When, last year, customs officers at Los Angeles Airport spotted a number of small packages marked "bracelet’, "decoration" and "wall clock", their suspicions were aroused. And, rightly so. Opening them, they found USD1.3m worth of watches: Panerais, Patek Philippes, Omegas and lots of Rolexes. Or, at least, that’s what they would have cost had they been real. In fact, all 41 of the watches were fakes.
They also represent just a tiny fraction of the global trade in counterfeit watches, sales of which boomed over the pandemic, as the bored or comfortably-off looked online to fulfil their horological cravings. Figures are hard to rely on but upwards of an estimated 40 million fakes are circulated every year, according to the Federation of the Swiss Watch Industry, some 25 per cent more than the Swiss watch industry produces itself.
Those fakes make for a business worth USD3 billion dollars a year—with a record year of 2013 seeing 90,000 fakes confiscated in Dubai alone, the city the Federation identifies as one of the key strategic storage hubs through which fakes are then exported internationally in those many small packages. Watches now account for between 20 and 35 per cent of all sales of counterfeit consumer goods—that’s despite them being illegal in most countries.
Not that this seems to dissuade anyone buying a fake. Or those who manufacture them—mostly in China, Hong Kong, Singapore and, chasing cheaper labour, increasingly Vietnam and Thailand—often on sophisticated factory lines also making legitimate parts for the legitimate watch industry. They’ll take an order for so many “Rolex-style” cases, for example, as they would for any other watch component. Bit by bit these various components come together at various locations and, at some nebulous point involving the application of brand names, a look-a-like becomes a counterfeit and a criminal matter.
“The battle against the counterfeit watch market is very hard to win. It’s really about reducing their visibility as much as possible, about intervening on a diplomatic and political level,” says Yves Bugmann, president of the Federation of the Swiss Watch Industry. “Counterfeiters want to benefit from the value that often world-famous watch brands have created, and people want to access a certain social prestige that counterfeits present. But while some of them we just can’t influence, we find quite a lot do respond to a good argument.”
The problem is, perhaps, that no one of these arguments is a killer. Those countering the counterfeiters speak, for example, of the risk of buyers exposing themselves to malware, or to having their credit card details stolen—this does happen but the sophistication of the online marketplace, and the guarantees that underpin it, make this increasingly unlikely.
They speak too of the poor quality of counterfeit watches: the cheap metals, the likelihood of them lasting not long at all, their inability to fool anyone that they’re the genuine article. But that was then. We’re now in the era of the so-called “super- fake”, even of the ultra-fake. The counterfeiters’ embracing of the latest manufacturing technologies, from CNC machines to 3D printers, means the top-notch counterfeit today is all but indistinguishable from the real thing, at least to the naked eye of a non-expert. Knowledge accumulated over time means the fakers have only got better, and faster, at what they do. That’s concerning when, it’s been argued, the less distinguishable a fake watch becomes from the original, the more consumers become unwilling to pay the premium for the real thing.
Pre-owned watch dealer Watchfinder & Co noted in a 2023 report that five years ago 80 per cent of counterfeit watches sent into its stores were easily identified as fake, with 20 per cent needing closer inspection. Now those figures have been reversed. Of course, this is an aesthetic judgment, a question perhaps of less-than-perfect finishing; the counterfeit may still be well-made and contain a dependable movement, but it will lack the technology—in terms of materials and movement—of the genuine article. Some fakes can only be spotted in being handled—the hand-setting is off, or in daylight the colour isn’t quite right—which is no good to the online buyer.
“The fact is though that the counterfeiters’ emphasis is on the look of the watch because that’s all the guy who buys a counterfeit really cares about,” explains Fabrice Gueroux, author of Real & Fake Watches and an independent authenticator for many high-rolling collectors. “Yes, you can sometimes close your eyes and hold a counterfeit in your hands and there’s something that doesn’t feel right about it, but you need deep knowledge of the genuine watch for that and, of course, that’s what most people don’t have. With enough time even the best fake shows itself, and the best ones have put in the extra time on the paintwork, the fonts, the bracelet. But even I’m surprised by just how good a counterfeit can now be”.
That, he explains, is down to two factors. On the one hand, Gueroux laments, “the quality of some Swiss watches is not as high as is always claimed—so the borderline difference in quality between counterfeit and genuine watch can make spotting those counterfeits the hardest. With some brands [typically those seeking an especially high margin] the quality of the counterfeits is actually better...”
On the other hand, counterfeiters—and he says there are five mega-factories in China that collectively dominate counterfeiting, and which are known to make many millions of fake watches every year—used to have little competition and few, closely protected distribution channels. Now they have lots of competition and the internet has blown the market wide open, necessarily pushing quality up.
“Sure, many people buy a counterfeit because they just want the same look at the best quality for the cheapest price,” says Gueroux, “and they know that the real thing would cost, say, USD20,000. But then that person sells that watch on as ‘genuine’ and prices it accordingly to be convincing. And so on, such that there are so many good counterfeits [passing as genuine] on the market now.”
As for those Swiss makers still at the top of their games, they’re left facing off their counterfeiters, locked in an unending arms race of serial numbers, hallmarks, engravings and holograms—and, eventually, their inevitable copies too. “[And while] there are a lot of technical anti-counterfeiting and traceability measures now being used and developed,” notes Bugmann, “ultimately they’re of no use if the consumer deliberately wants to buy a fake”.
It does make the Swiss industry rightly worried about buyers being duped with, say, a dodgy IWC or Hublot though. And the most well- heeled and well-connected buyer can fall foul: the Brazilian footballer Neymar, rapper Little Baby and musician John Mayer have all bought watches they only later found out were counterfeit, leading to legal action in some cases.
Even brands and expert valuers can be conned: the most expensive Omega ever sold at auction, a supposed 1957 Speedmaster sold for USD3.4 million by Philips to Omega in 2021, turned out to be a so-called “Frankenwatch”, put together using parts from various vintage watches. Embarrassment perhaps prevents other stories of being duped from circulating; or, perhaps, people are just not duped in this way all that often.
