenes as the director or music director.
ESQ: That’s amazing! I was just thinking to myself that you must have had lots of practice since you majored in musical theatre in college. As I look again at your characters Choi Taek in Reply 1988 and Lee Yeong in Love in the Moonlight... those don’t seem like they could dance, and yet you just brought them into action. You were great. You were also great at aegyo (acting cute) with your “bbuing”.
PBG: Not at all! I was getting lots of help from the people around me for the dancing and the singing, so all I really had to do was follow their directions and suggestions. Actually, the aegyo scene came about because we were trying to figure out how to make the characters for young Namwon and older Namwon be more cohesive. Each of the cast members has different charms. So, when you watched Lee Hyunghoon’s older Namwon that day, I had to add more to my acting to match his bubblier version of the character.
ESQ: I didn’t know you had to think of that as well.
PBG: That’s what makes it fun. (laughs) I spoke with and practised a lot with the other actors playing the younger Namwon.
ESQ: What was the process like for you during practice? It must not have been easy planning your schedule.
PBG: This is the first musical production that I’m involved in, and one that I love as well. As I practised every day, my desire to put on the best performance grew. After filming for my drama, I would always head straight to the studio to practise late into the night with our choreographer. All the other actors in this show helped me a lot. They stayed late so that we could clean up specific scenes. But the interesting thing is that my footsteps felt light on the way to the studio, and I enjoyed it so much. I was the youngest in this production, so I was just a student to everyone else. Everyone there was my teacher. Especially Shin Jaebum and Na Hana, who taught me the best way to project my voice. I didn’t know how loud I should be, or what’s the best method to deliver my lines since it was my first time on stage. Ah! Especially in the scene with the mirrored choreography, where older Namwon and younger Namwon faced each other and danced as though looking into a mirror. We put in a lot of effort for that scene because all three of us felt that we needed to be as perfect as possible.
ESQ: I remember the scene because it seemed like a mime show. It was perfect!
PBG: Although we should also pay attention to the other scenes, we focused a lot on that particular scene, even right down to the timing of our eyes blinking. We paid so much attention to our breaths, our steps and each movement of our fingers while practising.
ESQ: You’ve mentioned in interviews that you had dreamt of being a singer when you were younger. As I watched you in this show, I didn’t think you meant that as being an idol singer.
PBG: That’s right. I wanted to be a singer-songwriter. I played piano as a kid, so I wanted to comfort others and spread joy through the songs I wrote. Back when I used to audition for entertainment companies, there were not many male contestants who sang while playing the keyboard.
ESQ: You’re right. There weren’t many who could play the keyboard. You were good enough to play one of Lee Seungcheol’s songs on the keyboard for a TV show. This musical plays from September to December, and by the time this interview is published, you would have played this character over 10 times. Is there anything that has changed for you since the first time?
PBG: I also thought that things might become routine as time went by, but every time I perform with a different actor, I experience a new chemistry between us, and I feel new emotions each time. That is why I think this is such a great production. Despite playing the same show, the same character with the same lines, and everything is repeated, it always feels new with every show. Even when I think, “The emotions won’t get to me today,” I end up getting absorbed into the performance and sometimes get overwhelmed by emotions. That’s what makes this so very interesting for me. I’m experiencing things I don’t feel when I do movies or dramas.
ESQ: From the sounds of it, it’s almost as though you’re a first-time jazz improvisation musician.
PBG: That’s exactly what it feels like. Jazz musicians might be looking at a music sheet with the same chords, but they create music by communicating with one another through their emotions. Taking turns to act with different actors fits into that definition of jamming, and there’s a unique joy to it. There’s a term for the delight that musicians feel when they click together during a session, but I suddenly can’t remember it. For example, when someone improvises on stage and I immediately pick up on it and make the scene work, I feel so happy because I knew I was focused on the scene.
ESQ: The image of musicians performing on stage at a jazz club for the first time comes to mind.
