“We’re all going to die. So let’s mess it up”. It may not be the most profound of life philosophies, but Brad Pitt’s words on the red carpet in 2022 sought to answer a much more basic question: why was the Hollywood star wearing a skirt? Indeed, perhaps the more incisive question would have been, ‘Brad, why does anyone care that you’re wearing a skirt?’.
If gender identity has become a hot-button topic of late, the gender divide in the way a man and a woman dress has been prevalent for much longer. Challenging the codes—received ideas as to what constitutes "masculine" and what "feminine" in dress—has been commonplace since the 1960s, when rock stars the likes of Mick Jagger and David Bowie started picking at the fabric of the debate. Of course, arguably they had licence too: as with Pitt—or Jared Leto, Lenny Kravitz or Steven Tyler, Travis Scott or Jaden Smith—being a performer gives a free pass to buck convention not afforded to the man on the street.
Yet the conventional does look to be increasingly fragile. The last few years have seen a proliferation of independent brands like Cold Laundry, Story MFG and LaneFortyFive opting not to state whether their clothing is for a man or a woman. Bigger brands—from Zara to H&M, Gucci to Marc Jacobs—have created ‘gender neutral’ lines, with designer Haider Ackermann saying he’d like his customers to wear his clothing without the notion of menswear or womenswear “dictating their choices”. Meanwhile, the Council of Fashion Designers of America—which awards the Oscars of the fashion industry—has added a "unisex/non-binary" category for its fashion week shows.
They are trying to capture a Gen Z culture that, according to a 2016 J WalterThompson study, shows that less than half of that demographic always shops according to gender, especially in specialty stores where men’s and women’s wear aren’t neatly segregated. And maybe they are simply following similar recent shifts to “de-gender” in other industries, from bedding to toys, cosmetics to fragrances.
Take, for example, the designer NickHart, best known as the man behind the Spencer Hart label, pioneering the modernising of sharp suiting, but now flipping that on its head with his new, eponymous, but still minimalistic brand, focused as it is around avant-garde, outsized and deconstructed clothing that he sees as being for both a man and a woman. There are echoes perhaps of 1980s Armani, who proposed Emporio piecesto the same end, long before “gender” had become a buzzword. But, Hart stresses, finding one style to suit both men and women need not be the only direction for unisex clothing.
“Particularly in big, more metropolitan cities, you see more and more men in floral prints, sheer fabrics, tight-fitting clothing. You see more adventurousness when it comes to hats and accessories, ”he says. “The message doesn’t have to be that this is men wearing more obviously ‘feminine’ clothing, even if these things would have been considered as much not that long ago. I think it’s probably all part of men going through identity issues more broadly now, questioning their place in the world and ideas of masculinity. That’s why Brad Pitt in a skirt is such an interesting image: it’s both empowering but also challenging to traditional men and society”.
Tanmay Saxena, the founder of LaneFortyFive, has seen both sides, having worked as a business analyst in the City of London—one of the most sartorially conservative enclaves—before leaving to launch his “gender-neutral” clothing line in 2016. “This does not mean that we make one shape/size-fits-all clothing,” he says, more that it comes from the notion of equalism, the idea of treating all things equally. That means an aesthetic that works for both men and women. That draws a distinction between traditionally gendered clothing that seeks to cross the divide that has long been there and clothing that doesn’t impose a gender divide in the first place. “Terms like ‘unisex’ or ‘gender-free’ in clothing are rather like the term ‘sustainable’ a decade ago: it was once sneered at, but now we’re more accepting of it. It’s part of the conversation now, and part of society’s betterment,” reckons Saxena. “For me, it’s a moral choice rather than a fashion trend, though it is part of style now. I’ve seen men pick up a pair of our trousers, ask if they’re actually women’s, be a bit confused by the answer and just buy them anyway.”
But is there scope for gendered clothing to cross the divide? After all, it’s hard to get Harry Styles out of his lace collars and gauzy pussy-bow blouses. He looks good in them too. But then the apparel in his own ‘life brand’, Pleasing, is mostly T-shirts, shorts, and hoodies. And therein lies one of the obvious hurdles: form and sizing. While we’re all different shapes, men and women fall into broad archetypes—broad shoulders and slim hips on men, breasts and wide hips on women—that can make fitting both a design challenge. Not for nothing have collections claiming to be unisex—sometimes for the purpose of virtue-signaling—so often amounted to little more than athleisure, long considered gender-less anyway.
Rob Smith, founder of the New York-based “gender-free” brand The Phluid Project, started out along similar lines, but Smith is bravely taking the next step with his brand’s new incarnation, launching next spring: think cropped tops, lacy shirts, and suiting with back-baring cut-outs for whoever wants them. He says that these clothes are about ditching stereotypes and applauding the simple idea of “wearing whatever it is that makes you feel good,” though he concedes that such garments are both harder to design, and to sell. “There’s a generation now that defines itself through dress very differently [from those before] and who, while many of them will dress this way as an experimental phase, also see [gender-free clothing] as being about greater openness and broad-mindedness,” says Smith. “There’s a readiness to embrace all those things that once only women were ‘allowed’ to wear—tight tops, certain fabrics, clothes that reveal certain parts of the body and so on. For a man to wear a pearl necklace or nail varnish is getting to be as ordinary as it is to see one with earrings now,” he adds, “and if you’d have asked me just a few years ago if they’d have worn those things I would have said you were nuts. I think this is an opportunity for men to embrace their sexiness more. But a lot of retailers are risk-averse and aren’t looking to the future that this generation represents.”
Maybe it will be different this time. For there is a history of attempts to break down the barriers between men’s and womenswear and the track record is not one of success. Jessica Glasscock, a fashion historian at Parsons School of Design, New York, and author of Wigging Out: Fake Hair That Made Real History, notes how the 1970s saw a wave of gender-fluid unisex lines, with leading department stores the likes of Bloomingdales in New York opening a unisex department. “But the result was mostly matchy-matchy outfits and looked quite awful,” she says. “They all closed within three years.”
In part, Glasscock notes, that’s because these things—hard though it may be to admit—tend to have dubious aesthetic appeal beyond a certain age; perhaps this is why the same J Walter Thompson study found that Millennials—those in their 30s and early 40s—did not tend to cross gender lines in their consumer choices anywhere near as much as Gen-Zers.
