No, there isn’t a new artistic director at Berluti. In fact, there hasn’t been one since Kris Van Assche left the Maison in 2021. There is, however, a new CEO in the form of Jean-Marc Mansvelt.
Mansvelt has been in the LVMH Group of brands for decades. He had spent about 10 years in Louis Vuitton before moving to become jewellery house Chaumet’s CEO in 2015, focusing on storytelling to revive what was often referred to as the “sleeping beauty” of the jewellery world. And while high jewellery is far from the world of luxury fashion, Mansvelt is likely to enact a somewhat similar approach to Berluti as its CEO.
The Maison’s latest campaign is the first of what is certain to be many new directional changes for Berluti. Lensed by Bastian Archard, whose works often capture objects and people in a quiet and intimate manner, the 17-image campaign zeroes in on the Maison’s emblematic pieces. They’re treated like objets d’art—shoes and bags positioned on pedestals, while ready-to-wear pieces envelope and take on the personalities of the models they’re put on.
There’s no distinguishing the timeless Berluti classics from pieces picked out from the latest collections. It’s a strategic and artful approach to signal this new chapter of Berluti where seasonality is seemingly obsolete. Instead, the focus is on the craft honed by its artisans. A number of the images from the campaign highlight the design intricacies and details that are easily recognisable for those already familiar with Berluti, while serving as a reminder of the hands and artistry that go behind each piece. The tone-on-tone hand-stitching of the Andy loafers, and the sliver of the contemporary on the sporty-soled Fast Track leather sneakers showcase time-honoured expertise, and are essentially a snapshot of the artisans themselves. The scuffed up and worn out soles of a pair of Alessandro lace-ups demonstrate that Berluti’s pieces are meant to be lived in and remain dependable for years to come.
Perhaps, the most drastic change is the return of the classic Berluti logo. The serif typography has been revived, given due prominence with each and every campaign image bearing the mark—even alongside the Van Assche-initiated trademark onto the sole of a pair of boots. And like the creations it’s featured against, the emblem radiates character and renewed energy, a signifier of the history and upcoming stories yet to be told with the brand.
All that is to say: Berluti is home.
Scrunchies belong on hair but for Y/PROJECT, they are bringing that concept to the feet. Renowned for challenging traditional norms, Y/PROJECT imbues its signature scrunching to the Salomon Speedcross 3. While both brands are French, they each bring distinctly different qualities to the collaboration, tying in Y/PROJECT's extravagance with Salomon's functionality. Thus, the Speedcross 3 Y/PROJECT.
So, yeah. The scrunching, what's that about? These Speedcross 3 models now feature scrunched fabric textures that are crafted with innovative drawstring details that hold the drapes in place, and beneath, reveal Salomon's acclaimed Sensifit™ tech. This is the sort of feature that'll have fashion geeks stopping in their tracks.
Beyond the aesthetics, the shoe boasts Salomon's Speedcross lug pattern—engineered for unparalleled traction on a variety of surfaces. If you're concerned that the drapes add weight, they don't. The protective lightweight band around the base not only shields the foot from the outdoors but also maintains the shoe's lightweight feel.
Available in black with vibrant accents and a classic, yet refined grey colourway, this one-of-a-kind collaboration marks one of Glenn Martens' final projects as Y/PROJECT's creative director before he embarks on other ventures.
The Salomon Speedcross 3 Y/PROJECT is now exclusively available at the Salomon Orchard Central store and online.
We reckon Barry Keoghan knows a thing or two about "Burberry weather". The Saltburn actor grew up in Dublin after all, where temperatures rarely go beyond 20 degrees Celcius—perfect weather to be layering over just about any kind of outerwear all year round.
The Burberry global ambassador is one of seven personalities chosen to be part of Burberry's latest outerwear-centric campaign, "It's Always Burberry Weather". Shot across London and the British countryside, the campaign is a series of cinematic vignettes—each individually fronted by Keoghan, actor Zhang Jingyi, Cara Delevingne, England footballers Cole Palmer and Eberechi Eze, musician Simz, and Academy Award-winning actress Olivia Colman—with each highlighting a particular outerwear style reimagined by Burberry. Colman, for example, wears a cosy quilted outerwear while on a drive in the countryside and recounting her sleep trouble woes to a friend over the phone before humorously stumbling upon a flock of sheep. And in the campaign's longest short film (a runtime past the nine-minute mark), Palmer lounges on a deckchair in a duffel coat by a lake, waiting for a fish to bite.
In true thespian fashion, Keoghan's short film sees him running lines with a server at a streetside cafe. He's dressed in a Burberry Check puffer jacket that's very much in line with his own personal aesthetic. It's also reversible—Keoghan wears it with the plain-side out in the short film but is photographed by Alasdair McLellan with the Burberry Check in full display for the campaign's stills. We can't help but draw the parallels between the reversibility of the puffer jacket with Keoghan's own artistry and penchant for taking on characters that aren't exactly what they seem like on the surface—a journey that he tells us, is something that he enjoys discovering while on set and in the moment.
ESQUIRE SINGAPORE: What’s your earliest memory of Burberry?
BARRY KEOGHAN: The first Burberry piece I owned was a Burberry scarf. I remember I used to wear it with anything and everything and it had the traditional pattern on it as well.
ESQ: Being a global ambassador of Burberry now for over six months, you’ve been dressed by the brand a few times, even before the announcement. Is there one significant highlight or moment with Burberry that still sticks out for you?