Watchfinder & Co suggests that one in five watch buyers have been victims of purchasing a fake watch, the kind of figures, no doubt, that incentivised Rolex to take ownership of the problem by launching its own certified pre-owned programme in 2022. Of course, many other buyers—the small majority, according to one study—know full well that they are buying a fake watch. After all, the vast majority of fakes—Rolexes with quartz movements and the like—are still obviously so.
The counter-counterfeiters even make the appeal to guilt. There’s the rather tired line about morally minor crimes—as they may be perceived—being used to fund major ones, the likes of human or drug trafficking, though this is more a bogeyman argument than one that’s well-evidenced. The Federation of the Swiss Watch Industry speaks of counterfeiting’s negative impact on employment and revenue—to the tune of EUR1.9 billion annually—across the legitimate industry.
But the vast majority of people buying a fake would not buy the real thing were the counterfeit not available—they couldn’t afford it, yet still crave the status power that in part makes the genuine brands so appealing. This is especially the case in rapidly developing economies where peer comparison pressures are more stark. Indeed, the first in-depth studies of why sales of counterfeits are growing—led by Dr Xuemei Bian, professor of marketing at Northumbria University, UK—suggest that the motivation for buying a fake is far more sophisticated, and twisted, than the simple fact that of its relative affordability.
“One clear driver in purchasing [counterfeit watches] is the thrill of the hunt,” she argues. “There’s a fun factor in finding the best counterfeit for the right price. There’s a sense now of people who buy counterfeits belonging to a kind of ‘secret society’, one that’s curious about the original items and the counterfeits alike, especially in relation to their quality. There’s a transfer of the interest they would have had in the original article to the counterfeit. It’s a gateway to enjoying Rolex and other brands”.
In other words, Dr Bian’s research reveals, there is a growing culture of counterfeit buyers who buy them out of admiration for the artistry inherent in the fakery, as one might take a pleasure in just how convincing a fake Renoir is relative to the original. What’s more surprising, Dr Bian adds, is the incorrect assumption that counterfeit watches are only bought by those who can’t afford genuine ones.
“We found that even affluent people who can buy the real article buy counterfeits,” she says. “In part that’s because other people are less likely to question whether their watch is real or fake. They look the part. In part because they just see mixing up their watches—real and fake—as fun, or a bit naughty.”
So what of the ethical question? Don’t people just think buying a counterfeit watch is wrong? The Fondation de la Haute Horlogerie’s anti-counterfeiting campaign of a few years ago was based around the statement “Fake Watches are for Fake People”. But, Dr Bian argues, this highlights a disconnect between what a prestige watchmaker may think of as wrong, and what a consumer might.
Take, for instance, arguably the watch industry’s strongest case against counterfeits: the plain and simple one that it’s an infringement of their intellectual property, the investment the real makers have put into building the brand value that makes counterfeiting their wares worth it in the first place. This is not necessarily regarding design per se—this typically needs to be protected under patent, and when patents expire watch brands are free to copy one another’s designs, and maybe it doesn’t help their cause that they have done so most liberally—so much as of names, logos and other trademarked elements. A replica or ‘homage’ that’s a precise copy all except the branding isn’t a counterfeit— ethically maybe it is, but not usually in law.
“Of course a lot of people know what they’re buying even if the ad calls the counterfeit a ‘replica’ or some such kind of code. But what we’re dealing with here is theft of intellectual property, of the ‘Swiss-made’ label, of the maker’s reputation,” says Bugmann. “This can be frustrating for the industry especially given that, for the EUR300 you might spend on a fake, you could actually buy a good Swiss watch—maybe not one from a top luxury brand but from what’s still a prestige manufacturer.”
An affront to these intellectual property rights really can be detrimental to the top brands’ reputations too. If counterfeiters reduce the branded products’ exclusivity, people who could afford the real things are less inclined to buy them: if there are fake Rolexes everywhere, the appeal of the genuine article is limited, in part lest it too be considered a fake. Research by Moty Amar, professor of marketing at Ono Academic School, suggests that the moral disgust—to overstate it somewhat—felt towards a counterfeit not only negatively affects it use, but also attitudes towards the genuine item that, as it were, looks like the counterfeit.
“A copy of one of our watches—all copied except putting ‘Bell & Ross’ on it—is a counterfeit,” states Bruno Belamich, the brand’s co-founder, in no uncertain terms, “and that is an infringement of intellectual property rights. Counterfeit watches are not authentic products but imitations designed to copy the look and feel of the brand-name watch. It’s the desirability of the brand [that we have created] that’s ‘the cause’ of the desire to buy counterfeits.”
Unfortunately, further psychological studies have suggested that while the perceived risk can influence the rationalisation of why people buy counterfeits, ethical concerns—the likes of "what impact might I have on Cartier’s bottom line?"—don’t typically register at all. Yes, many strategies are used to dodge ethical consideration. Some see buying counterfeits as just making perfect consumer sense— they’re entertaining, cheap, almost disposable; others deny responsibility—"I’m merely the smallest cog in a long chain of events over which I have no influence"; while others argue that the market for counterfeits is beneficial to the brands copied. It’s a way of paying them a back-handed compliment.
Others, remarkably, even see their decision to buy a counterfeit as a form of retaliatory behaviour—a way of hitting back at brands they see as acting in a socially irresponsible way through their ‘unreasonably high’ pricing. But, whichever way you cut it, the idea that buying a counterfeit watch is in some sense wrong barely even figures, especially when it comes to dry legalistic matters of IP.
Besides, that’s only relevant to modern watches anyway. The whole world of fake watches is leaning towards ever greater complexity given the growing interest in vintage watches in recent years. Frankenwatches are said to now account for a fifth of all vintage watches sold in the US. Over the course of a watch’s lifetime it’s possible that the case will have been over-polished or the dial reconditioned; indeed, send a watch back to its maker for servicing and, until this vintage market won recognition, it was standard practice to make the watch look as new again as possible. But is a vintage watch with undisclosed reconditioned parts—perhaps reconditioned long before the current owner took possession—a counterfeit? Is, similarly, a customised watch, or a “modification”, in some sense counterfeit? These questions are still being worked through.