Dressing across the gender divide is an idea that has more readily appealed to the young: “It’s typically been part of youth culture because it works for lithe, youthful, more androgynous, ectomorphic bodies,” she says. Not for nothing is The Phluid Project aimed at 20somethings. Indeed, one further reason why gender-free lines have so often come unstuck, Glasscock argues, is that this same youth market doesn’t want the notion to be neatly packaged and sold to them.
“Youth culture is a resistant one. It’s not necessarily about being in political opposition to [the dominant] culture but transitioning between men’s and women’s clothing is part of that,” she explains—it’s long been considered bohemian and edgy. “[For them] it’s playful, more free, maybe about prolonging their childhood. But they don’t need unisex clothing to be made for them because they’ve already decided what unisex is.” We saw the same thing happen when designer brands tried to sell grunge style, she adds.
Paradoxically, it’s the young, of course, who, for the moment at least, are also more likely to embrace the very traditional gender divides now dominant in bodily appearance: for women, a blend of affordable cosmetic surgery and trends for hair extensions and outsized lashes, and for men, a gym and creatine culture, has led to a revival of—as older generations might welcome—women to look very much ‘like women’, and men who look ‘like men’. At least when they’re naked.
Maybe it is precisely because younger men are so overly masculine in their physiques that they feel safe to explore the feminine in their dress—without the concern that any onlooker will question their machismo. Hart calls it the Love Island Effect. It’s why nobody is wondering whether Brad Pitt is, after all, a bit fey or camp because he’s in a skirt—though he was careful to wear his with combat boots just to make sure.
And yet even with this toying with the codes of the masculine and the feminine, there are limits. Glasscock argues that, try as designers might to get Joe Average into skirts—from Jean-Paul Gaultier to, more recently, Thom Browne—it remains what she calls “a bright line” that cannot readily be crossed in developed countries (though she notes that in some still very much patriarchal cultures it’s commonplace for a man to wear a skirt-like form of traditional clothing). He can’t quite put his finger on why but Saxena can’t buy into the idea of skirts for a man either.
“Things that are made for women that I feel will look good on me—that I like—I will wear,” as Gen Xer Pharrell Williams said in 2019. “[But] I do have my lines. Like, I can’t wear no skirt. Nor am I interested in wearing a blouse. That’s not my deal.”
Maybe it can be argued that while women have now been largely, if not yet completely, free to embrace wearing a version of menswear for decades—from Coco Chanel pushing men’s tailoring for women, through to The Gap’s proposal of the “boyfriend jean”—this is one way in which men don’t have an equal right. They are not equal with women in their sartorial self-expression.
“Men have a lot of freedom but it is in a specific context,” as Glasscock explains, “and I think a lot of spaces are still fundamentally conservative. [More feminine dressing] may be more accepted in some creative professions, such as in the advertising or the graphics department, but probably not in accounting. Do men have a desire to push the boundaries of what they can wear? Maybe. But do men have a burning desire to push themselves so far they can wear a skirt to the office? Maybe not.”
It’s why, she suspects, interest in gender-fluid dressing is likely ultimately more a matter of fashion than of seeking new freedoms, with the pendulum eventually, inevitably, set to swing back to established convention. After all, the codes that define menswear—through the boardroom, formal events, institutions, and so on—are deeply ingrained. They are going to take some shifting.
While there have been utopian visions of the beautiful, comfortable unisex uniform before—or more dystopian, if the likes of Mao’s Communist China are considered—Glasscock argues it may be some time before we’re genuinely oblivious to whether a garment has been made and marketed for a man or a woman and can look on all clothing as just being clothing.
For all the interest in the current exploration, gender-free clothing—whether that be unisex, or womenswear for men, so to speak—may forever be a niche interest and little more than a recurring fad or intellectual exercise. As Thom Browne has said about introducing a below-the-knee Harris tweed skirt for a man in his winter collection last year, “I don’t really care if anybody wants to wear it, but I think it looks good, and it’s an interesting proposition for anyone who does.”
“For the moment [for a man to wear distinctly female clothing] seems to me like a very intentional, spectacular act,” Glasscock agrees. “Once it’s not confrontational and just one of your wardrobe options, well then we’ll see."
It might be odd to think that something as angular as this tote is called the Rocking Horse. The name actually refers to the line’s initial bag designs constructed with a curved base that allows them to easily rock like a rocking horse, and are distinguished by the “b” closure. Its tote incarnation keeps things classic with a briefcase-like silhouette for some serious corporate-appropriate style chops.
We could all do with some added height and when it comes to heeled boots, hardly anything comes close to Hedi Slimane’s versions for CELINE. These are cut in a familiar Chelsea shape for fuss-free slipping in and off and the pointed toes immediately help to elongate the legs further. Also, peep that subtle Triomphe branding right at the ankle—an extra touch of if-you-know-you-know branding.
Gucci’s connection with London’s The Savoy goes all the way back to when founder Guccio Gucci worked as a porter at the famed hotel. The experience prompted him to found his own luggage atelier upon his return to Florence (no guesses what that eventually turned into). This cabin trolley is a nod to the very beginnings of Gucci, but of course, updated with wheels and a telescopic handle. When not in use, it makes for quite an ornamental interior piece much like a classic travel trunk.
Nothing comes close to being as classic and unbelievably versatile as a pair of leather lace-ups. You’d easily be able to dress them up or down and they go with just about anything. Tod’s may be known for its pebble-soled Gomminos but the comfort of its footwear translates even to something as sturdy as a pair of leather lace-ups. The lugged rubber sole gives it a more contemporary flair and traipses the line between formal and casual seamlessly.
The TUDOR Black Bay is an icon. And like most icons, it requires little tweaking. This latest iteration keeps all the design aesthetics with a monochromatic intent that successfully highlights every detail to perfection. The black sunburst dial is undoubtedly subtle but perfect for a timepiece you would want to put on every day, for any occasion.