BK: My favourite Burberry piece I own is the white puffer jacket I wore to the Burberry Summer 2025 fashion show.
ESQ: How did you approach shooting the Burberry Outerwear campaign?
BK: Some of the moments that I remember from the Burberry shoot, was just how fun it was and how easy it was to shoot on film, and how good it was to work with the directors and creative team to bring some humour to the shoot.
ESQ: You do have a penchant for streetwear pieces. How does Burberry Outerwear fit in with your own personal style?
BK: My personal style is sort of like trackies and cropped jackets. I love a good jumper and high neck shirts, and basically a cropped jacket/cropped jumper—I love.
ESQ: Who are some of your biggest acting heroes and non-acting heroes?
BK: Marlon Brando, Paul Newman, and to be honest, animals—I’ve always talked about how I’ve watched and observed animals, and also body language and posture, and documentaries. I gather and observe that. And I also just observe life. I never want to see anyone acting and I’m always looking for what looks true and real and I always find that in documentaries.
ESQ: What has been the most challenging role you’ve taken on so far, and how did you overcome it?
BK: The most challenging would be my Saltburn character. It wasn’t that it was hard or difficult but with the word being "challenging", it's the sort of the thing that I’m drawn to. I like to play characters that aren’t necessarily easy and that I can easily slip in to. I want to always have a challenge and physicality and a skill set I can learn.
ESQ: You’re about to officially take on a role, The Joker, that’s been played by a great number of actors. What’s the thought process like of accepting and then formulating a game plan for a role like that?
BK: Getting into character I have notebooks that I write things down in. I dress like the character, I stay in acting to familiarise with the period, and I do a hobby that the character does. Then I go away for two weeks to get into character and get into the character with no distractions—to live and breathe the character. Then I go to set and be open to collaboration and discovery with the director and team because again, I love to find the character as I go along in the journey and not have everything figured out—just like life.
ESQ: How are you hoping to end the year?
BK: I’m hoping to end the year with some growth and progression in my arts. I hope to be able to look back at it and look at how much I’ve grown and look to set new goals and challenge myself for next year.
This interview has been edited for length and clarity.
You may be familiar with Loro Piana’s CashDenim series. While CashDenim pieces look exactly like traditional denim, the brand has transformed the hand feel of the hardy material by infusing precious cashmere. This not only gives the resulting fabric a luxuriously soft touch, it also enhances the durability of denim with the added boon of heat-retaining properties without making the wearer feel the heat. Basically, CashDenim is denim made better.
Denim has been around for centuries and the advancement of fabric technologies has allowed it to take on forms that previously would have been unthinkable. CashDenim is relatively new, having been launched in 2022, and is a fine example of brands experimenting with denim in new ways.
This season, Berluti introduces a speckled Canadian tuxedo crafted with cotton-silk-infused denim for a deceptively hefty piece—you wouldn’t necessarily be able to feel the silk by touch but there’s a marked difference in weight. Prada’s all-denim looks for Autumn/Winter 2024 are some of the thinnest manipulations of the fabric we’ve ever experienced that they almost seem un-denim-like.
While it’s not exactly tweaking the composition or make of denim like the others are doing, Kenzo deserves special mention for creating denim that appears almost like jacquard. Cleverly making use of contrast topstitching, a full denim look is decorated with a “Kenzo Star Tiger” motif that looks incredibly elaborate.
If it isn’t already apparent, luxury is more than that visual appeal at the very first glance. While bold, striking colours and designs are undoubtedly special, the feel of a piece of ready-to-wear evokes that same kind of experience that luxury fashion should provide. If you’re shelling out upwards of four figures for an outerwear, it better feel every bit as special as it’s made out to be.
Textural pieces are emphasised this season through technical explorations of craft as well as materiality. Fendi’s slew of outerwear ranging from zip-up jackets to knee-length coats have an almost homespun slant with textures that look and feel plush. A plaid coat amps up the tactile experience with raglan sleeves of a contrasting texture from its bodice. Chunky cable knits by Tod’s employ the use of different colours as an example of elevated knitting techniques—they’re also trimmed with contrasting ribbing for added tactility.
What appeared like pony hair on the Hermès runway turns out to be calfskin upon closer inspection. The calfskins used are heavily polished to effect a beautiful pony hair-like sheen that catches light with every movement. And of course, they feel as decadent as they look—all for the wearer to experience and appreciate fashion on a more sensory level.
It was earlier this year on award show red carpets that lapel pins and brooches suddenly became a trend among Hollywood celebrity stylists. Almost every single male celebrity sported a version of one, pairing it with all manner of tailoring.
The Autumn/Winter 2024 menswear collections are rife with brooches and they’re mostly grandmother-like in nature. You know what we’re talking about—those impossibly bold ’90s designs in shades of gold that our grandmothers used to hold two ends of a scarf together or simply as a piece of statement jewellery to complete an evening jacket. Hey, who said anything about brooches and pins being for a specific gender anyway?
Dolce&Gabbana had a multitude of variations attached to almost every look in its monochromatic collection, while Emporio Armani’s more subdued versions are used to finish relaxed tailoring. In true grandmother fashion, Fendi replaced button fastenings with bejewelled FF brooches as a way of securing coats and cardigans.
Jewellery in menswear has become more prevalent. It’s not unusual to finish an outfit with rings or earrings or even necklaces. The addition of a brooch is a long time coming, and who doesn’t love more options to play around with?
