For those of us who don’t ski but hit the slopes just for the vibes (well, someone has to hang back and drink all that mulled wine!), keeping warm is essential. And doing so with a little bit of style won’t hurt.
There’s an inherent opulence to that ’70s style that continues to be a point of reference for fashion across the board. It’s not quite an excessive display of richness as much as it is about a sense of frivolous refinement. When it comes to the Italian style of that era, it’s more to do with luxurious tactility than anything else.
The latest Tod’s Holiday Collection heeds said ’70s Italian style, revamping its icons with elevated nuances. Gommino loafers take on more luxurious forms with calf leather and a sleek, branded metal bar, while soft shearling line bags for added warmth. They’re subtle enhancements yet embody the timeless elegance that’s a hallmark of Tod’s craftsmanship.
The brand’s Winter Gommino too gets an upgrade in time for the holidays. You may not be able to put them on and attach them to ski bindings (maybe just not yet), but the Winter Gomminos have become a Tod’s classic you’d want to bust out every winter season. Each is shaped like an ankle boot that’s built upon the famed Tod’s rubber pebbled sole for maximum comfort. A new desert boot style is introduced this time around, offering a shorter option for those who prefer the silhouette. Both the ankle boot and desert boot styles are expertly crafted by Tod’s artisans in suede and leather—a brilliant versatile duo of materials that works both day and night; in the city or at the ski lodge.
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.
Here’s an unexpected discovery: Google “Pharrell Williams” and “ski” in whatever permutation you can think of and you’ll come across a number of videos of skiers dancing to Williams’ infectious “Happy” hit. One video has even racked up 7.5 million views on YouTube. They’re largely from 10 years ago when, inspired by Williams’ official music video, fans of the song decided to create their own interpretations in the thousands—and for some reason, a number just so happens to be of people at ski resorts.
No one could have predicted that years down the road, Williams would go on to design ski wear. Louis Vuitton’s latest ski collection is Williams’ first as the Maison’s men’s creative director and, as one would expect, takes reference from the principles of his menswear proposals.
Louis Vuitton is no stranger to the sport, of course. It first released a ski-focused capsule collection in 2021 and has since continued to build on the aesthetics across both ski and après-ski offerings. This latest collection carries through the functionality required to participate in the sport with the infusion of state-of-the-art sustainability elements. Recycled fabrications are heavily used to construct ski suits and shell suits in order to limit the use of virgin materials and thus, reducing environmental impact. It may not exactly be the first consideration of any avid skier, but given the need to be more mindful of our environmental impact, and not to mention help ensure a future where skiing isn’t lost to climate change, it’s a welcome one.
The collection employs Williams’ Damoflage motif—a reimagining of Louis Vuitton’s Damier checks as a camouflage pattern—as an arctic adaptation that’s referred to as Damoflage Snow. The wintry palette of Damoflage Snow adorns everything from a technical ski shell suit (so that you’re a blur on the slopes) and an après-ski fleece tracksuit to accessories such as technical ski mittens and a reversible wool beanie. Damoflage Snow also informs the colour palette of the entire collection that’s replete with blacks, greys and whites.
On the more technical front, the collection has pretty much everything covered. Ski trousers are voluminous and padded, and a technical ski underlayer and its matching leggings are both crafted in mixed materials for extra protection. The LV Blizzard boot is constructed to be both durable and waterproof with an inside sock function as well as snow-proof ankle drawstring and ruching, while the LV Trainer and LV Trainer Snow have been reconstructed into technical waterproof performance sneakers. And to keep your eyes protected, the LV Snowfall ski mask is water- and fog-resistant, and crafted with a UV-protection, three-layer mask insulation with an adjustable strap (monogrammed of course) to ensure a comfortable, customised fit.
So, does Williams ski? Based on this first collection alone, he likely does. Or at the very least, has managed to put himself in the boots of a skier to create a collection that melds style and ski functionality—and that should make this season’s skiers rather happy.
Comedian Nikki Glaser opened the 2025 Golden Globe Awards ceremony with some hard-hitting jabs (that second-to-last punchline was stellar), eliciting laughter from the crowd by highlighting some of 2024's most memorable and viral moments in film and television. From Timothée Chalamet's very Timothée Chalamet portrayals to Ariana Grande-Cynthia Erivo interactions—no one was spared.