PBG: (laughs) You can say that.
ESQ: But why have you been hiding your singing talents all this while?
PBG: I don’t sing well at all. Oh dear, please don’t say that. It’s just that I enjoy it, and the other musical actors are teaching me a lot, so I’m improving slowly.
ESQ: What’s the drama you’re currently filming?
PBG: I’m filming a Netflix drama called You’ve Done Well. The screenplay was written by Lim Sangchun (who also wrote Fight for My Way and When the Camelia Blooms), and directed by Kim Wonseok who also directed Misaeng, Signal, and My Mister.
ESQ: There’s no information available online for this drama yet. Can you tell us more about the character you’re playing?
PBG: All I can tell you is that the character is strong as steel and unwavering like an old tree.
ESQ: I’ve always seen you as a youthful star, which is a charm that’s emphasised in the dramas Boyfriend, Love in the Moonlight, and Record of Youth. But through this musical, it feels like you’ve expanded your range.
PBG: I could say that taking this role was a conscious decision to expand my career and roles. I do want to try new genres and characters that I’ve never done before.
ESQ: You’re also waiting for the release of your upcoming movie Wonderland, right? I’ve been telling people for three years now that I’m looking forward to it.
PBG: Wonderland is a thought-provoking movie. It’ll make you think about what is considered precious in value. I actually haven’t seen how they’re piecing the movie together, and we haven’t even done the preview for it yet. I’m also waiting for it to be released. It’ll be a fun watch. I felt it when we were filming.
ESQ: I personally want to see you play a serious character that doesn’t smile at all.
PBG: Ah! I know what you mean. Like my character in the movie Seo Bok right?
ESQ: Maybe something a little colder and more terrifying than that.
PBG: As I’ve mentioned earlier, I want to expand the types of characters I play through works that I want to recommend to others. While the characters are important, being able to confidently tell people “This is a really good story,” is more important to me. I want to build my career with projects that I’d even want to recommend to my future kids. I want to be an actor who people have faith in and can say, “Park Bo-gum’s work is great.”
ESQ: Wow! There aren’t many actors with such a filmography. Even if they had acted well, there will be times when the story itself isn’t all that great.
PBG: It’s just something I’m hoping for.
ESQ: I’m curious about Park Bo-gum as a person. You’ve always played characters who are polite, kind and considerate. Even people who’ve worked with you said the same about you. But what is your biggest desire in the depths of your heart?
PBG: Eating.
ESQ: Really? That’s great! I was worried you’d say something like “My desire for acting.”
PBG: I adore good food. There are so many different cuisines in the world that I want to try, and I really enjoy having a good hearty meal. When filming schedules are gruelling, I often don’t have time to eat proper meals. When that happens, I get late night cravings once I get home. I know I shouldn’t eat late at night but I really can’t help it sometimes.
ESQ: Oh, I’m always craving for carbs after 10pm. Like chapaghetti (black bean paste instant noodles).
PBG: Exactly. I should resist those temptations, but there’s so much I want to eat in this world. People who work out can relate: I just crave proteins. It doesn’t matter if it’s pork or beef, I crave different proteins every day. My manager also works out, so we binge on proteins together. I recently had nurungji (scorched rice) ginseng chicken, and I loved it.
ESQ: Nurungji ginseng chicken is the perfect food. It’s interesting that you have this simple side to you as well.
PBG: I’m lucky to be able to enjoy so much delicious food lately, but that’s the first thing that came to mind. There are times when my face puffs up after eating something the night before filming. As an actor, I always regret when that happens.
ESQ: You don’t drink, right?
PBG: I don’t usually drink, but I do enjoy a couple of drinks with friends occasionally. I have never tried soju though.
ESQ: What? Not even once?
PBG: Unbelievable, but it’s true. I’ve never had soju before. I’ve tried sweeter alcohols, but never soju. People who can drink a few bottles of it at a time amaze me.