Zegna’s Oasi Cashmere is a marvel in that not only is the brand committed to keeping it fully traceable, the fabrics resulting from it are testament to Zegna’s mastery in innovation. The Autumn/ Winter 2024 collection employs the use of Oasi Cashmere in myriad ways, pushing the limits of cashmere’s use beyond the traditional.
Cashmere over cashmere over cashmere are layered to create monochromatic looks that protect, while reinforcing the idea of luxurious preciousness. They’re shaped into multi-melange cashmere tops and sweaters, cashmere suiting as well as cashmere-backed plongé leather. The latter may seem visually hefty, but are mind-blowingly lightweight in feel. It helps too that Oasi Cashmere benefits from artistic director Alessandro Sartori’s billowy and oversized silhouettes that serve to showcase the material in the best ways possible.
What’s especially evident—and has since become a running theme at Zegna—is that the pieces are timeless in nature. The heavily layered looks are easily broken down to individual pieces that can then be paired with garments from previous as well as upcoming collections. Investments are only as good as their returns and you’d be rest assured that these are definitely every bit bang for your buck.
One would think that with increased digitalisation, the need for bags would become obsolete. But instead, they’re getting bigger than ever. We’ve reached the other end of the spectrum when it comes to bags—it was only a few years ago when bags that could hardly fit a pair of AirPods were a thing.
Thankfully, capacious bags are more functional. If you think about it, they actually make sense for the multifaceted lifestyles that we lead. Whether we’re working from just about anywhere aside from the office, or cram our after-office hours with fitness classes (and more work), a bag that fits in all that’s needed makes a worthy investment.
Balenciaga’s nifty offering is the Bel Air XL Carry All bag that’s designed with a wide front pocket and an incredibly roomy main compartment with two zipped pockets and two flat pockets on the inside. The generous handle drop is non-adjustable but it allows for shoulder as well as hand carry. Gucci’s more traditional shape—you could easily bring this to the office—comes with an extra adjustable shoulder strap. The tote bag in question is crafted in leather that gives its structured shape but is as soft as it is sturdy (as evident from the how the models carried them on the runway).
For part one of the Autumn/Winter 2024 menswear trends.
A new fashion season often welcomes the introduction of new ideas and fresh perspectives on dressing, even in the simplest details. The Autumn/Winter 2024 menswear collections aren’t any different especially as the industry at large is currently experiencing a slowdown.
There’s a constant conundrum in fashion season after season. As much as brands continuously take creative licenses in seasonal collections—collaborating with a slew of artists, materialising new silhouettes, and crafting interesting narratives—familiarity and wearability are most often paramount to the general consumer. It’s apparent that since the resurgence of minimalism (guised as “quiet luxury”) there’s a growing mindful approach to fashion where appeal goes deeper than first-glance statements.
The slew of menswear collections for the Autumn/Winter 2024 season reflect a more concerted effort at balancing creativity with tried-and-tested staples. However, the offerings aren’t as pared back as Autumn/Winter 2023 when “quiet luxury” was at its peak. There are considered inflexions of more showy displays of techniques and craftsmanship, especially by luxury fashion brands. And even the simpler forms aren’t exactly what they seem.
CELINE’s Autumn/Winter 2024 menswear collection marks a return to tailoring for artistic, creative and image director Hedi Slimane—though if you’ve been a stalwart follower of the man, it has always been there. The full breadth of the collection is a masterclass of Slimane’s penchant for borderline-skintight silhouettes in swathes of blacks and greys and in a number of textural treatments.
The “Symphonie Fantastique” collection as it’s called, is named after a musical piece by French composer Hector Berlioz in 1830, and reflects the romantic tension imbued throughout the pieces in the collection. Intentional structure in form is juxtaposed with the use of luxurious materials, and an adept understanding of how monochromatic layering highlights the cut and make of each tailored piece.
While the cuts are typical by Slimane’s standards, the make on certain pieces is extraordinary. A number of the outerwear (especially the collection’s hallmark gold coat) are essentially couture, employing the use of embroidery specifically placed by hand. And even when they’re not done to that similar level of handcrafted detail, pieces such as a double-face wool suit riddled with rhinestones, or one that looks as though it was specked entirely with gold dust, breathe new life to something that’s considered de rigueur from Slimane.
Love it or hate it, streetwear’s reign within the luxury fashion context has most definitely come to its inevitable end. Streetwear-centric garments, however, have grown to be such quintessential elements of menswear that you’d find them in a variety of iterations across all levels of fashion retail hierarchy.
The pullover hoodie is given due focus this season. No, this isn’t your average go-to that’s become part of your airport fit or the one you’d grab for date nights at the movie theatre. The Autumn/Winter 2024 versions are generally devoid of any graphics or embellishments yet make for strong statements just based on materiality alone. Take for example Burberry’s offerings in super supple leather that even the keenest of eyes could easily mistake for nylon hoodies. Loewe takes it up a notch with leather iterations that reach all the way to the thighs, complete with ribbed trims. Pushing the envelope further, McQueen serves up hoodies that are almost far removed from what you’d expect of a hoodie while still remaining wearable.
For the more pragmatic, Coach’s cotton versions are cut long with a raw edge—and finished with tasteful distressing around the hood—perfect for layering. Or opt for Wooyoungmi’s self-tie hoodie for a piece marked by a style detail that’s effortless and chic.
At Loewe, creative director Jonathan Anderson’s continued exploration of the parallels between art and fashion has led to a collaboration with American artist Richard Hawkins. Known for his collages that focus on the male body and its portrayals across many different types of media—including fantasised celebrity porn–Hawkins was given carte blanche to create original artworks for the brand’s Autumn/Winter 2024 menswear collection.