RIMOWA’s Personal crossbody bag receives a new seasonal colour in a stunning shade of emerald green, and it’s quite honestly one of the more eye-catching shades in its aluminium series yet. The shell is wrapped around leather straps in a darker shade of green that matches the leather interior, and the palladium hardware contrasts beautifully against the rich hue. It could be an intimidating colour to wear but match this with neutrals for a surefire way of pulling it off.
With an Art Deco-inspired bottle design, you would think that Penhaligon’s The Dandy is somewhat of a traditional, masculine fragrance—heavy, woody and mildly overbearing to most. Yet, the fragrance surprises by being woody without that heavy lingering of intensity. The hints of warm, spicy notes cut through slightly after a while for a more balanced take on a liquor-forward scent. The Dandy is definitely more of an evening scent but its lightweight quality could just as easily be used in the day too.
Never underestimate the power of a scarf, especially one with hand-rolled trims and in colours that will never go out of style. Loro Piana updates the paisley print with bold, stark lines for a more elevated look. It’s a cashmere-silk blend that’s incredibly lightweight yet will definitely provide some warmth should you need it; or wear it loosely around the neck (in as many permutations as you could think of) to simply add a touch of irreverent elegance to an outfit.
The beauty of a Loewe candle is that the moment the wax completely burns off, the ceramic vessel can be used in a myriad of ways, all while looking like a piece of art. The latest Wasabi scent is one of the line’s more intense offerings with its green and spicy notes reminiscent of that first whiff of a spoonful of wasabi. Fair warning: this may make you crave for some sushi.
Yes, you don’t necessarily need a card case any more since everything is pretty much be done with your mobile. But neither do you need a watch nowadays too. It’s all about the aesthetics and this piece by Saint Laurent is a slim iteration with four card slots (just right). It also comes with a detachable strap you’d able to secure around a belt loop or wear around the neck as an accessory. The design is clever—the card slots are enveloped within a leather housing for added security.
Photography: Jaya Khidir
Styling: Asri Jasman
Photography Assistants: Aliy Alam and Syed Abdullah
For his first menswear collection for Gucci, creative director Sabato De Sarno focused on strengthening house codes seen through a more modern lens. The Autumn/Winter 2024 menswear collection saw accessories making their own statements—distinct in form yet not brashly shouting to be heard. Dressed in the House's now signature Rosso Ancora shade, staples like the Double G belt and the Horsebit loafers-turned-creepers reflect a renewed Gucci aesthetic.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Photography Assistant: Chay Wei Kang
I don't think anyone had so much of an inkling as to how the Gucci Spring/Summer 2025 menswear collection was going to look like. Creative director Sabato De Sarno left little clues, and the show invite—a set square engraved with "la misura dell'amore è amare senza misura" ("the measure of love is to love without measure")—ultimately didn't really have anything to do with geometry or math. And thank god for that because after a hectic Milan Fashion Week Men's schedule, I'm sure none of us would have wanted a problem to figure out.
To some, however, De Sarno's Gucci aesthetic may be a problem. Some might say that his sophomore menswear collection, while a more vibrant proposal with prints ripe for the season, left little to be desired; that there isn't a strong enough of a point-of-view.
Having a "point-of-view" tends to be thought of as having concepts that are singular—a look so unique and easily identifiable that it will immediately be recognisable as being Gucci. I'd argue that De Sarno doesn't lack one, but rather, it's an aesthetic that isn't targeted to just one archetype.
The setting of the runway show reflected this. The Triennale Milano is a museum of art and design where a diverse range of works are collected and exhibited. I'm not equating the Gucci Spring/Summer 2025 menswear collection to that of works of art (although the oversized shirts decorated completely with paillettes came close) but there seems to be a growing idea of the Gucci wardrobe being able to be collected throughout the season, spliced and then combined to create looks that are part of one's style. Is that enough of a point-of-view?
The fit: It's a the-city-meets-the-beach style narrative consisting of short shorts that would've been perfect for the weather during the show (Paul Mescal made an excellent outfit choice). De Sarno repeated his penchant for oversized tops with shirting left untucked, offering just a peek of the shorts underneath.
Colour-blocking was heavily utilised. In fact, this was a stark difference from the Autumn/Winter 2024 menswear collection—this was colour on steroids almost. Acid hues were paired with vibrant prints of dolphins, surfers, hibiscus flowers, and banana leaves.
The details: We do need to talk about the hardware. The Horsebit is set to be an element that De Sarno seems to be planning to drive down our throats. It's apparent on the pointed toe iterations of the Horsebit loafers that he introduced for Autumn/Winter 2024 but this time, expanding the offering with boots. Belts are also given the Horsebit treatment and with a new surprise. What I initially thought were just Horsebit belts from my vantage point were actually a combination of a double-ended snap hook closure (a hardware that has replaced the piston closure in De Sarno's Jackie bags) as well as the d-rings of the Horsebit.
A bag that could potentially be on a lot of people's wishlist would be a new crossbody bag fitted with the snap hook closure. They're slightly reminiscent of the Horsebit 1955 and that's not exactly a bad thing.
Three exceptional looks: Look 14's masterful layering of a polo over a shirt; the oversized polo shirt embellished with paillettes in look 26; and look 34's classic with a twist.
The takeaway: Once more (one last time, hopefully), it's a new Gucci that's not quite less is more nor more is more.
View the full Gucci Spring/Summer 2025 menswear collection in the gallery below.
After a promising menswear debut for the Autumn/Winter 2024 season, creative director Sabato De Sarno is readying his sophomore menswear collection for Gucci.
The show will be staged at the Triennale Milano, a museum of art and design located in the heart of the city. The choice of venue is intended for the House to pay homage to Italian heritage of craftsmanship and innovation. And if that tells us anything at all about the upcoming collection, is that De Sarno could probably be tapping on a bit more on Gucci's place in Italian fashion and in turn, expanding on the visual vocabulary that he's been setting up the House for.
For confirmation of what the Gucci Spring/Summer 2025 menswear collection will look like, stay tuned for the show this Monday. And for an even closer look at the collection, follow @esquiresg on Instagram as we bring you the action live from Milan Fashion Week Men's.