ESQ: Besides work, how do you usually spend your time? Do you devote it on a hobby, maybe?
PBG: Lately, it’s singing practice.
ESQ: But singing is part of your work. Doesn’t count.
PBG: That’s true, but I’ve honestly never thought of doing musicals, movies, dramas or business travels as work.
ESQ: Oh, stop being so impossibly perfect. (laughs)
PBG: I realised very early on that if I think of it as work, at some point, it becomes something I have to do and I’d start getting stressed about it. Being able to do what I love is happiness in itself and is a huge blessing to me. Even after getting on board this musical, I enjoyed the songs so much that I thought to myself, “Wow, I really should sing these amazing songs well,” and that stopped me from feeling like practice is work.
ESQ: Looking at you while you talk about this, I can feel your sincere happiness and joy. As a fellow professional, I’m envious.
PBG: Really? Even for music, I only listen to numbers from Let Me Fly these days.
ESQ: How was the photoshoot with Celine?
PBG: I’m excited to be able to show a side of me that I’ve never shown before through this shoot with Celine and Esquire. It was fun. To me, fashion photo shoots are like playing a character. My hairstyle, make-up, outfits, and even my expressions and poses come together to create a new character. I really enjoyed it. The pieces from the Winter season this time look great too.
ESQ: Is there an outfit that stood out to you?
PBG: I loved all the coats, especially the ones with Celine’s signature patterns.
Photography: Mok Jungwook
Styling: Kim E Joo
Fashion Editor: Yun Woonghee
Features Editor: Park Sehoi
Hair: Ji Kyoungmi
Make-up: Lee Young
Production: Jang Homin
Assistant: Song Chaeyeon
Art Design: Kim Daesup
Translation: Astrid Ja’afarino
The way that monograms have become such a huge part of luxury fashion is a testament to their enduring power. We may be moving towards monogram-lite fashion these days (cue all the slew of TikToks on quiet luxury) but monograms remain perennial brand identifiers. In the past few years, brands the likes of Versace, Balmain and Burberry introduced new ones—the latter initiated by former chief creative officer Riccardo Tisci.
One of creative, artistic and image director Hedi Slimane’s first undertakings at Celine was reviving its monogram.
The Triomphe Canvas was officially introduced as part of Celine’s autumn 2019 collection yet its origins date back to the '70s. Its name comes from the chains surrounding Paris’ Arc de Triomphe. The story goes that after a minor collision on Place de l’Étoile (now Place Charles de Gaulle) involving Celine founder Céline Vipiana, she stepped out of her vehicle and noticed the mirrored Cs embedded as part of the metal chains surrounding the monument. Co-opting the motif for her own, she applied it on a range of bags, accessories as well as ready-to-wear.
Slimane took this further with the Triomphe Canvas. The lightweight construction of a Triomphe Canvas piece—a canvas body trimmed with leather—makes one primed for anyone constantly on the move. Its durability is on par with Celine's leather offerings, but less precious in some ways that makes it better withstand some better over prolonged use. The leather on the Triomphe Canvas is poised to age and patina beautifully over time, while the canvas body takes on a bit more character with scuffs.
That's the appeal of the Slimane-era Triomphe Canvas. The monogram already feels timeless with each piece of the collection meticulously constructed to exude a vintage allure. Not only does this give the appearance of a vintage find, but it also paves the way for the legacy of the monogram in the vintage market. Fast forward a decade, and we're almost certain that you'd be able to find Triomphe Canvas pieces in vintage stores the world over.
The fact that it has only been less than five years since Slimane reintroduced the Triomphe Canvas, yet it's become so synonymous with the house speaks to its distinctive markings. In its classic tan colourway, the Triomphe motif is subtle; lighter colourways offer a more striking appearance of the motif. And of course, seasonal interpretations take on various forms and even artistic expressions.
But no matter what you'd gravitate towards, it's bound to be one that you'd surprisingly find more use out of than you'd think.