Hawkins employed the use of an AI script to assist in generating the collages before turning them into paintings. The painted collages are then further broken down and are effectively snippets as they’re translated onto pieces in the collection in true Loewe form. The works are crafted as jacquards and prints on knitwear, while they’re recreated as stunning beaded embellishments on supersized Squeeze bags for men. In certain pieces, different permutations of embroidery, leather marquetry, glass studs, and fringes are paired together to further emphasise the collage nature of Hawkins’ work.
One may be immediately drawn by the male bodies in the artworks, but on closer inspection, the different layers within each collage become more apparent. The disparate elements—messages and graphics—echo the combination of visuals that we’re inundated with on a daily basis and how that informs our reality in some shape or form.
Work-from-home arrangements and the loosening of office dress codes for a majority of industries may be the norm now, but fashion refuses to let ties die. And let’s face it, ties will never really go out of style.
As though in defiance of societal norms (how very fashion), corporate dressing is increasingly gaining traction. It’s almost human nature that we often tend to eagerly act in reverse to convention; we don’t want to abide by strict dress codes but rather have the freedom to do so whenever we feel like it. Ties take centre stage in this wrestle for control as corporate-esque outfits are built around the once-powerful accessory.
Prada’s entire Autumn/Winter 2024 menswear collection revolves around the idea of corporatewear, splicing them with the desire to escape the confines of the office. Silk ties are the connecting thread that, well, ties the entire collection together as they’re paired with trompe l’œil shirting (some are actually made of Re-Nylon) and trousers attached with leather belts.
Saint Laurent and Sean Suen both reference the past with silhouettes that nod to when ties were a hallmark of traditional menswear. The former has brought back wide ties to match the equally wide lapels of its blazers, while Sean Suen’s printed versions stand out against reimagined classics.
As corporate dress makes a menswear comeback (or “corpcore” as the kids call it these days), you’d be able to find pinstripes in just about every single Autumn/Winter 2024 collection. At its most classic, like at Brunello Cucinelli, the pattern is used as a way of lengthening the overall look of the brand’s double-breasted offerings, while CELINE’s three-piece pinstripe suit gives off the vibe of a menacing mob boss.
Yet, where pinstripes truly make a renewed difference are on atypical pieces far removed from its tailored heritage. Dior Men takes the lead in this approach. The House’s pinstripe creations take on forms that resemble more workwear-inspired pieces. There are pinstripe suiting and coats, but there are also overalls and rompers completely dressed in pinstripes. The pattern immediately imbues these pieces with a sense of sartorial formality that elevates the entire look, especially when worn with more louche pairings within the collection.
There’s also an attempt at making pinstripes somewhat sexy. Burberry’s roomy cut suiting are irreverently worn sans an inner layer or with a deep V-neck sweater, while Onitsuka Tiger opts for a deconstructed knit collar with its modern interpretation of a pinstripe suit.
For part two of the Autumn/Winter 2024 menswear trends.
When the invite to the Louis Vuitton Autumn/Winter 2024 menswear runway show stated that it was to be held at Paris’ Jardin d’Acclimatation, a recreation of a Western film set was not something anyone could’ve imagined. Yet, there we were, standing next to a shiny, red food truck with an equally red sign (the kind that welcomes you upon crossing state lines in the United States) emblazoned with “Paris LVirginia”.
It was only men’s creative director Pharrell Williams’ third runway show for the Maison but there’s already a sense that the menswear shows are slated to be multi-sensorial experiences. If Williams’ debut on Paris’ Pont Neuf—in view of LVMH-owned Cheval Blanc and La Samaritaine as well as the Louis Vuitton headquarters—included a live band and choir, the Autumn/Winter 2024 menswear show took things a step further.
Past the red sign, the show space brought the American West to Paris. Massive screens spanned the entire indoor circumference, depicting a desert landscape that gradually changed as the full line-up of the collection made its way down a rust-coloured Damier runway. Snow eventually covered the rocky formations and sparse vegetation, culminating in a finale that saw faux snow raining down the show space as powwow group Native Voices of Resistance—comprising singers from Native American nations across North America—captivated with a stirring performance. The show’s soundtrack too featured three more original songs all composed by Williams himself.
In some ways, Williams is continuing the trajectory that his predecessor, the late Virgil Abloh, set Louis Vuitton on—a maison that’s beyond the old-fashioned notions of what a luxury fashion house is. The Louis Vuitton menswear universe especially, is a cultural brand that’s ever-growing and expanding; it’s quintessentially Parisian in essence but draws influences from its global community. It echoes the core of Williams’ LVERS vision where the Maison’s core values of discernment, savoir-faire and travel are seen as a collective eternal source of vitality.
The Autumn/Winter 2024 menswear collection is a more tightly edited interpretation of the LVERS vision yet. The design aesthetic is clear. Drawing from a foundation of American Western workwear classics with heavy doses of denim, embroidered cowboy shirts, fringed leather jackets and more, the ready-to-wear pieces are reimagined with Louis Vuitton motifs and craftsmanship. Yes, there’s a string of looks drenched in the Maison’s Damier or LV Monogram motifs, but all artistically and creatively tweaked to reflect the collection’s theme. The closing look made sure to get the point across with a suit crafted from leather that was then painstakingly studded to decorate the entirety of the two-piece in the Damier motif.