The Golden Globes definitely kicked off the new year's award season into high gear. It's always considered as the barometer of how things will go for subsequent ceremonies (especially the Oscars) and sets the tone for some sartorial shifts on the red carpet.
History has already been made this year. Chalamet—still sticking to that divisive facial hair—premiered friend and newly installed creative director Haider Ackermann's first-ever look for Tom Ford. It had all the elements that Ackermann favoured, including an undoubtedly rakish attitude with a drape of a silk scarf. And while black seemed to be a common go-to, guys like Colman Domingo and Adrien Brody (we're predicting that brooches will be a trend on the red carpet this season) showed that a clever play of textures and statement embellishments separate the normies from the style stars. But of course, standouts include Dwayne "The Rock" Johnson and Andrew Scott, who both chose to shine in colours that complemented and grabbed just about anyone's attention.
View the best menswear looks at the red carpet of the 2025 Golden Globes in the gallery below.
Noted for their collaboration that signalled a new era for Dior Men, artistic director Kim Jones has reunited with contemporary artist KAWS for a capsule collection celebrating Dior icons and the pop-fuelled energy of the latter’s aesthetic. In other words: a throughly joyful start to 2025.
Photography: Brett Lloyd
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.
If an accessory is like the icing on a log cake (you know, to decorate and enhance), a scarf is akin to the pieces of candied fruit in a fruit cake, where they serve a bit more of a functional purpose aside from mere aesthetics. Depending on the type, it has the ability to elevate while giving much needed comfort—we're talking about scarves, of course.
Comfort is key, especially this time of the year. And even if it may not necessarily apply to those of us not heading to cooler climes, there are always lightweight silk scarves as options to spruce up an outfit in a manner that's uniquely you. The way we see it, a scarf is a necessary tool to have in one's style arsenal. A quality piece is an investment you'd be able to whip out time and time again—a Loro Piana trait that's consistent throughout all of its creations.
The Loro Piana Grande Unita scarf is a fine example of how the brand's unparalleled elegant aesthetic is rooted in its use of luxurious materials. The scarf is made from the finest cashmere that gives it an exceptionally soft hand feel and a lightweight body, without skimping on its heat-retaining capabilities. The hand-finished details add touches of artisanal craftsmanship to an already sophisticated piece rendered in refined, solid colours. It's understated, yes. But that's exactly what you want in a versatile accessory that can easily be worn for just about every occasion.
For something a tad more versatile, the Two Tone scarf offers additional styling options with two different contrasting colours on opposite sides. The scarf is sublime; crafted from baby cashmere obtained only from the underfleece of Hircus goat kids, the scarf is incredibly buttery soft to the touch. It's so soft that no one will judge should you choose to simply lounge around at home wrapped up in the cosiness of one. Twist or fold the Two Tone scarf while wearing it to show off a hint of its contrasting colour for an added visual interest to every outfit.
No matter how you choose to enjoy a Loro Piana scarf—a gift to a loved one or to yourself—rest assured that it'll be one that'll be used and cherished for years.
Discover a selection of Loro Piana scarves now available in Loro Piana boutiques.
As part of the Dior Around the World odyssey, the Parisian house makes its stop in Bangkok, unveiling an exceptional concept store located in the prestigious Ploenchit district—a captivating retreat amid the bustling city.
The concept store is a harmonious blend of Thai culture and Dior's renowned savoir-faire. Celebrating the intricate craftsmanship of Thai artisans, with whom Dior worked closely to weave a dialogue that honours Thai heritage. At the same time, it pays homage to the original townhouse at 30 Avenue Montaigne in Paris—the very cradle of Parisian haute couture, founded by Monsieur Dior in 1946.
The site where the Gold House now stands was once a humble carpark, now transformed into an extraordinary space surrounded by lush gardens, where botanical motifs thrive alongside serene water gardens. Mirroring Dior's Paris HQ, the building is crowned with a mansard roof and features 300 faux windows, each surface exquisitely covered in a million handmade gold mosaic tiles—a shade that remains an eternal hallmark of Dior's identity.