What: Gucci Spring/Summer 2025 menswear runway show
Where: Milan, Italy
When: Monday, 17 June 2024 at 8pm Singapore time
Miu Miu’s predominantly women-centric fashion hasn’t stopped it from encroaching into the men’s wardrobe. Those of us who lived through the 1990s may remember Miu Miu’s menswear line launched for the Spring/Summer 1999 season through to its final collection for Spring/Summer 2008. The brand has since sneakily relaunched menswear without explicitly calling it as such, but instead, began introducing a number of male models on the runway as well as offering select designs in a bigger range of sizes.
The quiet repositioning of the Miu Miu brand runs in tandem with its sneaker collaborations with New Balance. Also offered in slightly larger sizes—they go up to a IT46—each drop has progressively grown to be so coveted that they are sold out within hours on official launch days, despite the hype around sneakers no longer being what it was years ago. Miu Miu’s collaboration with Church’s that began for the Autumn/Winter 2023 season also followed suit.
The marketing strategy for Miu Miu has in turn, shifted to skew towards a genderless approach. Musician and actor Troye Sivan walked the Spring/Summer 2024 runway show, and in Singapore, the brand has expanded its roster of influencers to include those who identify as male.
As slow and steady (and subtle) as Miu Miu’s renaissance has been, it has undoubtedly worked to its favour. Like an unforgettable earworm, Miu Miu has grown to be at the top of consumers’ minds. The Lyst Index—a quarterly report of the “hottest” brands as tracked by fashion technology company Lyst—sees Miu Miu climbing up a rank, replacing sister brand Prada as the number one brand for the first quarter of 2024. It’s a stark contrast from two years ago when Miu Miu didn’t even make the list’s top 20. The brand only managed to crack the list for the last quarter of 2021 and has remained on it since.
The Lyst Index has grown to be an industry-accepted indicator of a luxury fashion brand’s popularity. The platform boasts at least 200 million users annually and is primarily used to search for fashion items across multiple e-commerce sites. Think of Lyst as the fashion equivalent of Skyscanner. A quick search on Lyst results in a seemingly endless number of, well, listings of the same item available on online stockists ranging from SSENSE to Harrods. This data is part of the information Lyst collects in order to form its quarterly The Lyst Index. Lyst also takes into account searches outside of its own platform as well as social media statistics for a more rounded view of consumer trends.
The reality is that the business of fashion isn’t a bubble contained to just how a product is moving or not. Much of a brand’s popularity is due to a combination of external factors as well. In the case of Miu Miu, its Spring/Summer 2022 collection became a kind of cultural phenomenon owed to its Noughties-inspired aesthetic of branded boxers peeking through the tiniest of bottoms. It became such a hit that the collection graced multiple editorial magazine covers and fashion spreads—the latter at times featured on hyper-masculine male models. For Halloween the year of the collection’s runway show, it became a viral sensation after recreations of the now-signature Miu Miu look made the rounds on social media.
Gucci’s ranking on The Lyst Index proves that sales figures don’t exactly maketh a brand’s popularity. The Italian fashion house maintains its 11th position on the list, buoyed by the campaign launch of creative director Sabato De Sarno’s first Ancora collection, his first menswear show in January, a Horsebit campaign featuring actor Kingsley Ben-Adir, and more. Lyst also notes a 10 per cent increase of searches (as compared to the previous quarter) for Gucci accessories among its users following the Autumn/Winter 2024 womenswear runway show in February.
However, financially, the figures tell a different story. Gucci parent company Kering Group reported an 18 per cent decline on Gucci’s revenue for the first quarter of 2024. Its revenue across its direct retail operations as well as its wholesale business both suffered a hit. At the same time, Kering Group proffers that De Sarno’s first collection (dropped from mid-February) “have been very well received, particularly in the ready-to-wear and shoes categories”—although it did not disclose the metric used to come to this conclusion.
The Lyst Index isn’t the only list that has cropped up over the years. Business of Fashion released its second The BoF Brand Magic Index co-created with data insights company Quilt.AI in May 2024. Unlike The Lyst Index’s more trend-driven metrics, The BoF Brand Magic Index identifies and ranks brands based on their impact on customers. It measures this based on three metrics—alignment (how clear a brand is to customers), engagement (how effective a brand is at inspiring customers), and intent (how effective a brand drives customers to search for it). Brands are ranked based on these individual metrics; the combined scores determine their overall ranking with the lowest total at the top. The report covers a six-month period from October 2023 to March 2024.
It’s not surprising that given the differing methodologies used in both reports, the results are different. The BoF Brand Magic Index determines the alignment metric by using Quilt.AI’s proprietary AI models that detects content by both brands and customers, categorising them based on 12 Jungian archetypes, and determine similarities between the two. It’s this consistency between brand and customer content that ranks Dior, Balmain and Tod’s as the top three for alignment—their brand values are being received and replicated by their target audience. Business of Fashion believes that “alignment is a leading indicator of commercial success” in the long-run.
Take it this way, there is reason why Beyoncé and Taylor Swift are two of the biggest musicians in the world right now. One can argue that the songs are not immediately addictive such that they would be stuck in a person’s head all the time, but the concepts and storytelling surrounding their albums draw people in. It’s this overarching narrative beyond the songs and lyrics that keep people talking and engaged. The same goes for luxury fashion. Fashion has grown to be more than just good, wearable design—how it’s being communicated and marketed play important roles on the success.
This is the reason why brands like Jacquemus and Loewe have constantly managed to be talked about both for their collections as well as the stories built around them. Jacquemus, for example, drives virality with its uniquely shaped products such as a literal Nike Swoosh crossbody bag and impossibly tiny bags that spawned a multitude of memes, while at the same time, working with artists to stir online conversations via eye-catching stunts. An eight-second clip in 2023 of vehicle-sized Jacquemus bags seen driving around Paris was so realistic (it was the work of a 3D artist) that it had people questioning if it was a real-life brand activation, because it felt pretty much in line with what Jacquemus would do.
Loewe’s consistent craft-centric approach to all it does translates exceptionally well on social media where it breaks down the make of an item—all without revealing too much of its in-house secrets—for all to witness. But at the same time, its constant dabble with the art world and surrealism allows it the freedom to not take itself too seriously. The brand has crafted a niche on TikTok where it works with content creators, giving them carte blanche to create content in their own vision. At the same time, its own campaigns aren’t typical product pushes, but instead rely on creative storytelling while embedding the collections into them.