The details put into each look further elevate the collection from straying into costume territory. Embroidery is a consistent application throughout on denim jackets, Western-style shirting as well as tailoring, while turquoise beading and embellishments are clever extensions of Williams’ penchant for pearls. Leather belts and cowboy hats are trimmed with metal buckles featuring kitschy versions of Louis Vuitton signifiers but grounded with a timeless visual approach to them.
What needs to be appreciated up close are the collection’s bags. While they are dressed in the Maison’s classic fabrications, the Autumn/Winter 2024 iterations are purposely treated to appear sun-eroded and worn out as though they’ve been through several desert heatwaves and sandstorms. They are still as recognisable as any other Louis Vuitton creation, save for the fact that they have much more character to them yet still leaving room for further actual wear and tear.
Williams covered all bases in ensuring that the workwear aspect of the collection is taken seriously. A collaboration with Timberland seems almost unavoidable. The footwear of the collection already took notes from work boots of the American West but the collaboration doubles down on the authenticity through the trusted know-how of the American brand. They’re peppered with Louis Vuitton details on leather accents as well as on the back of each tongue. But as with all things luxury go, especially in the cleverly marketed realm of Louis Vuitton, a number of special editions made their appearance on the runway encased in plexiglass shoe trunks.
The more important collaborations however, are the creative exchanges with artists from the Dakota and Lakota nations. Led by creative director Dee Jay Two Bears of the Standing Rock Sioux Tribe, the Dakota Flower motif appears on a number of bags and accessories, parfleche-inspired graphics are hand-painted on Keepalls, and charms are plumed with horse hair. Not only do these collaborations echo Williams’ LVERS vision, they also pay due reverence and respect to the cultural nuances of the American West that are often left out of whitewashed conversations and depictions.
The pomp and circumstance of the show are what you’d expect from Louis Vuitton. But look beyond all that and you’d discover a collection that truly celebrates and showcases what its design ethos is all about: highlighting a global community.
Tod’s known craftsmanship and “Made in Italy” ethos are part of the brand’s core values that have made it a household name in fashion. For the Autumn/Winter 2024 season, it’s taking a step further with the Pashmy project. The goal with the Pashmy project is for Tod’s to be a conduit for Italian excellence in terms of material and craftsmanship. The brand is putting in work to source and research for the most exclusive materials as well as the craftsmanship to turn them into unrivalled creations.
One of the earlier instalments of this is the Pashmy bomber jacket. Designed with linear lines, the Pashmy bomber is crafted from goatskin in a range of warm and cool tones and features a water-repellent and stain-resistant treatment. Most exquisitely, the jacket is lightweight and feels like pashmina—hence the name of the project.
The Pashmy project is merely an extension of the technical know-how of Tod’s, pushing the limits of its artisanship further. This is, after all, the same brand that introduced the Gommino to the world in 1979 and effectively changed the footwear game since; making quality products and devising new ways of craft aren’t completely new to Tod’s.
The main Autumn/Winter 2024 collection is testament to the longstanding pursuit of Italian excellence that the brand aims for. There is a more intent focus on ready-to-wear this time around as a studied use of luxurious materials evolves familiar menswear staples. Textural elements and considered detailing add both visual and sensorial interest. Knitwear in the collection showcases a variety of knitting techniques as well as the brand’s capability within the space. Leather jackets take on classic forms with a twist, crafted from stellar leather meant to age and last for years to come.
Pashmy project or not, there is little doubt that Tod’s will continue to uphold its skilled artisanship across every segment of the brand. But with a more committed project spearheading more material innovation, it only signals more exciting things to come in the ready-to-wear portion for a brand already beloved for its footwear.
Straight out of the '80s, the Ray-Ban Wings sunglasses were favoured by pilots due to the look and quality. The brand has since brought back the style in a number of iterations, with this latest one being a combination of the original and the Wings II. It maintains the squarish frame of the latter with an elongated taper that extends slightly towards the sides for more coverage. The brow bar remains a key fixture, making the style ever-enduring.
Pharrell Williams has a penchant for softness in Louis Vuitton’s bags. His Soul Trunk East West bag is a new supple take on the Maison’s trunk-making heritage; featuring reinforced corners and a duo of straps for maximum versatility of wear. The main compartment is secured with a zipper but there’s also a magnetic closure (fashioned to look like a trunk’s clasp) for quick reach into the interior while keeping the bag closed.
The sleek appearance of the second-generation EVOA Z is a Trojan horse for the top-tier functionality that the Samsonite luggage is known for. Some of the nifty design elements: a small but mighty hanging hook is integrated right below the pull handles to hang light items, zipper pullers are fixed with magnets so that they bind together to prevent theft, and the wheels glide with maximum smoothness and manoeuvrability.
The signature embroidered Pony logo of Polo Ralph Lauren makes for a subtle statement. It calls to mind the preppy aesthetic steeped in the brand’s history. Created using precisely 982 individual stitches, the logo sits front and centre on this BetterCotton twill cap. We don’t have to tell you just how indispensable a good cap is but just know that with this particular piece, the pairings are almost limitless.
Listen, we get that the Dyson Zone headphones (you know, the one with the air purifier attachment) seemed like a joke. And to be fair, perhaps Dyson knew that too. The brand’s latest audio device removes the extraneous feature and focuses solely on the audio quality and ANC. What we got: the Dyson OnTrac that's customisable wth a range of colours for its caps and cushions.
The Reverso is a revolutionary icon that stood the test of time. This latest iteration is a throwback to earlier models including a classic chemin de fer, applied hour markers and dauphine hands. Both sides of the timepiece feature a sunray dial—one lacquered in blue and the other in silver—for a classically elegant look whichever way you choose to turn to.