Stepping inside, you're transported to the many worlds of Dior—from Maria Grazia Chirui's ready-to-wear collections to Kim Jones' menswear featuring shoes, accessories, bags, jewellery. Not to be overlooked, the Dior Maison lines dedicated to table wear are also showcased, seamlessly integrated into the concept store's design.
Crafted by Dior's visual merchandising creation and image director, Luca Albero, the interiors are nothing short of exquisite and refined. Signature elements such as Dior's lucky star to toile de Jouy, or the iconic Plan de Paris print, are beautifully balanced with natural materials such as bamboo, wood, and raffia, creating a harmonious blend of elegance and grounded warmth.
Appreciating the country's culture and people, the Dior Gold House showcases works by nine emblematic Thai artists, each contributing to its unique narrative. Among the standout installations is a reinterpretation of Bangkok's iconic tuk-tuk by Saran Yen Panya of 56th Studio. This reimagined tuk-tuk, a vibrant symbol of Thailand's bustling streets has been transformed into a masterpiece that bridges its local culture and Dior's elegance. Boldly designed and meticulously crafted, the tuk-tuk stands as both an artistic statement and a playful nod to Thailand's dynamic urban landscape.
Additionally, visitors are also greeted with installations by Boonserm Premthada, made from elephant footprints and sculptures by Wishulada Panthanuvong that subtly decorate the interiors. Extending the enchantment further, armchairs by Eggarat Wongcharit punctuate one of the boutique’s rooms, while furniture by the Sumphat duo—Rush Pleansuk and Philippe Moisan—balances beauty with functionality, each piece exuding its own singular identity.
Vassana Saima and Savin Saima of Vassana
Lastly, artists Vassana Saima and Savin Saima of Vassana have crafted a series of Lady Dior bags from bamboo, drawing inspiration from traditional floral art. These exquisite creations are showcased in a dedicated space, offering a perfect fusion of heritage and haute couture.
And for a refine treat, seek Café Dior by Mauro Colagreco, where exceptional cuisine meets artistic beauty. The space is adorned with a stunning bamboo installation by Korakot Aromdee, reimagining nature's flora and fauna in a design that feels almost alive, with plants, flowers, and birds appearing to take shape in three dimensions. This enchanting backdrop perfectly complements the three-Michelin-starred chef's nature-inspired menu, blending the essence of Christian Dior's love for the natural world with the Maison's elegance.
The Dior Gold House is a vibrant union of Thai heritage and Dior's elegance, celebrating artistry and tradition. It offers an immersive experience, blending culture, craftsmanship, and couture into a harmonious tribute to both Thailand's legacy and Dior's timeless vision.
The Dior Gold House is open to the public at 1029 Ploenchit Road, Lumpini, Pathumwan, Bangkok
It’s confession time. I’m a little bit obsessed with the origins of the Saudi traditional dress. Ever since I studied ‘History of Style’ at London’s KLC School Of Design some 20(!) years ago, I’ve been fascinated with the idea of how Saudi men’s style could (or would) evolve in this new exciting age of the Kingdom. As it turns out, it’s a mammoth task.
After much searching, there are very few resources documenting the history of the thobe, and the thousands of years of Arab history make it nearly impossible to establish a starting point.
There were many times I gave up searching, content to simply accept that what we wear in Saudi Arabia has its roots in early human inventions of clothing. Looking at what we wear traditionally, for both men and women, the silhouette has hardly changed for thousands of years—it is what Dr Laila Al Bassam (the first Saudi professor to study the heritage of traditional Arab costumes and textiles in Saudi Arabia) calls “basic human design.”
In her research she points to the Arab historian and sociologist Ibn Khaldun (1332 –1406, 732–808 AH), who noted that over history humans developed two types of dress: one that is wrapped (‘Izar’) and one that is cut. The Thobe, which we still wear today, is the latter.
Obviously, over time these garments have been manipulated, changed, and morphed into different shapes, fabrics, colours and sizes. They have become entirely different garments in nearly every culture. In Arabia, however, it has been less of a change, and more of an evolution.