Good design and storytelling are most often related although not necessarily so. As much as there are the Beyoncés and Taylor Swifts of the fashion world, there are the legends—the Mariah Careys, the U2s, and the Stevie Wonders that don’t necessarily partake in the hit-making agenda. Instead, they have built such strong legacies that they don’t have to market as much to be desirable. You’d go to a concert by these legendary musicians clamouring more for their best hits from decades ago than their newer releases. It’s not that the new songs are not great, but rather, the old ones carry such weight and are just so eternally beloved. And these legends were the blueprint of greatness at one point and have influenced generations after.
Hermès, Chanel and even Louis Vuitton are such brands. The latter is constantly on the top 20 of any list because it continues to enact creative change in the contemporary sense, but just like Hermès and Chanel, the Louis Vuitton name is already historically synonymous with luxury that the desirability is always top-of-mind. You don’t necessarily see Hermès and Chanel aiming to create viral content or use marketing gimmicks to draw attention—they’re just simply not on-brand.
There’s undoubtedly a need for fashion brands to be more all-rounded in their approach to create desirability in order to cut through the noise. We are living in a society where access to information is wide and getting hold of our attention increasingly becomes a difficult task as swiping through content after content has come to be almost second nature. The existing fandoms will stay for the new releases but it’s attracting a new audience to listen in and be part of the community that takes real work, especially for more contemporary brands.
Being at the top—whether it’s for the quarter or the half—is how one deciphers the position. Fashion moves at such a fast pace these days (even for luxury fashion) that the rankings can fluctuate quite dramatically. It means little to have a viral accessory or moment that spikes engagement and interest, unless a brand takes the step to develop the narrative further.
At the end of the day, it is consistency in both design and narrative that are key in creating any meaningful impact on a bigger scale and for a longer time. No brand wants to be a one-hit wonder; every brand wants an evergreen discography to bank on for years to come.
Depending on the nature and mechanics of a fashion brand, a creative director has but two key chances to debut—one for a womenswear collection, and one for menswear. Gucci’s return to separate runway shows for its main seasonal collections (since the Autumn/Winter 2023 season) afforded Sabato De Sarno with such a luxury.
Having said that, first impressions are still weighed heavily and critically in fashion. De Sarno’s official debut was Gucci’s Spring/Summer 2024 womenswear collection and it was an expectantly different aesthetic from the House’s previous creative director. Called “Ancora”, the collection alluded to the Italian word’s multiple meanings, mainly “again” (a reiteration of House codes), “more” (a desire that De Sarno wants to evoke) as well as Gucci’s own interpretation, “also now, also then” as a metaphor for the continued reverence of its heritage and the possibilities of the future.
The Spring/Summer 2024 womenswear collection was an aesthetically pared back collection that saw a shift from excessive embellishments to focused cuts and silhouettes. De Sarno envisions a Gucci that relies less on the pomp and circumstance of abject eccentricity. This new Gucci—or is it born-again Gucci?—seemed to take its cues from what a young, modern Italian woman would want in her wardrobe. The collection was a dialogue of what was already happening on the streets albeit elevated and made more luxurious with its use of materials.
It’s inevitable that the receptions were split. Coming off the heels of a predecessor continuously credited with the House’s contemporary revival is no walk in the park, especially when the new direction is far removed from that of the past seven years. But what many fail to understand is that a creative direction isn’t born from just one single collection alone—it takes time to cook.
And cook De Sarno did.
If the Spring/Summer 2024 womenswear collection was an appetiser in De Sarno’s Gucci, the Autumn/Winter 2024 menswear collection is the main course. It is ‘meatier’ with menswear proposals that offer newness without the need to shout, while at the same time, grounded by a sense of approachability. One doesn’t need to be a style maven or have a certain kind of inclination to partake in Gucci any more. There’s a sense of that oft-used adage in fashion: wear the clothes, don’t let the clothes wear you.
The show had a rather diverse celebrity guest list that reflected the collection’s more malleable personality. Idris Elba’s imposing stature lent a gentlemanly presence to an all-over GG monogram coat, Elliot Page kept things simple and chic with a tailored base under a blouson, Jay Park bravely showed off chest tattoos by going bare under a bomber jacket (it was still winter at the time of the show), and Gucci campaign star Kingsley Ben-Adir finished his Canadian tuxedo with Ancora red Horsebit loafers. Save for the Gucci-branded elements in their ensembles, everyone looked characteristically different, each wearing Gucci their own way.
That is not to say that the Autumn/Winter 2024 menswear collection lacks a style point-of-view—that’s hardly the case. Like for his debut, De Sarno presented a clean slate focused on impeccably tailored pieces and in colours that aren’t out of the reach of the average man. Tailored trousers are slim and end right at the ankle, effectively lengthening the legs. Suit blazers and coats feature classic, strong shoulders, while other outerwear in the collection have slightly dropped shoulders and are cut decidedly oversized. There’s nary a sneaker in sight; variations of the Horsebit loafers showcase the design’s versatility as it’s manipulated with different embellishments, heels, and outsoles to exude different vibes.
As cliché as it may sound, the devil is in the details. Monochromatic suiting feature intentional deep creases at points where they would have eventually formed with wear. The collection’s defining accessory, De Sarno’s take on the cravat, consists of a long strip of fabric wrapped around the neck and secured by metal hardware. The details continue at the back—outerwear vents reveal Gucci’s signature tricoloured webbing, leather jackets are embossed with “Gucci” at the hem, and even socks give peeks of webbing at the heel.
There is a studied intention in the way that De Sarno executed the collection. The details all call to a more subtle Gucci. Sure, the GG monogram remains a prevalent branding device and appears in a trio of in-your-face looks within the collection, but they are only a small portion and still done very elegantly. The rest of the collection is an emphasis on Gucci’s heritage and leitmotifs that have gone on to become timeless icons.