The Zegna Triple Stitch is a definite winner in our books. Already traipsing the line between casual and dressy, the brand takes it up a notch with an iteration that is tailored for more outdoor pursuits. The Triple Stitch Monte (Italian for “mount”) is fitted with Vibram soles for increased traction, all the while retaining the look and silhouette of the original.
For better or worse, the Dior Sauvage has quite the reputation—you either love it or don’t quite fancy it. The Dior Sauvage Eau Forte however, would easily satisfy both camps. The essence of Sauvage is still present but reimagined in an alcohol-free formula that’s light and fresh while having the intensity of a parfum. In other words, you probably won’t be assaulting anyone’s nose with this.
The distinctive Bone ring, a reincarnation of Elsa Peretti’s iconic 1970 Bone cuff design, has to be experienced first-hand to be appreciated. Its sinewy contours make for a subtle statement, but it is also sculpted to conform to one’s finger or knuckle. There is no restriction of motion despite its size and fits comfortably like second skin.
Everyone needs a throw-all duffel in their arsenal. This collaboration piece between Montblanc and football legend Zinédine Zidane runs high on the list of the perfect duffels. For starters, it’s incredibly roomy yet lightweight at the same time. The inside is thoughtfully designed with organisation compartments and loops, and of course, the exterior is as handsome as they come with Montblanc’s subtle Extreme 3.0 motif.
Photography: Jaya Khidir
Styling: Asri Jasman
Photography Assistants: Aliy Alam and Nowo Kasturi
It’s a little like a homecoming for Josiah Chua when we shot at his former class at LASALLE College of the Arts. Where mannequins acupunctured with needles stand at attention; sewing machines wait in rapt silence, there are ghosts of Chua’s past: of him and his peers sewing and cutting cloths.
Chua is part of the 2009 graduating Fashion Design class that consists of designers like Sunny Lim, Mae Pang and Pauline Ning. After graduation, as Chua was enlisted into National Service, his peers were roped in for PARCO next NEXT, an incubator programme to groom burgeoning fashion design talents. Held at PARCO Marina Bay in Millenia Walk, this was an initiative organised between PARCO Singapore and Textile & Fashion Federation (Singapore) (TaFf).
Despite the exclusion due to his conscription, Chua was excited for his peers. “During the weekends, when I booked out, I’d visit them at their booths and hang out.”
Eventually, the retail scene became a tough landscape to traverse, more so for local brands. PARCO next NEXT and, later, PARCO Marina Bay, shuttered. With this closure, Chua fretted about the loss of his friends’ outfits. “The local retail scene was competitive. For the amount of work that [my friends] put into their pieces, the prices that they were selling at weren’t enough in the long run.”
Previous collections were kept in storage and their prices often got discounted. Eventually, unsold collections were faced with the unkindest cut of all: disposal. Chua, who was already collecting toys and anime paraphernalia, stepped in. After all, what’s one more genre to collect, especially when they are the result of your classmates’ hard work?
Back then, as a student, Chua didn’t have the wherewithal and the funding to amass all the local pieces that he’d like. Approaching the designers that he knew, his classmates, seemed prudent. When he was able to earn his keep, Chua would revisit conversations with his friends about attaining their collection. He’d also resort to hunting down local brands on Carousell (an online market place).
Nostalgia is a huge factor in Chua’s obsession. The clothes reminded him of an era, a period in his life that represented possibilities. “Looking at them start their own labels told me that it was possible for me to join them at the PARCO next NEXT programme."
But that didn’t happen. Instead, Chua, who was trained as a fashion designer, found success as a stylist. He points to the lack of design houses in Singapore as a factor for his career change. “For design students, whenever there’s an internship, a lot of them would go for publications,” Chua explains. “Or work retail at Club21 or tailoring shops. Working in publications was a more viable option because there were many opportunities to work with editors and to find out how to market yourself.
"I didn’t choose to be a stylist but I don’t hate it. I enjoy what I do. Somehow the styling path found me. At the heart of it all, I’m still a designer.”
Chua’s collection started with works by his classmates but it soon included designers and their labels that he’d admired like alldressedup, Baylene, Woods & Woods. In a sense, Chua has the added onus of being a fashion anthropologist. In 2022, he and his friend, Daniela Tan (co-founder of the fashion label, MASH-UP) organised an exhibit called Capsule 2009. It was a visual archive of fashion pieces; over 50 garments, magazines and ephemera from the 2009 graduating class as well as from designers that they looked up to as students, were displayed. You can see part of the exhibit on the Instagram account (@sgfashionarchive), which has not been updated since.
The reason for the lack of an update is time; Chua is unable to set time aside for a meticulous archiving of his collection. Currently, 200 pieces of clothes are packed in boxes and suitcases; stored away in a corner of his flat. Recently, when he was unearthing what he had for this feature’s shoot, he was overcome with a compulsion to pick up from where he left off and properly catalogue his collection.
It’s a travesty if these outfits were allowed to disappear, no one else would know of their designers. That is why Chua steps up to the plate. That in his act of preserving this bubble of his past, he can also remind Singaporeans that their country has talent.
“If I don’t do it, I don’t know who the hell would,” Chua simply says.