“Put modern hands on a vintage Monaco and it’s not exactly a counterfeit, and yet it will have a very real impact on its value,” stresses Jonathan Scatchard, founder of specialist dealers Vintage Heuer. “But the problem is that the quartz crisis [of the 1970s and 80s] caused all sorts of anomalies when so many Swiss watch companies went bust and parts were distributed and used across the industry. Authentification services have advanced considerably in recent years. But the vintage watch market has also made the question of what is a counterfeit and what isn’t even more of a grey area.”
And, adds Fabrice Gueroux, assuming that we will continue to live in a consumer culture that keeps telling us to define our self-worth through our possessions, it’s only going to get greyer still.
“The manufacturer can’t win this battle,” he states. “You have reality and you have PR. You see the manufacturers spending a lot of money on anti-counterfeiting tech but it’s all BS. They can’t keep up. You know the only way to tackle watch counterfeiters? It’s for manufacturers to push up the quality of their products, and to keep pushing. We’re getting to the point where that’s the only way that the fake watch is going to look fake.”
Originally published in Esquire ME
Louis Vuitton men's creative director Pharrell Williams tapped on Western Americana for his third runway collection for the Maison. Replete with Western motifs—think old-Western cowboys, denims, heavy buckles and more—the Louis Vuitton Autumn/Winter 2024 menswear collection twists these elements with the Maison's signature design vocabulary for a contemporary take on workwear silhouettes.
Sure, they may be primed for the desert and rough terrains (especially with the collaboration with Timberland) but the collection is equally suited for the city with craft-centric versatile pieces. Any way the wind blows—that's pretty much where you'd be able to wear them.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Grooming: Christian M
Photography Assistant: Chaw Wei Kang
Model: Hayate O at MANNEQUIN
Yes, we are facing the consequences of our actions—global warming. The heat is becoming unbearable, making it daunting to venture outside our homes. Dressing appropriately in this climate poses a challenge; layering clothes would probably risk suffering from a heatstroke.
Walking in this heat has become increasingly frustrating, with perspiration soaking us within moments. Moreover, the intense sun makes it difficult to keep our eyes open. How can we stay fashionable in this weather?
If your clothes aren’t hitting the mark, you can always elevate your outfits with accessories. We understand that jewellery might not be the most practical choice, so we focused on a more functional accessory: sunglasses. Your peepers stay protected and sunglasses also add a stylish edge to your look.
Classy and minimal with a touch of edge, the Gentle Monster Loti 01 sunglasses exude an effortlessly cool vibe. These versatile sunglasses complement almost any look. They feature a cat-eye silhouette with a black acetate frame. The softly curved top and balanced lines of the bottom create a chic, lightweight design. The sunglasses also have voluminous temples with silver metal details and black lenses offering 99.9 per cent UV protection.
This pair takes the classic square silhouette to another level. Bold yet understated, they serve as the statement piece in your minimalist wardrobe. Their size and unique black and grey hue add a touch of sophistication to any outfit. Suitable for any weather, these sunglasses can withstand rain or shine—just remember to dry them immediately if they get wet.
Of course, this list has to include Oakley. As one of the most iconic eyewear brands, they are essential. If you're into Opium core fashion, the Silver Encoder Ellipse sunglasses are a must-have for your wardrobe. Innovative and forward-thinking, this pair boldly elevates style with its unique Encoder lens shape.
Equipped with Detachable anti-slip Unobtainium (no, really; someone at Oakley really likes Avatar) rubber nose pads and earsocks for a secure, no-slip grip, these sunglasses showcase Oakley's commitment to both style and functionality. Their PhysioMorphic Geometry design methodology ensures a close fit to the face, optimising coverage, offering a wider field of view and enhancing frame retention and impact protection.
What is Opium core without Rick Owens? The iconic brand blends dystopian themes with grunge, gothic punk, French culture, and rock avant-garde, making it essential for achieving the Opium core aesthetic. This pair of wraparound-style sunglasses features a nylon frame and black lenses, adding an alluring and mysterious vibe to your look. They also offer 100 per cent UVA/UVB protection, Category 3 rating, and integrated nose pads. While layering is a key element of this genre, it can be challenging in this hot weather. With the Black Ryder Sunglasses, it will help you exude the look effortlessly.
If you're into the office siren look, the Brown EQ100 sunglasses are the perfect accessory to complete your outfit, embodying the corporate core aesthetic. This rectangular, semi-rimless pair offers the best of both worlds with slightly tinted yellow lenses that can be worn indoors. They also feature an anti-glare and scratch-resistant coating, 100 per cent UVA/UVB protection, integrated nose pads, and graphic hardware at the temples.
For a more understated look, consider the Prada Silver Logo sunglasses. Featuring thin metal frames, these sunglasses offer greater versatility and complement any outfit colour. The gradient grey lenses, subtly etched with the Prada logo, provide a sophisticated touch. They offer 100% UVA/UVB protection and include adjustable rubber nose pads, making them a great option for those with a lower nose bridge.
Embrace the retro-futuristic style with these sunglasses from A Better Feeling. Featuring sharp angles, minimal decoration, and matte metallic tones, each pair is hand-manufactured from lightweight, functional materials such as stainless steel, titanium, and acetate. These sunglasses possess a sleek silver tone, polarised beige lenses, 100% UV protection, adjustable rubber nose pads, and an engraved logo at the temples.
"The Goggle" sunglasses are handcrafted from recycled stainless steel, inspired by the iconic eyewear of Tokyo's vibrant 1990s scene. Combining retro appeal with futuristic influences like Steampunk goggles, these sunglasses make you look like a character straight out of a science fiction movie, embodying the retro-futuristic look to its core.
While this pair may appear simple at first glance, a closer inspection reveals intricate spring details on the temples. If you appreciate subtle yet refined touches, this pair is perfect for you. Highlights include blue lenses and a "Gaultier" engraved bridge. Beyond its stylish appeal, it features a category 3 UVA and UVB filter with anti-glare treatment, ensuring both fashion and function.