Speaking of timeless icons, the Jackie bag is reenvisioned in a proportionally more masculine size. The extra-large upgrade retains every single element of De Sarno’s iteration of the Jackie, including the new hook closure that differentiates itself from the piston closure of the Jackie 1961 series as well as the original. It’s clear that De Sarno intends for the hook closure to become a new Gucci signature, much like the horsebit. It is positioned as the aforementioned metal hardware of the collection’s neck accessory and also incorporated into a new leather crossbody bag. The latter is a more minimal version of the Jackie—a similar crescent-shaped silhouette but in a softer construction and without too many frills—with a top zipped closure, taken from the House’s archives.
De Sarno is undoubtedly crafting a Gucci that is centred on timeless elegance. In place of the shock factor that its previous creative director had created time after time—something that eventually became a rather predictable modus operandi—De Sarno is reenforcing Gucci’s tailoring and craftsmanship as well as house icons while introducing new ones. And most importantly, he is priming these signatures to be relevant not just for now but for years to come. Isn’t that a good thing to have once again?
It's the second Friday of May. You're a couple of days away from turning up to Mother's Day dinner with a flower arrangement that (a) you didn't order in advance so it's pretty much an assortment of leftovers the florist managed to collate, and (b) you're kinda screwed, dude.
Not to bring up an Asian mother trope, but we sure she's going to be nice about receiving a floral bouquet, before flicking through Facebook or her Whatsapp group chat with [insert aunty's name] showcase of the gift her thoughtful son got her. It's no competition, yes. But she definitely deserves something more.
Thankfully, there are plenty of last-minute Mother's Day gift options out there that you don't even need to sneakily get her sizes for. And we've scoured 10 just for you.
Adorned with the signature Visetos monogram, the Ella Boston Bag in Maxi Visetos epitomises timeless elegance and contemporary allure. Drawing inspiration from vintage travel trunks of Munich's golden era, this bag boasts a leather hang tag and a logo-engraved metal padlock, paying homage to its jet-setting heritage. Red roses? Nah.
How do you honour a mother's invaluable and nurturing love? Bulgari’s exquisite Diva's Dream necklaces might offer a radiant answer. Featuring signature shapes with mother of pearl inserts and vibrant malachite, these timeless pieces symbolise unconditional love—a perfect tribute to the extraordinary mothers in our lives.
Encased in a sleek, new design with magnetic closure, a Rouge Dior red lip never goes out of style. Its long-lasting formula ensures comfort, enriched with hydrating lip care for nourishment. There's a spectrum of shades in matte velvet and satin finishes—the matte velvet finish grants full, soft lips with a weightless feel, while the satin finish imparts brightness and shape. More than just a lipstick, it's also a small piece of luxury that she'll be able to carry with her wherever she goes.
We know we’ve been veering from the usual flower choices, but bear with us—these aren't your typical blooms. These exquisite origami flowers are crafted by Atelier Oï in collaboration with Louis Vuitton. It's a partnership that celebrates craftsmanship with creations inspired by emotional material encounters. Each leather petal reflects a story of love and care, reflecting the essence of maternal strength as well as the beauty of handmade artistry. If you want to get her flowers, get her these ones that won't wither after a week.
Made from the handpicked roses cultivated in the House's new Southern France atelier, Henry Jacques reveals its latest expression, Collection de l’Atelier. The limited edition collection features three distinct fragrances—Rose Soleil, Rose Trés Rose, and Rose Azur—in generous 30ml volumes to emphasise the rarity, preciousness and quality. Also available as a set of three, elegantly presented in a handcrafted chest. Limited to just 500 bottles, each a singular creation, this collection is an exclusive offering never to be duplicated.
Handcrafted in Italy from textured calf leather, the Rocking Horse Bag blends nostalgic charm with modern versatility. Featuring a unique "b" closure, it's a nod to the classic rocking horse toy. With an adjustable strap, it effortlessly transitions from shoulder to crossbody wear. Embellished with the iconic tartan-check pattern, this medium version in Lichen ensures versatility and ample space for your mother's everyday needs.
Just as mothers gracefully navigate the twists and turns of parenting, shoes likewise adapt to diverse terrains. Show your appreciation with a pair of Gucci slide sandals—a perfect nod to their resilience and elegance. Crafted from light blue denim, these slide sandals are adorned with an embroidered Gucci script and striped accents, merging style with comfort seamlessly.
Pamper mom with the La Mer Replenishing Moisture Collection Set. This limited-edition set comprises of La Mer's hydrating Treatment Lotion, transformative Eye Concentrate, protective Lime Tea Concentrate, and luxurious Hydrating Infused Emulsion and Crème De La Mer. With indulgent moisture in four simple steps, it's the perfect pampering solution for radiant, youthful-looking skin, suitable for all skin types.
Issey Miyake introduces L’Eau d’Issey Solar Violet. This new fragrance pay homage to nature's beauty, embodying the transformation of water after encountering the sublime. L’Eau d’Issey Solar Violet, crafted by perfumer Marie Salamagne, merges freshness with sensuality, featuring luminous violet and sunny pear notes. Dermatologically tested and suitable for sun exposure with proper protection, it makes a thoughtful gift as a celebration of the radiant spirit of motherhood.
The Dyson Airstrait Straightener revolutionises hair straightening with air, not heat. Its innovative design allows for simultaneous drying and straightening from wet, without hot plates, ensuring no heat damage. Featuring precise directional airflow and intelligent heat control, it safeguards hair's natural shine by measuring temperature 16 times per second. No more accidentally burning her fingers for mom.
As the warmth of the Italian summer approaches, Gucci unveils a new collection, Gucci Lido—"Lido" referring to luxurious beach resorts that are plenty on the Italian coastline. The summer-ready collection pays homage to the enchanting allure of coastal living, capturing the essence of sun-kissed days and effortless, carefree moments of the season.
The Gucci Lido campaign sees creative director Sabato De Sarno teaming up with photographer Anthony Seklaoui to capture themes of escapism and spontaneity. From swimwear to breezy resortwear, the collection offers a range of pieces that seamlessly blends luxury with comfort—the makings of a perfect summer wardrobe.
The Gucci Jackie and GG Marmont bags are refreshed in straw-effect raffia and canvas for a more laid-back aesthetic while easily set to become a summer essential. Neon-hued trims add a playful spin on the classic GG canvas that range from small accessories such as cardholders to duffel bags and luggage. And to complete the Lido aesthetic, pieces dressed in neoprene and finished with cable trims take on a more literal approach.