(Clockwise from left-most)
Fabric neckpiece, KWODERENT. Panelled leather jacket, PAULINE.NING
“This Kwoderent piece isn’t mass-produced. It’s one of each. I went to [designer Grace Tan] studio and she had to open up her archive for me. It was eye-opening as it’s made out of foldable organdie fabric and green isn’t a common colour that Grace would use. The pauline.ning pieces were harder to acquire because Pauline didn’t want to let any of them go because she only had one of each design. Her patterns were so intricate. I kept inquiring about her key outfits and eventually, she caved in. She kept them in a large box and gave it to me. It felt like Christmas when I opened it.”
Printed silk georgette dress with rope hardware, ALLDRESSEDUP
"alldressedup is no more. [Jazz singer] Joanna Dong gave me a piece that she bought for one of her gigs. She knows that I was collecting local designers and she graciously gifted it to me. This is one of a kind; look at the print and the intricate rope hardware."
Tailored shirt with metallic panels, MILS BY SUNNY LIM
"When Sunny passed away, I asked his best friend [Lee] Yun Ting (designer of Episene) whatever happened to the rest of his collection. She said that they were stored at his mom’s house and his mom doesn’t know what to do with them. I asked if I could have them. Or if I sold them, any money that I made could be donated. I have his panelled metallic stuff and some that have cut-outs to reveal skin.”
Jersey and cotton tailored shirt, WOODS & WOODS BY JONATHAN SEOW
“Woods & Woods was a brand that I knew about but I was a bit late to the game. I looked up to Jonathan as the bench mark because he did Paris Fashion Week. Back when Woods & Woods was popular, I didn’t have the means to afford his stuff. Jonathan mixes unexpected fabrics. This shirt is constructed to look like a man’s shirt but is made out of a Jersey mesh material. Technically, it’s very creative. It’s not a showy shirt but it’s all about the details that I found appealing."
Panelled jacket with pleated darts, MAE PANG
"This is one of the first few pieces that I got that kickstarted the collection. Mae and I are close friends so her pieces were easy to attain. A lot of thought goes into her outfits; she’s so technical and it’s designed in such a way that it’s also suitable for our climate. After Mae, the collection just snowballed from there.”
Photography: Jayden Tan
Il bel vestire, an inherently Italian mindset of turning up well, is something we could all adopt. It shouldn’t entirely be a new concept to any of us, however. The idea of making an effort to turn up for something in a put-together manner is a sign of respect. Not only for the person one is meeting or the event but, most importantly, for one’s self.
It’s no surprise that Brunello Cucinelli has been an unyielding believer of this. Since its inception in 1978, the Italian brand associated with gentle luxury has charted a path of crafting contemporary menswear steeped in sartorial excellence. Its Autumn/Winter 2024 menswear collection focuses on elements that have been exalted as menswear staples and that are interpreted in Brunello Cucinelli’s effortless stylings.
The collection is rooted in ’80s-styled choices. Nothing is slim-fitted or stays close to the skin. Outerwear—a selection of decadent trench coats, overcoats and peacoats—sit squarely on the shoulders with a tailored cut that aims to enhance the physique, yet imbued with an elegant ease. Suiting retains an air of formality, but at the same time, designed to be versatile for most occasions (or non-occasions). The colour palette is one that’s familiar to any Brunello Cucinelli follower: soft and earthy to further emphasise the collection’s ease and versatility.
Lest we forget, tailoring isn’t the be all and end all of sartorial elegance. The collection’s knitwear stand out with tactile craftsmanship, the likes of waffle stitches, flecked yarns and mélange treatments, while shaped into cosy volumes with a refined structure. They’re not afterthoughts; shawl-collared cardigans are washed with soft colours decorated with geometric motifs that, again, call to the ’80s but paired with a denim shirt. You’d easily do a double-take not because of the offbeat choice, but rather in how the pairing makes complete sense and looks just as exceptional.
As it has with the rest of its collections, Brunello Cucinelli executes Autumn/Winter 2024 with a materials-first approach. But this time around, the focus is sharpened to ensure versatile functionality. While there is a certain structure apparent throughout the collection, the materials are kept luxurious with a soft and lightweight hand-feel to exude that signature Brunello Cucinelli ease. Blended fabrics help to elevate even the most casual of pieces as synthetic fibres are combined with the natural, balancing functionality with luxury.
Brunello Cucinelli might deal in the luxury fashion space but it is fair to say that the brand is a way of life—one that is all about turning up and doing it so respectfully well.
Although haute couture was largely controlled by men since its beginning in the 17th century, it has always been regarded as part of the women’s universe—even if men’s fashion during the time had just about the same level of intricacy as women’s. Haute couture has often been in reference to the elaborate court dresses that only master tailors were allowed to produce for noblewomen, while couturières (female designers) could only work on casual dress.
Societal shifts have further segmented fashion terminologies in the present day. Haute couture—while still remaining a male-dominated sector—largely deals with custom pieces for women; the closest male equivalent would be Savile Row’s bespoke tailoring, which, while employing a similar level of custom tailoring, is arguably less labour intensive and intricate than haute couture.
At Dior Men, artistic director Kim Jones’ constant deep dives into the house’s couture heritage have culminated in his first collection of couture pieces for men. Shown during the Rudolf Nureyev-inspired Winter 2024 runway show, the haute couture pieces closed as nods to the ballet dancer’s more flamboyant persona. Familiar menswear silhouettes that reflect nuances of movement and sport are handcrafted with embroideries (inspired by archive ball gowns) and employ the use of traditional techniques.