The Santos de Cartier sunglasses feature a metal frame with a smooth and brushed golden finish, a rectangular shape, and green lenses. These aviators perfectly complement the vintage "grandpa" look you’re aiming for. Additionally, the iconic Santos screws, borrowed from the renowned watch of the same name, add a distinctive touch.
So, the next time someone asks, "Why is it so hot?" just tell them it's because they are standing next to you.
I recently took a much-needed break from work. It was after a peak season of work and various commitments. But instead of a beach holiday to Phuket or to Japan to snowboard, I embarked on something unconventional. It’s a project that I’ve always wanted to do as one of my self-actualisation goals this year: to start my own fashion brand.
While I take much pride in my day job as a financial planner—a job that I’ve been engaged in for the last nine years—I’ve always also been interested in business and creating things that are fun and meaningful. I’ve had experience (and sometimes hard lessons aside from the successes) in building and investing in various industries. These range from F&B franchising to tourism and hospitality. But I’ve always been intrigued by the idea of building a physical product from scratch. And then weaving in the rest of the facets of a business like the financing, supply chain management, distribution, e-commerce and so on.
I have also always adored nice prints. If I’m not in my daily workwear of business casual and suits, I’ve always appreciated the fine designs of Indonesian batik. The word “batik” is thought to be derived from the
Javanese words “amba” (to write) and “titik” (dot), emphasising the meticulous process of creating intricate patterns through wax and dye. What adds meaning is how the intricate designs and motifs are intertwined with the cultural, social, and religious aspects of the different regions in Indonesia. Inspired by the rich history and timeless beauty of Batik, the idea to create a modern interpretation that resonates with contemporary sensibilities took root in my mind.
This time around, my “break off work” wasn’t so much a “brain break” but, rather, an intentional “discovery and inspiration break”. Don’t get me wrong—I still appreciate the occasional actual holiday. But a trip with a sense of purpose held a special air of excitement from the moment I stepped into the airport.
I made a trip to Java with an Indonesian-speaking intern that I hired to communicate with the locals. We held initial discussions with potential suppliers while taking in the sights of an unfamiliar town. The lush vibrant colours of the semi-rural cafe where we met a supplier, created a sensory backdrop for our business endeavours. Visiting another at their factory allowed for a deeper understanding of their processes and values. Beyond the business meetings, exploring the town with my intern created a shared experience that went beyond the transactional nature of business.
A journey to Jakarta, on the other hand, was a voyage into the past and present simultaneously. I reconnected with long-lost acquaintances and asked for introductions to new friends and quickly gained valuable insights into the developments of the local business landscape. I explored the city’s dynamic cafe scene. It was a reflection of the city’s pulse that encapsulated the energy of its inhabitants and provided a social nexus where people converged. Coffee was the social lubricant to have these meaningful conversations over. New perspectives were gained; these could never be gleaned from a conference call or email exchange. These experiences opened up new avenues of understanding and growth.
Like threads on a loom, the venture started to take shape. The idea of building a modern batik brand isn’t just about the batik, or simply about the business—it’s an adventure in personal growth. The process of weaving my own adventure is akin to mastering the intricate dance of wax and dye. No doubt there will be challenges emerging like knots in thread, demanding patience and resilience. From sourcing materials to navigating the complexities of the market, each obstacle was an opportunity to learn and grow.
This is by no means a success story of any sort. It is simply a snapshot; a journal entry of a point in my life where I had an itch I’ve always wanted to scratch. It’s only the beginning, but I’m glad I’ve embarked on it. I’ve met amazing people along the way and found that when you approach the world with enthusiasm, more often than not, the world responds positively too.
Deep down, I think we all have this yen for creative fulfilment—in whatever form it takes. Sometimes the most meaningful trips happen when we intentionally veer off the beaten path. This is the narrative that I chose to weave for myself recently. What’s yours?
Tay's Pakar Batik is now available
Handsome and unbelievably sleek, the Seamaster Aqua Terra is a watch you’d reach for time and again. The simplicity of the timepiece is marked by a beautiful lacquered black varnish dial set against a symmetrical stainless steel case. At the back is a screw-in caseback that’s accented with a wave-edged design; a nod to Omega’s maritime heritage. It isn’t a flashy piece and it doesn’t have to be if you’re already comfortable in your own skin.
Trail runners require the best cushioning and support; Hoka’s Speedgoat 6 has them in spades. The latest iteration of the Speedgoat trail-running series is refined with a breathable textile upper, an internal support chasis to keep the foot snug and in place, a plusher dual gusset tongue and a revised lug orientation. It’s a surety that whatever one encounters on the trail, the feet are always protected.
There is a certain genius to Prada’s constant explorations of abject uniformity and turning staples into something more inspiring. The latest incarnation of Prada’s Re-Nylon backpack stays true to its archival, timeless style. And yet, it’s modernised with a detachable leather strap wide enough for the backpack to be carried in a stylish, rakish manner.
Getting a good, deep sleep is as important as keeping to a healthy lifestyle—you can’t exactly do one without the other. This Works’ Deep Sleep Pillow Spray is a blend of lavender, camomile and vetiver oils that together, encourage the mind and body to zen and zone out. Spritz your pillow when you’re about to head to bed and let the aroma lead you to a soothing state for better sleep.
Auchentoshan’s Three Wood has that warm and uplifting aroma you would expect from a single malt. It’s then heightened by a complex flavour profile. Matured in three different cask types— American Bourbon to Spanish Oloroso Sherry to Pedro Ximenez Sherry casks—the profile has notes of fruits and hints of cinnamon, lemon and butterscotch. An irresistible oaky sweetness lingers for a smooth finish.
Pharrell Williams’ Americana-themed AW24 menswear collection for Louis Vuitton is replete with workwear codes. Timberland’s classic 6-Inch style is a quintessential workwear piece that’s adopted into mainstream fashion so it made sense for Williams to introduce an LV reimagined designed. The silhouette remains, with leather LV Monogram accents around the collar as well as the tongue lining; it won’t be difficult to make this pair work for you.