To bring the Gucci Lido experience to life, Gucci has erected a pop-up (the only one in the world) at The Shoppes at Marina Bay Sands. Located right outside the Gucci boutique on the first floor, the pop-up showcases the full range of clothing and accessories from the collection, as well as a number of exclusives.
The Gucci Lido pop-up is located at The Shoppes at Marina Bay Sands, Level 1 Grand Colonnade South until 19 May 2024.
Given the increasingly intertwined realms of fashion and design, it's expected that major fashion labels continue to expand their design repertoire into furniture during Milan Design Week. As the world's largest furniture fair, the event showcases the latest in furniture and design, drawing hundreds of thousands of visitors annually. Below, we take a closer look at a number of furniture collections and collaborations by fashion brands that were released and showcased during the week.
Titled the "MCM Wearable Casa Collection", the collection by MCM was created in collaboration with Atelier Biagetti and curated by Maria Cristina Didero. This was the MCM's first time taking part in Milan Design Week, yet the collection effortlessly showcased its authenticity. MCM is known for its rebellious spirit, and this collection reimagines the role of furniture through unconventional designs that fit into the avant-garde. The collection brings the audience out of this world with its portable and multifunctional pieces in thought-provoking designs.
Longchamp held an exhibition at its boutique on Via della Spiga from 15 to 21 April, spotlighting on studio högl borowski—headed by Viennese design duo Stefanie Högl and Matthias Borowski. Through the their careful selection of materials used, unique sensory experiences are constantly being explored. Ranging from furniture to sculptural objects, studio högl borowski’s innovative pieces create new dialogues between fashion, art and design. Borowski’s fascination for craftsmanship, shapes and proportions and Högl’s love for colour, materiality and telling stories often lead to their unique compositions in designs.
Saint Laurent Rive Droite teamed up with the Gio Ponti Archives, Ginori 1735 and the Fundación Anala y Armando Planchart to exhibit the Villa Planchart Segnaposto Plates collection. Originally designed by Gio Ponti, the collection is decorated with various symbols of the villa of Anala and Amando Planchart. These traditionally crafted decorative porcelain plates are painted by hand in Ginori 1735’s Italian Manifattura. The Gio Ponti-Villa Planchart exhibition was held during Milan Design Week at the Chiostri di San Simpliciano. The limited-edition plates are now available for sale online as well as at the Saint Laurent Rive Droite boutiques in Los Angeles and Paris.
Versace opened their doors to their original Milan home and design Atelier at Palazzo Versace, Via Gesù 12, to showcase the latest Versace Home collection. The collection's designs prominently feature iconic symbols like the Medusa, Barocco, and Greca, exuding luxury in true Versace style. Visitors immersed themselves in the rich history of Palazzo Versace through an audio experience titled "Versace Home: If These Walls Could Talk". It narrated stories of the Palazzo's significance in fashion and culture, including the historic Fendace fashion show that saw the coming together of Fendi and Versace.
Bottega Veneta collaborated with Cassina and Fondation Le Corbusier to present On the Rocks at Palazzo San Fedele, focusing on the LC14 Tabouret Cabanon. Le Corbusier originally designed the Tabouret for his cabin, and took inspiration from a washed-up whiskey box. It features masterful dovetail joints and oblong openings. The exhibition showcased custom editions of the Tabouret, including a new limited-edition tribute in signature Bottega Veneta's Intrecciato. The wooden editions feature a traditional Japanese charred-wood technique, providing natural protection to the wood while revealing the unique patterns of the wood grain. On the Rocks also offered a glimpse into Palazzo San Fedele, that's soon to become Bottega Veneta's headquarters.
Hermès presented a captivating blend of contemporary home collections with iconic heritage designs, showcasing their enduring commitment to craftsmanship and excellence. Inspired by vibrant jockey silk jersey motifs, leather goods and intricately crafted blankets in subtle shades take centrestage alongside luxurious cashmere bedspreads featuring intricate patterns. The new Diapason d’Hermès lounge chair in leather and hammered aluminium, along with ethereal lamps inspired by equestrian vaulting, reflected Hermès' innovative design approach. The showcase epitomises Hermès' spirit of merging artistic excellence with impeccable craftsmanship, creating timeless pieces imbued with sophistication and style.
Giorgio Armani reopened the doors of Palazzo Orsini, the brand's historic headquarters, to present the new Armani/Casa collection entitled "Echi dal mondo" ("Echoes from the World"). Each room in Palazzo Orsini corresponded to a geographical area that inspired Armani throughout his career, identifiable by nods to different aesthetics and fashion cultures. Inspired by atmospheres, colours and shapes encountered during Armani’s travels or research, the collection is presented in settings never been seen before, offering an intimate experience. It was seamlessly integrated with Armani’s personal memories and travel mementos, weaving a narrative that celebrated creativity, craftsmanship and diverse cultural influences.
Loewe engaged 24 different artists to create a new collection of lamps as part of its Milan Design Week effort titled, "Loewe Lamps". Utilising a wide range of mediums, the collection centres around the manipulation of light. The floor, table, and suspended lamps—presented in the Palazzo Citterio—were materialised using bamboo, paper, leather, and glass into innovative forms inspired by natural and man-made objects. Among the featured artists, Genta Ishizuka's suspended lamp stood out, reflecting an organic cell with glossy lacquer layers and gold finishing.
Gucci’s creative director Sabato De Sarno’s gravitation towards Rosso Ancora was further established in Design Ancora. Curated by Michela Pelizzari, Gucci exhibited its new furniture collection at its flagship store at via Monte Napoleone, 7. Five iconic Italian furniture pieces were reimagined and customised in Gucci’s signature Rosso Ancora, featuring works from Italian design masters including Mario Bellini and Tobia Scarpa. “Through Design Ancora, Gucci doesn’t simply celebrate old icons, it creates new ones,” explains Pelizzari. “The aura emanating from the brand spotlights five pieces by Italian masters that are perfect from a design standpoint but less known to the general public.”