It is possible to trace what we think of as the traditional Saudi man’s dress back almost three centuries. In the book History of Egypt Under the Government of Mohammed Ali (1823) by Félix Mengin, he describes Imam Abdullah Bin Saud Al Saud—the last ruler of the first Saudi state— wearing what is not dissimilar to what we wear today. Should you want to see it, a mannequin of his dress is on display today at Turaif Palace in Diriyah—yes, the colours have slightly changed and the fit is more tailored now with the layers having been minimized, but this is not because of design, but rather modernisation. Advances in technology has affected the functionality of our clothes—our homes are insulated, we have access to better quality fabrics, we use washing machines to clean them—to a point of evolution.
That said, I see the evolution of the Saudi Thobe as less of a physical one, and more of an emotional one. A need for identity. When you see a picture of the GCC’s modern day rulers together, the layman will see them basically wearing the same thing. But we know each country’s subtle style of Thobe, Bisht and Ghutra demonstrates the differences between them. These changes are not life necessities, they are identity necessities.
As countries like Saudi continue to evolve, so will its traditions. The recent uptake in how Saudi designers are reimagining the female Abaya designs, is already starting to find a footing in menswear. And while change in menswear has always been at a slower pace, the idea of modernising is no longer seen as an affront to identity, but rather a celebration of it.
Originally published on Esquire ME
It's safe to say that Christmastime is almost here (for those of us who aren't partaking, the holidays are almost here) and that means, all the festive things associated with this time of the year. In a sort of extension of its "It's Always Burberry Weather" campaign, the British luxury brand is doubling down on the cosy with the "Wrapped In Burberry" campaign. If the former refers to specific products, "Wrapped In Burberry" is more visceral in nature—building memories through traditions and spending time with loved ones.
"Wrapped In Burberry" features a trio of loved ones, including actual Burberry VICs (that's "very important customers") Drs. Herschel and Lilly Stoller, who've been longtime clients for over 20 years. British thespians David Tennant and Alex Hassell, as well as London-based artist Slawn with partner Tallula Christie and their two children, complete the campaign that was shot in London.
In Singapore, the campaign materialised in realtime as Burberry celebrated the opening of three boutiques in the past few months. It was undoubtedly festive with guests and friends of the brand coming together, with South Korean actor Kim Young-dae flying in to revel in the celebrations.
As a way of actually being wrapped in Burberry, the brand highlights scarf personalisation and bespoke monogramming services made to be perfect gift ideas. The range is as wide as one would imagine by the brand known for its iconic check—from two-tone reversible cashmere scarves to classic Burberry check ones. Add on initials (up to three) or labels featuring festive Burberry messaging for a piece of luxury that's a timeless style addition.
The Burberry scarf personalisation and monogramming services are now available at the Burberry Wisma Atria and Marina Bay Sands boutiques until 22 December 2024.
Saint Laurent creative director Anthony Vaccarello has unveiled a captivating series of short films inspired by French novelist Marcel Proust's iconic masterpiece, In Search of Lost Time. The series, entitled As Time Goes By, delves into the intricate themes of love, time, desire, togetherness, dreaming, and memory that lie in the heart of Proust's celebrated work. The novel was famously cherished by Monsieur Saint Laurent himself, reflecting the brand's deep-rooted ties to artistic and literary heritage.
Directed by Nadia Lee Cohen, the collection of shorts features a star-studded cast, including Charlotte Gainsbourg, John Waters, Chloë Sevigny, Addison Rae, Joey King, Travis Bennett, Cooper Koch, and more.
The evocative nature of the season is seamlessly integrated into Cohen's intimate cinematography, creating a sensory experience that bridges past and present while offering viewers a fresh lens through which to reflect on the universal themes.
What sets As Time Goes By apart is its auteurist approach, blending nostalgia and irony to reimagine Proust's meditations in a contemporary context. Originally published in seven volumes, Proust's masterpiece contemplates how the past shapes our personal identities—a profound idea echoed throughout the films. The collection not only brings these themes to life but also challenges viewers to consider the enduring relevance of Proust's reflections in a modern, fast-paced world.
Through the dynamic collaboration of iconic figures, high fashion, and poignant storytelling, As Time Goes By showcases Saint Laurent's continued prominence in blending art, literature, and fashion. It transcends traditional boundaries, paying homage to literature while redefining contemporary storytelling. This innovative series stands as a testament to the brand's legacy of pushing creative boundaries—a milestone in the ever-evolving intersection of fashion and film.