To bottle up the essence of Acne Studios into a perfume, the brand worked with renowned perfume maker Frédéric Malle. The nose of the resulting eau de parfum is by Suzy Le Helley, who balanced aldehydes with natural floral notes—rose, violet and orange blossom—and the creaminess of vanilla, sandalwood and white musk. “Like a comforting mohair sweater,” says the brand and we couldn’t agree more.
Local coffee-tech brand Morning makes its flagship machine a tad simpler to use. The Morning Machine Lite retains all the beloved features of the original with the exception that there are only five preset recipe slots available—less fiddling through, especially if you’re a creature of habit when it comes to your brew. This model is also a limited-edition design in collaboration with Tanchen Studio. Only 50 units are available for each of the two colourways.
The Hermès universe is an extensive one and it includes a luxurious homeware selection. Decadent and soft to the touch, the H Riviera pillow is crafted from a blend of merino wool and cashmere in variations of orange hues. The design may have taken inspiration from an advertising visual back in 1929, but is undoubtedly timeless in every way. A piece of luxury in your living room? What a brilliant way to wind down every day.
It’s style meets technology meets tradition—Fendi and Devialet come together to bring back the vibes of lugging a boombox. Packaged in the small but mighty Mania portable speaker, the Fendi x Devialet version is wrapped in the former’s FF motif that you’d easily mistake for a fashion accessory. Perfect when you’re making a declaration of love à la Say Anything.
Photography: Jaya Khidir
Styling: Asri Jasman
Photography Assistants: Ng Kai Ming and Syed Abdullah
Earlier this January, the Louis Vuitton Autumn/Winter 2024 menswear runway show explored the American Western roots of workwear, blending the Maison's craftsmanship with dandy-esque elegance, utility, and comfort. The Men’s Workwear Capsule Collection—a core part of the Autumn/Winter 2024 menswear collection—reflects the meticulous LVERS ethos guided by creative director Pharrell Williams.
Focusing on the versatility and durability of the refined suits and overdyed jacquards, the capsule collection features reimagined workwear staples in browns, blacks, and beiges. Western-inspired yokes and leather appliqués adorn trucker jackets and coats with sculptural cuts, echoing the American workwear's functional lines. They're complemented by turquoise-like buttons, pearls, embroideries, and studs as a beautiful showcase of the Maison's savoir-faire.
Doubling down on the workwear inspiration, Louis Vuitton introduces the Keepall 50 Toolbox: a utilitarian take on the Maison's iconic bag. Crafted in natural leather with its preserved earthy nuance, the Keepall 50 Toolbox echoes the rugged functionality of American workwear with multiple exterior pockets, rivets, and lined in coated Monogram canvas.
The capsule completes the accessories line-up with an engraved flash and cigarette case reminiscent of the American West, along with a silk scarf paying homage to its key accessories.
The Men’s Workwear Capsule Collection by Pharrell Williams is further enhanced by a collaboration with Timberland. Synonymous with workwear, the American brand is a fitting partner to showcase Louis Vuitton's craftsmanship applied to the real-life practicality of its footwear.
The reimagined LV x Timberland 6-inch boot—developed with Timberland and crafted in the Maison's Italian shoe atelier Fiesso d'Artico—is available in two designs. Each iteration features premium Italian nubuck leather, an insulation system, and seam-sealed waterproof construction. The boots are distinguished by their signature rubber lug outsole detailed with LV Monogram embossing (a treatment that's also visible on the underside of the tongue), LV eyelets, and leather tag adornments.
Amplifying the 6-Inch silhouette by 15 per cent is the LV x Timberland Boot. Available in five distinct styles, each features a robust rubber lug outsole. An ankle boot in wheat or black grained leather is adorned with a Monogram-embossed tongue lining and leather tag details; a ranger boot features an extended shaft, lace hooks and strap embellishments; a pull-on mid boot is topped with bag puller accents; and a pull-on harness boot with side buckles and a harness. All of the five styles are available in either wheat or black colourways.
But the most impressive and available in limited-edition quantities of 50, is the LV 6-Inch Exceptional Edition. Designed in collaboration across Louis Vuitton's shoe, jewellery, and hard-sided experts, this unique boot features Classic Monogram premium Italian leather with bespoke rubber lug outsoles for an extra distinctive touch. The boots are also adorned with 18K gold LV tongue initials, eyelets, lace tips, and tag hardware. Engraved on the LV tongue initials is "THE SUN IS SHINING ON US", echoing sentiments from Williams' debut Louis Vuitton show last June. And true to form, this Exceptional Edition is housed in a custom Monogram leather and plexiglass shoebox with VVN trims, as showcased on the Autumn/Winter 2024 runway.
The Men’s Workwear Capsule Collection by Pharrell Williams is now pre-launched online and on the LV app. The capsule collection will be available at the Louis Vuitton Marina Bay Sands Island Maison from 8 August 2024.
“From the very beginning, of course there was some pressure,” Harold Israel tells me. We’re sat in a room at the Fondation Simone et Cino Del Duca in Paris, a 19th-century private mansion that became the site of Berluti’s Spring/Summer 2025 presentation this past June. The vice president of marketing and image at Berluti regaled me with details of the challenges that the Maison had to overcome in creating the outfits for Team France for the opening ceremonies to the 2024 Olympic and Paralympic Games.
Israel doesn’t downplay the monumental pressure that the Berluti team felt from the moment that the House was chosen to outfit the French national team. Parent company LVMH’s signing on as premium partner of the 2024 Olympic and Paralympic Games—an announcement that was made in July last year—involves the participation of a number of its maisons through different facets of the Games. Louis Vuitton’s trunk-making expertise sees it crafting Medals Trunks as well as Torches Trunks to house the competitions' medals and relay torches respectively; Chaumet’s design studio took charge of the medal designs; Sephora created activations that will travel along with the Torch Relay; Dior has adopted more and more athletes into its fold as ambassadors; and Berluti will dress 1,500 athletes representing France. Arguably, Berluti’s task seems the heaviest.
On 26 July, 400 members of Team France will officially make their debut to billions of spectators worldwide. Not only will they be representing France, they’ll be representing the host country and by association, French style and elegance that have long been regarded as one of the blueprints of fashion as we know it. And thanks to Berluti, they’ll be doing so in a rather elegant manner.