Designed under the creative direction of Silvia Venturini Fendi, the new Fendi Casa 2024 collection introduced new products while maintaining iconic elements like the FF logo and Pequin pattern, showcased in luxurious materials and meticulous craftsmanship. Fendi further ventured into tableware and home textiles with its new home accessories collection, featuring elegant designs in French Limoges porcelain, artisanal woven leather, and blown glass. The collection intertwined Fendi's fashion universe with exquisite home decor, offering a luxurious and distinctive aesthetic.
Louis Vuitton unveils a range of exquisite offerings at its Garage Traversi store in Milan. The new Bed Trunk, a modern interpretation of Louis Vuitton's original design from 1865, combines tradition with innovation. The trunk features the iconic Monogram Canvas exterior and an interior crafted from aluminium and beechwood, and transforms effortlessly into a sturdy bedframe. Iconic Objets Nomades designs like the Cocoon and Bell Lamp were also showcased, blending Louis Vuitton's craftsmanship with contemporary design. Additionally, an expanded tableware collection introduced a new beige colourway, showcasing a fusion of classic and modern aesthetics.
Who can say they’ve had a reign that lasted over seventy years? The late Queen Elizabeth II comes to mind, and then there’s the King of Rock and Roll, who has not only influenced the pop culture landscape for decades but also the accent of a So-Cal actor to a surprisingly lasting extent.
But within fashion, the Gucci Horsebit loafer has managed to maintain the same level of influence since it was introduced in 1953. With a design so recognisably "Gucci", the appeal stretches far and wide, from A-listers to your most fashionable friends. Seventy years on, that equestrian tool on the tongue will still place you in the upper echelons of style royalty.
The story as to why a snaffle became a signifier for the luxury fashion house starts with its founder. Guccio Gucci worked as a luggage porter at The Savoy, London, when his fascination with the equestrian world started, seeing it as the sport of the rich and famous people who took up residence at the hotel.
But it didn’t come into form as a loafer until his son Aldo Gucci took over the business (along with his brothers Rodolfo and Vasco). So it goes, Aldo designed a pair of dressy loafers as a response to the moccasins that Bass Weejuns were producing, having noticed that the sleek designs were popular with American prepsters. Gucci stamped it with the horsebit detail in honour of his father, and in doing so created a staple shoe that is both discreet and distinguishable.
The shoe quickly became a hit on home soil, but it didn’t take long for its influence to reach Stateside and beyond. Despite its dressier history—with thanks to Cary Grant—Gucci loafers, in particular, became a popular casual shoe among the younger generation. By the Seventies, plenty of women had a pair—perhaps most famously Jodie Foster, who was pictured aged 15 sporting the style while skateboarding—as well as dapper male stars like Kirk Douglas, Francis Ford Coppola and Roger Moore.
The style is just as popular on screen as it is on the streets, too. In 1979, Dustin Hoffman wore a pair in Kramer vs. Kramer, then there was Matt Dillon in Drugstore Cowboy ten years later. Matt Damon wore them in The Talented Mr. Ripley (1999), a film that’s repeatedly called upon for its perennial influence on men’s summer wardrobes in Europe and beyond.
Different creative directors of the luxury fashion house have all had their own take on the design. Tom Ford famously revitalised Gucci in 1994, and did so with classic signifiers of the brand like the horsebit. Alessandro Michele continued to use the motif throughout his tenure, incorporating his maximalist and print-heavy aesthetic, while Gucci’s latest recruit, Sabato De Sarno, has (literally) elevated it even more with a platform sole.
In today’s age, you can see the likes of Paul Mescal, Mark Ronson and Kingsley Ben-Adir (who also stars in the new campaign for the shoe) all donning a pair while on and off the red carpet, further cementing their smart-casual appeal. Rest assured, their reign is set to continue for the foreseeable future.
Originally published on Esquire UK
As the birthplace of Renaissance art and culture, even after the rolling decades, Florence still retains its ancient beauty. The creative place is made livelier with the presence of Gucci Giardino 25, the latest addition to the Gucci House.
In a nod to the flower shop that used to occupy the spot and Gucci’s former CD’s favourite number, the venue embodies the House’s codes while luxuriating in Florence’s vivacity. From dawn till dusk, it offers an all-day menu created according to the ever-changing seasons and inspired by Tuscany’s verdant lands. But it is the cocktails that are the focus here. Bar manager of Gucci Giardino 25, Martina Bonci, hails from the picturesque Umbria. Having taken up the position during the pandemic, Bonci has steered the ship towards safe harbour buoyed by her signature cocktails. We pulled Bonci over for a quick chat about mixology and Gucci Giardino 25.
ESQUIRE SINGAPORE: We have yet to get to Gucci Giardino 25. What can we expect when we visit?
MARTINA BONCI: You’ll be welcomed by a young and smiley team. Expect to have a unique experience in a unique location. It’s not just about having a good cocktail but rather you’ll have an experience you will remember fondly.
ESQ: When people visit Gucci Giardino 25, what should they order?
MB: Our best seller Mémoire di Negroni, of course. It’s the first signature drink I’ve ever made, which also became a bottled drink. I’d recommend the Mémoire di Negroni if they like a ‘dry’ drink. Or if they prefer a sour, [I can point to the] Chi si Ferma è Perduto, which is a twist on Margarita with tequila mint bergamot and spirulina salt.
ESQ: How did the Mémoire di Negroni come to be?
MB: I had just joined the Gucci Giardino 25 team. The bar was about to open and I was so nervous and so excited at the same time. I was walking the streets of Florence and I saw a shop selling Fiorentina (the Associazione Calcio Firenze Fiorentina, Florence’s football team) T-shirt merch in its official colour: purple. That’s where I got the inspiration. And since Negroni started in Florence as well, the drink is also a tribute to the city.
ESQ: I’m curious, what was your first drink?
MB: Long Island Iced Tea. It was a bit of a shock, tasting it, to say the least! At the time, I expected it to be more of a tea than an actual alcoholic drink. But I still have it from time to time when I want to have something less “nerdy” than my usual orders.
ESQ: Do you think that there can ever be a “terrible drink”?
MB: One thing I love about mixology is that there’s no such thing as “bad for everyone” or “good for everyone”. There may be some technical errors in [making] a drink, but ultimately, it all boils down to what you’d like to drink.