As Time Goes By is now available for viewing.
Understated elegance is an underrated attribute, especially when it comes to bags. This Loro Piano Bale hobo bag in extra-large size has all the makings of a timeless piece, and versatile to boot. The shape is inspired by the brand’s unparalleled cashmere manufacturing, with a suppleness that reflects the quality and care behind every Loro Piana creation. This should be the only baggage you bring over to the new year.
Moisturised lips are a universal need, so imagine finding this limited-edition Hermès creation under the Christmas tree. L’Orange en Fêtes is a lip balm housed within a folded paper ornament shaped to resemble an orange and dressed in Hermès’ signature hue. It’s a simple touch of luxury that, if anything, reminds you that life may be full of uncertainties but the condition of your lips shouldn't be one of them.
There is reason why this particular Royal Salute expression is all kinds of huat. Firstly, there’s the hue of red that in many Asian cultures signifies prosperity and success. And then, there is the use of the finest first-fill French oak casks (a first for Royal Salute) to create a complex taste profile that appeals to Asian palates. Basically, this is what you should be toasting the new year (and Chinese New Year) with.
The Rush bumbag could be considered an entryway bag—one that’s left near the doorway and constantly packed with everyday essentials ready to go. It’s easy to pair with just about any outfit and the nifty top handle (something you’d rarely see on a bumbag) adds more adaptability to an already versatile piece. The charm is removable if you don’t fancy it, but the bottomline is this: we’re all about seizing new opportunities in 2025 and having a bag that’s always at the ready is key.
Whether they are prescription or reading glasses, it’s always nice to put a stylish spin on an essential accessory. This Oliver Peoples optical frame comes in a flattering lens shape that’ll suit most faces. The gradient hue is a contemporary take on simplicity in design, showcasing the frame in its very essence and highlighting its curves. Here’s to seeing and looking (better) ahead.
It’s 2025 soon and high time to get smart about how you are travelling. This Samsonite backpack and luggage combo is perfect for those quick trips, especially with the easily accessible compartments and expandable volume. The backpack is what one would expect of a thoughtfully designed piece that’s centred around functionality, but with the added boon of design simplicity.
If you do not understand the hype behind the Labubu plushie decorating bags the world over, let this Prada combination persuade you. The leather tote bag is roomy enough to be an everyday work companion (those wide handles are a nifty design choice). And when paired with the brand’s latest bag charm that consists of an abstract robot and utility cords, what you have is a carrier with the bells and whistles, but in wholly grown-up way.
Onitsuka Tiger isn’t just about its iconic sneakers. The Onitsuka line is the formal expression of Onitsuka Tiger’s Japanese craftsmanship and comfort tech, with a twist. Take these wingtip brogues for example. They are of a classic silhouette, set on a chunky outer sole meant for durability and enhanced cushioning. They have tweed inserts that are woven in Japan’s Iwate Prefecture and combined with the glossy finish of the Japanese Kobe beef leather, making them a pair to be treasured.
Canine elegance aside, there is something particularly appealing about this Dolce&Gabbana dog collar. Made out of leather decorated with a leopard print, it comes with a dog paw charm. It's quite perfect for your non-human bestie. Or (and we won't entirely be surprised) you might actually be persuaded to adopt one.
To tell, keep and make time for all that is coming in 2025, you are unlikely to find a timepiece as nostalgically handsome as the Vacheron Constantin Historiques American 1921. It is designed to stay true to the spirit of the 1921 original, with that iconic diagonally placed dial that allows you to make quick work at telling time.
Nothing puts you in the mood of the season quite like the smell of woody effervescence. Maison Francis Kurkdjian extends its olfactory expertise to a limited-edition scented candle that celebrates mistletoe with a subtle one-two of musk and creamy woods. It’s calming, but not overtly festive, so you can burn it any time of the year.
As its name suggests, Byredo’s Desert Dawn takes you on a journey to the vast expanse of the desert with a warmth that’s felt with every spritz. The scent opens with the sweetness of cardamom and rose before the woodiness of cedar and sandalwood sets in. A body of silk musk and vetiver, together with the lightness of papyrus rounds off Desert Dawn for the right amount of depth.
Photography: Jayden Tan
Styling: Asri Jasman
Stock Images: Unsplash