“The two main points that were really on our minds throughout this project were elegance and comfort,” explains Israel. “The outfits for the French team during the last Olympics were very much sports driven, given that the partner was different. Being the partner for this edition, our expertise isn’t sporty, so we really pushed for a more elegant aesthetic.” He goes on to say that the Maison was given carte blanche in the design, save for the usual guidelines enforced by the International OIympic Committee.
The decision was to go with what Berluti knows best: craftsmanship. Working within the framework of its time-honoured craftsmanship across footwear, leather goods, and tailoring, the tuxedo became the starting point. Israel tells me that a lot of considerations were made with respect to the nature of the event—it’s a ceremony and not a red carpet event after all. At the end of the day, Berluti wanted the athletes to “dress up, feel very beautiful, and be proud and empowered”.
The tuxedo is undoubtedly a powerful piece of item that’s by definition the epitome of elegance in dress. Berluti’s challenge was to tweak the idea of the tuxedo such that it could be manipulated to fit into the grandeur of the ceremony while paying homage to the nature of the Games, and at the same time, incorporate codes of the Maison. “We didn’t want to put 'Berluti' on it—we felt it was a bit cheap and not elegant. We needed to brand in a very subtle way. Berluti is about savoir-faire and we are quite well known for the patina effect that we’re the only one to master, so we decided to apply this on the silk shawl collar of the tuxedo, making it very singular and outstanding,” explains Israel.
I asked if the Scritto—another Berluti signature—was ever considered to be part of the design. Israel quickly reminded me of the subtleties that Berluti wanted to imbue into the final design. The Scritto might have been considered “too much Berluti” for an event that was not about the Maison, but rather, the French athletes. A fair point indeed.
The chosen patina cleverly utilises the three colours of the France national flag and was done in the same handcrafted manner typical of patinas seen in every Berluti creation. It stands out against the midnight blue hue of the tuxedo but not glaringly so. Israel tells me that once the patina and silhouette of the tuxedo was set in stone, the small details fell into place and were carefully designed—a small team emblem stitched right on the bottom-left pocket, a detailed label specially designed for the Games and positioned inside of the tuxedo, and even belts, scarves and pocket squares rendered in the “French flag” patina to tie the entire look together.
True to the Maison’s personalised nature, semblances of it have been adapted into the opening ceremonies outfits. Female athletes have the options of choosing between a pair of trousers or a wrap-around skirt. Together with the coaches, they will also be afforded the option of wearing either the Berluti Shadow trainers (also trimmed with the specially designed patina) with the trousers or the more formal Lorenzo loafers to be paired with skirts. Male athletes will stick to the standard tuxedo and paired with the Shadow trainers—a mash of elegance and comfort that’s the very basis of the project.
Expectedly, one of the greatest challenges was in dressing a very diverse group of individuals, not just in terms of body measurements, but also in very specific ways. “From the beginning, we had a lot of interactions with the athletes because they are the ones who will be wearing the outfits, and some of them have experiences from previous Olympics or Paralympics opening ceremonies,” Israel expounds. “They came in with a lot of feedback and expectations. Once we collected all those notes, we started to understand what we were supposed to do and what not to do.” The Paralympians, for example, had to be given a more bespoke treatment due to their individual needs. “I think, in that sense, this was also what was expected of us, not to do a one-size-fits-all approach,” affirms Israel.
The results speak for themselves. Looking at the outfits up close, I could tell that the make was every bit Berluti—the fine attention to details, the handcrafted tailoring, and the use of fine materials. But that’s me, someone who won’t be wearing it on a boat sailing along the Seine for the opening ceremonies. Israel informs me that reception from the athletes were very much positive.
“One of the first things the athletes told us when we met them is that a competition can be won from the very first day of the Olympics—even before you enter the field. And they always mention a kind of power that the US team has because firstly, they have fabulous athletes and then they’re all dressed up in Ralph Lauren. Or the Italian team with Armani. The French Team didn't feel they had such a charisma before, so they felt it's super important from the beginning to feel empowered with the way they’re dressed. Now, they’re looking forward to 26 July and 28 August to show the world that they are proud and happy to be in Paris, and they will compete by being super elegant and super comfortable,” expresses Israel.
For a small Maison like Berluti, that in itself is a win. Then again, it’s not exactly surprising that Berluti could craft something that feels characteristically French while at the same time exuding the kind of elegance befitting of a significant global event. If anything, it proves that despite its relatively small size compared to the rest of the maisons under LVMH, Berluti is able to take up just about any sartorial challenge and to do so in the way that stays true to the spirit of the Maison.
Moved by a photo of James Dean at his childhood home and his iconic quote—“I think the prime reason for existence, for living in this world, is discovery”. Chitose Abe weaves a tale of growth and self-discovery in Sacai SS25 Men's Show. Her youthful collection captures the essence of Dean’s early years, as models emerge from a deconstructed home, embodying the spirit of coming age.
While the collection paid homage to the classic 1950s American style from Dean’s era, Abe infused it with that Sacai twist.
(SACAI)
Abe found herself captivated by James Dean’s iconic Harrington jacket from Rebel Without a Cause. This legendary piece of cinema fashion enchanted Abe so much that she couldn't resist incorporating it into the men’s collection. The timeless appeal of Dean's style and the rugged, utilitarian aesthetic of WTAPS—a Japanese streetwear brand renowned for their military-inspired style blended seamlessly, creating a distinctive fusion that paid homage to both classic Hollywood and contemporary streetwear.
Meanwhile, Sacai collaborated with Levi’s, fusing Type I, II, and III jackets with classic denim pants to create a unique hybrid piece. Models, clutching books and sporting glasses, evoke the spirit of academia and youth—discovery in motion. With loafers trending, Sacai added their calling card to the traditional J.M. Weston penny loafers. And just when you thought it couldn't get more exciting, the Zegamadome sneaker was born. Thanks to the cutting-edge collaboration between Nike and the brand.
Sacai unveiled groundbreaking collaborations at every turn, ensuring Abe's zest for revamping remained undiminished on the runway. Hybridisation doesn’t end with Sacai.