A silk crepe kimono closed the show. Worn over a romper, it’s one of a few pieces in the collection that was inspired by Nureyev’s collection of vintage textiles and clothing. The particular piece features embroidered tulle ribbons treated in a gradation of hues that seem to endlessly journey throughout the kimono. A silk organza top using the same application is found in a prior look, its sheerness displaying the detailed artistry as the ribbons appear to float and dance around the torso.
It’s fair to say that while the Winter 2024 collection marks Jones’ first haute couture collection for Dior Men, he’s no stranger to adapting couture techniques in past ready-to-wear collections. It’s difficult not to—Dior’s haute couture heritage runs deep with iconic haute couture creations still being referenced by designers within and beyond the house. And if anyone could make men’s haute couture part of the mainstream, it’s Jones.
Before the conclusion of the 2024 Singapore Grand Prix, before the announcement of Liam Lawson replacing Daniel Ricciardo for the rest of the remaining six races of the Formula One season, Ricciardo and Yuki Tsunoda were the faces of HUGO x RB capsule collection.
Along with a denim-clad F1 car and a campaign opener involving CGI content showcasing the RB Team car hoisted onto a skyscraper for a jaw-dropping 360-degree burnout show, there is the HUGO x RB Fall/Winter capsule line. This limited-edition collection takes cues from both F1 and modern tailoring and mixes cutting-edge performance wear with streetwear sensibilities. With Tsunoda and Ricciardo fronting the collection, we talked to the duo a few days before the races at the HUGO boutique in Marina Bay Sands.
ESQUIRE SINGAPORE: What's the dynamic between the two of you? What were your first impressions of each other?
YUKI TSUNODA: [I think Daniel is] awesome, [a] tall guy. Like one of the crew, you know? So I was trying to not get too excited about him; that was my first impression.
DANIEL RICCIARDO: I don't think there was anything formal like an introductory session. Naturally, we're in a lot of meetings together at the track so you automatically start collaborating and working with the team. You'd learn a bit more about each other and how to be the best teammate you can be. We've activities away from the track as well so naturally, we get to spend time together and that kind of relationship forms and builds.
ESQ: Do you have any rituals you do before you race?
YT: For me, I'll drink Red Bull. Yeah, caffeine gives me wings for every lap. (picks up a can of Red Bull) I actually need this one just to wake myself up. I'd also do a bit of ping-pong with my trainer just to warm up the reactions.
ESQ: What about your Daniel? Any rituals or superstitions?
DR: I have a little bit of a routine, like a warm-up routine but no superstitions. I'm very anti-superstitions because there is so much noise already in our heads that I think, adding a level of superstition is adding more disruption. You know, we prepare so well that if you have a superstition and something affects it, you are already defeated in the mind before it starts. So, yeah, I don't like superstitions. That's my rant. (laughs)
ESQ: What are some of the favourite outfits from the HUGO x VISA Cash App RB capsule?
DR: Funnily enough, this is what [see image above] Yuki just picked out for me to wear to dinner. We had to dress each other and he gave me his t-shirt with his face all over it. Would I wear this out on my own? No. (laugh) But as a fan, these are quite fun. [Yuki's t-shirt] has a little bit of a retro feel. When I was young, I had similar style t-shirts of my racing heroes and stuff in that style.
YT: Obviously, I won't wear a T-shirt of myself but yeah, I like vintage stuff. I like to go to vintage shops in Brick Lane Market.
ESQ: Do you have any fashion essentials that you can't live without?
DR: I'll take Yuki with me. (laughs) Man... essentials. Glasses, yeah... sorry, sunglasses. I don't wear prescription but if I have to one day, I'll be okay with that because I think prescription eyewear looks really cool. I like it as a fashion accessory but I wouldn't wear glasses with [non-prescription] lenses... only when I really needed them. But sunglasses, that's probably the one thing I consistently carry with me.
ESQ: Is it so you can remain anonymous?
DR: It's more due to the fact that I have sensitive eyes. I need to protect them for racing, that's probably the most common reason. Sunglasses are easy; you can fit in your backpack.
YT: I care more about the accessories. Depending on the location, if I'm going out for a day or if it's a nice sunny weather, I like wearing rings and bracelets mainly. Maybe sunglasses too. Yeah, mostly I'll care more for the accessories.
ESQ: What are your favourite tracks to race in?
YT: For me, it's definitely Suzuka Circuit in Japan, okay? Obviously, maybe there's a bit of bias because I'm Japanese but the track layout is my favourite. I've done probably a lot of laps there more than any other tracks and I never get bored. Each lap makes me excited. So yes, Suzuka's definitely my favourite.
DR: I really enjoy Montreal; really fun track. For a most challenging track, it'll be this [Singapore Grand Prix] because of the heat. Physically, this [track was] probably the most challenging one I found. And it's a street circuit as well so if you make a mistake, you're probably crashing. There's not much margin for error. So, yeah, while your concentration sharpens; your fatigue increases and then the possibility for mistakes is higher... I like that challenge.
ESQ: What do you do off-track? What do you do to wind down?
YT: Didja say "wine"? (laughs) But I really love wine. Especially, when there's a weekend gap, I'll go to a nice restaurant for a nice wine pairing with food, for example. I try to have a nice dinner as much as possible. And I'd sit in a sauna, to reset myself—reset my body and mind.
DR: I love going to see live music. Maybe not necessarily a massive concert festival but a smaller, intimate venue. When you go to a concert, everyone there is engaged in the music. They are kinda fixated on the artist and I enjoy watching someone else in their element. That's a way for me to enjoy a little bit of spare time.
The HUGO x RB capsule is available at select HUGO stores worldwide and online.