Giorgio Armani, the man, is a living legend. Speak the name to anyone at all, even one who is completely out of the fashion loop, and it’s highly unlikely that they’ve not heard of him. After all, the Armani name is now associated with luxury products that run the gamut from suiting to underwear, from home furnishings to hotels, to chocolates and cosmetics even. It is a veritable Italian empire that has extended far beyond the confines of fashion, making it a truly remarkable success story.
This story began just shy of five decades ago, when Armani founded his eponymous brand in 1975 at the age of 41, after years of designing for other Italian brands. He tells us that he’s not one to “really suffer regret” about starting the business relatively late. “I’m very happy with how things have turned out,” he says.
It has been good indeed. In 2014, the Giorgio Armani Group acquired the entirety of the Armani Exchange brand after a multi-year partnership with COMO Holdings’ husband-and-wife duo Ong Beng Seng and Christina Ong that began in 1994. The Giorgio Armani Group now owns almost every facet of its business, while engaged in license partnerships for its beauty and eyewear divisions. It’s a feat to be relished. Rumours were abound throughout the decades of various companies wanting to own a stake in the Giorgio Armani empire, yet Armani held steadfast in maintaining full control at the helm.
At Emporio Armani’s Autumn/Winter 2024 menswear show in Milan, Armani took his bow in front of the set’s lighthouse, a spotlight illuminating him. He flashed the same charismatic smile he’s been giving at the end of every show for decades, except that now, he’s on the cusp of turning 90 (on 11 July, by the way). It’s quite a sight to behold, that in the darkness of the show space, Armani’s presence felt like it filled the entire room—that’s how you know you’re looking at a legend.
ESQUIRE: What is an average work day for you?
GIORGIO ARMANI: That is hard to say as every day is different. My days are full, very full, but I like them like that. I follow a strict routine that affords me the time and space to work in a concentrated way, and this is what makes me happy.
ESQ: With fashion having gone through various changes and challenges in the past decades, what keeps you inspired even after so long?
GA: I rarely lose my inspiration. Though when it does happen, I resort to my pillars, starting with my tried and true, and by doing, again and again, new inspirations begin to arise. My first and greatest inspiration comes from the world and from observing people. I have always accompanied social changes, providing an elegant response to real needs. That is what I continue to aspire to.
ESQ: You had no formal fashion education before starting your own brand. And now, we do see such creative directors at the helm of big-named fashion brands. Do you think a formal fashion education is not requisite to be a good fashion creative?
GA: For me the creative process is instinctive. I know what I am aiming for, and I know what I like and when I have achieved it. I also know when it is not right and how to correct it. I am not sure that talent and creativity have anything to do with formal training, but I am certainly not averse to people getting formally trained. Picasso, after all, was formally trained, and he used this as the springboard for his extraordinary innovations.
ESQ: Are there young designers out there who have captured your attention?
GA: There are some I am curious about, but I would not wish to single anyone out.
ESQ: In a recent interview with Business of Fashion, you mentioned, “I don’t feel I can rule anything out” when it comes to the future of the business, including an acquisition or an IPO. Do you think about the future or are you one to take things as they come?
GA: I am involving, in my plans for the future of the company, a team that can steer the ship. Because my approach has been so determinedly consistent and clear, it is not hard to see how we can maintain the right course. A foundation has been established, and I have very capable heirs and close collaborators who will lead Giorgio Armani into the future and ensure that what I have created lives on; that the Group is kept stable over time and consistently adheres to the principles that are particularly important to me and that have always inspired my work as a designer and an entrepreneur.
ESQ: Italian fashion brands, more so than others, are more interested in keeping their businesses privately owned. Why do you think that is so?
GA: Our culture in Italy is of a fashion industry that is full of family businesses—often with the founders or family members still actively involved. This makes it difficult to see how a group might be formed, as the instinctive position of a family business is to preserve its independence.
ESQ: The Armani brand—across the many different lines—has a consistently elegant persona. What does elegance mean to you?
GA: For me, elegance is a disposition of the spirit that is reflected outwardly, something profound that is echoed in a manner of dressing, but also in the choice of an object. It is a way of being—an innate gift that has a great deal to do with an ability to combine items of clothing and colours as well as to choose shapes in order to give life to one’s own style, a signature character and look which leaves an understated yet lasting impression.
ESQ: Is there a particular male muse in mind when you’re designing menswear?
GA: My father, who was always well-dressed in tailoring from that time.
ESQ: Navy blue is essentially an Armani colour. What drew you to navy blue as a colour of choice for yourself as well as now a signature of Armani?
GA: Navy blue is my go-to colour and daily uniform: a deep, vibrant colour that I find calming and that I have always loved. Blue is a great alternative to black, with all the neutrality of that hue, but with an added element in that it is a colour. It matches my personality—pragmatic and reserved—and focuses other people’s attention on my actions and words.
ESQ: Are you sentimental about the past?
GA: I am not a nostalgic person. Nostalgia leads you to dwell on the past, and from the point of view of a designer, it can be very dangerous: you forget to move on, to develop, to explore. That is why I am resolutely focused on the present and the future. I do value the past, as the present is always built on the lessons of the past. And I have fond memories of my life and my work, my friends, travels and achievements. But I prefer to focus on what I will do today and tomorrow. I live in the moment, and the moment to come.
ESQ: If you were to look back on your fashion career, is there a moment that stands out to you?
GA: Undoubtedly the first positive feedback when I was starting out; that was the moment I realised that I had made a solid contribution to liberating men and women from rigidity in the way they dress by offering clothes with simple, natural elegance, and achieving my vision. And then the various awards that were confirmation that my job was always going in the right direction. Dressing Richard Gere for American Gigolo opened up a world for me to work with cinema and allowed me to reach beyond Italy... as well as gave me notoriety, which culminated with the cover of Time magazine in 1982—these are moments I will never forget.
ESQ: You’re still going strong. Is retirement something that you’ve considered?
GA: I don’t think I will ever stop working because dressing people is my life’s great passion. I feel that I have so much still to do and I am genuinely as excited about getting to my studio every day as I was when I first started out all those years ago. In some sense, more so, as today there are fewer worries about whether I will be able to pay the bills.
ESQ: With your wealth of experience and knowledge, what’s one wisdom you’d like to impart?
GA: One life lesson that I have learnt is that for success, hard work is essential: talent is real, but I don’t believe that on its own it is enough to guarantee success. Work hard and possibly harder, believe in your ideas, work a bit harder, and you’ll get to the top. And even if you don’t get to the top, there is nothing to worry; being true to oneself is the best reward. Be yourself. Follow your passion. Stick to your beliefs. Dare to dream.
ESQ: At the end of it all, what would you like your legacy to be?
GA: The legacy I’d like to leave is one of integrity and commitment, of respect and attention to reality.
This interview has been edited for length and clarity.
The Louis Vuitton Malle Courrier isn’t just one of the most enduring of the famed French fashion house’s designs—it’s the literal foundation of the entire company. And it’s the story of this trunk that’s at the heart of the first episode of Esquire’s new series, Iconic, which details some of the most recognisable and resilient items in the fashion world.
Back in the middle of the 1800s, before his initials were one half of the name of luxury juggernaut LVMH, Louis Vuitton himself revolutionised the luggage industry with a flat-topped, stackable trunk better suited to the uptick in rail and boat travel than its rounded predecessors. And the biggest innovation? Instead of using leather to protect the wood it was built from, Vuitton’s trunk employed lightweight-but-tough canvas that wasn’t prone to rotting in a baggage hold midway across the Atlantic Ocean.
The Louis Vuitton trunk was such a smash hit that other companies soon began copying the distinctive striped pattern of the original canvas. This led to the creation of the unmistakable Monogram canvas that we all know so well. A combination of the letters "L" and "V" with Japanese-inspired flower motifs, it was like nothing else on the market and an instant status symbol.
These days, though, identifiable imagery doesn’t hold the same value it once did in the fashion world. In fact, modern luxury’s emphasis on logos and signifiers doesn’t quite hit the mark. True luxury is defined by the work that goes in behind the scenes, the craftsmanship and know-how that inform the construction of goods that serve a real purpose and just so happen to elevate our experience of the everyday in the process.
That’s the idea behind Iconic. It’s not about names or brands or flash. It’s about the substance that earns these items their lofty place in the world—and maybe, eventually, your own collection.
Originally published on Esquire US
Think of a solid pair of jeans... what comes to mind? For the majority, it's probably Levi's. As the first pair of denim jeans, the Levi's brand epitomises the classic American style. It has become ubiquitous and you can't beat that kind of marketing. But in order to stay relevant, collaboration with other IPs is key. From Mickey Mouse to The Simpsons, you name it, Levi's has worked with them all. Like with McLaren.
So, when the chance to team up with McLaren arose, why pass it up? Since its first Formula 1 race in 1966, McClaren has since won 20 Formula 1 world championships; 184 Formula 1 grand prix; the Indianapolis 500 three times, and the Le Mans 24 Hours on its first attempt. With that kind of track record, McLaren is hoping to score gold with this collection with Levi's.
Kicking it off with the cropped, boxy fit Racing Jacket. This piece captures the essence of McLaren Racing's vintage-era. It boasts chain stitch embroidery on the back, twill taping at the cuffs and hem. The Racing Suit offers a slightly dropped crotch and a spacious fit with straight legs and showcases vintage-inspired patches and a crackle print running down the right leg. Both the Racing Jacket and Racing suit comes in a light wash paired with an embossed vegan tanned leather co-branded patch.
To channel the spirit of McLaren's founder, Bruce McLaren, look no further than the three-tone Racing Gloves. Crafted from fine Italian leather and a Levi's shank for snap closure, these gloves sport an embroidered signature and an impressed McLaren logo. Inspired by vintage McLaren Racing posters, they incorporate colours from the classic McLaren colour palette and include perforations for that much-needed breathability—because clammy hands? Ugh.
The Heritage 501 Jeans exude "you're-cute jeans" as famously complimented by Kendall Jenner to her mom. The left back pocket is replaced with a shadow pocket adorned with a cackle print, topped by a red tape welt zipper pocket. Whilst the cropped and boxy Heritage Trucker exhibits a medium wash and pintucks at the elbows, with its centre-front zipper accented with red-tape.
Paying homage to McLaren's classic cars from the '80s, both the Jeans and Heritage Trucker showcase vintage-inspired patches and bold red co-branded back patches.
If you're on the hunt for a tee to rock at this year's Formula 1 in Singapore, but you want to stand out with a cooler and decidedly more stylish look, go for the Constructors Tee. It features a front graphic showcasing an '80s era McLaren race car. Pair it with the Racing Bandana, which reimagines classic Levi's western motifs through a racing lens with '80s McLaren graphics. Who knows, maybe Lando Norris might notice you.
Speeding your way on the 3 July, the Levi's x McLaren Racing Maiden Collection is available online and at the Levi's ION Orchard.
There's a common notion that jewellery is primarily for women. However, as society progresses, must clothes and accessories be strictly gendered? I mean, fashion now embraces a spectrum of gender identities, challenging traditional constraints. Can't I wear a suit? Can't my boyfriend wear a little concealer? Why shouldn't men wear jewellery and break outdated norms?
Enter Desmond Tan, Lee Hwa inaugural ambassador. The actor, whose career showcases dynamic transitions on-and-off camera, effortlessly embraces diverse roles. Film-driven and fashion-forward, it's kinda fitting that Tan can front Lee Hwa. Given his experience as the first Singaporean actor invited to global designer brand events at both Milan and Paris Fashion Week, this ambassadorship marks a pivotal moment in the heritage brand's evolution.
Lee Hwa adds to that momentum with ITALGOLD, a collection of fine 916 Gold jewellery that showcases artisanal Italian craftsmanship in Singapore. As his first act with Lee Hwa, Tan will curate a signature ITALGOLD collection that reflects his philosophy of style transcending boundaries and inspiring self-expression for both men and women. Tan will also headline major campaigns for Lee Hwa in the upcoming months, showcasing the brand's hero diamond line, Destinée.
