…as the wonders of nature, organic and unyielding with a sense of defiance to what’s expected.
Artistic director Véronique Nichanian’s long tenure at a house that’s not her own has been well documented. And while that may conjure up notions of predictable offerings, the reality is quite the opposite. Nichanian is a builder of worlds, having crafted Hermès’ menswear universe from the very start and then helped it evolve with the times. Throughout the process, she continues to surprise.
Take the Spring/Summer 2025 runway show for example, when suddenly, a model comes sauntering down the runway, shirt completely unbuttoned and torso increasingly exposed as the lightweight material moves as he does. Not only was the bare chest an outlier in Hermès menswear runway shows, it was also inked up (temporarily we’re informed), continuing the L’Instruction du Roy design printed on the shirt. It’s the second look featuring the design, but the first with such a brazen impact in the line-up; two more looks in the series were worn by models who were also inked but showing much less skin.
The Hermès man may appreciate the finer details in artisanal craftsmanship, but he’s no dud. There’s a certain je ne sais quoi about him when one least expects it. And that, ladies and gentlemen, is French cool.
…as the open sea on a clear day, undulating ever so slowly to nature’s rhythms.
However, don’t let the unexpected show of skin throw you off. Nichanian isn’t pandering to or hoping to cater to a new audience. Take it as a metaphor, if you will. The Spring/Summer 2025 collection’s palette of neutrals coupled with doses of pink are akin to still waters—they run deep. They’re complements to the overall breezy silhouette of sufficiently oversized tops and jackets paired with summer-ready sandals. And while these may be part of an aesthetic that Nichanian has crafted for the Hermès menswear universe, there’s still the capacity for the unexpected and yet still on brand.
…as a prized racehorse, focused on the finish line and blazing through with unparalleled experience.
The collection’s undeniable strengths are in the details and the elements that have to be felt.
You might baulk at the idea of florals for the season as expected as they may seem, but here, they’re embroidered as meticulous linework onto blousons, overshirts and jackets with a rubberised touch. It’s an odd sensation that tickles the brain because you’re not expecting something that looks delicate to feel synthetic. The same can be said of the collection’s sweaters and tops printed with the Étude équestre print—they’re actually made of nubuck despite having the appearance of lightweight fabric.
Hermès’ equestrian roots prevail in quite possibly the most unexpected detail in the collection. What appears as though they’re haphazardly painted brush strokes in silver foil on parkas, hooded blousons and overshirts, actually integrates hidden horse figures as part of the Cavalcade sidérale print. And in some cases, the pieces are also reversible for added functionality and freedom of wear.
So, predictable? Not quite.
Hermès is always being talked about, especially of late. That's not a bad thing of course; as they say, any publicity is good publicity. Perhaps, that's why the Maison saw the need to increase the capacity of its Autumn/Winter 2025 menswear show at 9 Place d'Iena. A PR rep told me that the seating configuration was different this time around so that they could accommodate more people—a good sign that there's increasing interest in Hermès.
It did seem as though artistic director Véronique Nichanian felt the need to widen the appeal of her menswear creations for the Maison. The Autumn/Winter 2025 menswear collection was perhaps one of the safest collections by Nichanian in the last few years. But don't get me wrong, it's not bad. It's just that we're used to seeing Nichanian be more experimental with her menswear vision that a pared back, almost classic collection was a stark contrast to her previous work.
Having said that, there was still plenty to discover. It's not a collection that one would immediately strike as distinct or in industry speak, "editorial". No; this was a collection you'd have to touch, feel and understand a bit more intimately in order to appreciate the craft and thought behind it.
The fit: Sticking to her penchant for oversized outerwear and tops, Nichanian slightly extended the lengths of jackets, rebelling from the current fervour for cropped everything. More traditional tailoring was also brought back, cut slim and worn with equally slim ties, while an array of outerwear took on familiar forms but rendered in leather and technical fabrications. A particular treatment employed on a number of coats and jackets appeared like textured patent leather on the runway, but was actually coated fabric.
The colour palette was classic Hermès with a heavy usage of earth tones for the season. The more colourful pieces in the collection were knitwear with motifs inspired by the uniforms of jockeys. But at the same time, the colours used were complementary and served to break away from the monotony.
The details: Instantly, my eyes were drawn to the clever styling of a scarf turned into a double-tour necklace. This was done quite simply by sliding the scarf into a number of Hermès rings (you could pretty much do this on your own with any just about any ring) and then securing it with a knot. Quite a neat style hack, in my opinion.
As an example of the Maison's savoir-faire beyond fashion, a number of outerwear incorporated blankets as part of their design. These blanket liners could be removed when needed but attaching them functioned to add much needed warmth. They're also finished with blanket stitching for a beautiful contrast.
On the bags front, the Haut à courroies got an update with a detachable addition that slides onto the bag's front hardware for added external pockets. And aligning with the Hermès theme of the year—Drawn to craft—a number of iterations featured a completely hardware-free version replaced with a clever connect-the-dots motif.
Three exceptional looks: Look 3 that'll be the perfect outfit for next winter; the blanket-stitching savoir-faire in look 17; and the cool elegance and simplicity of look 44.
The takeaway: While social media debates over the Birkin versus the Wirkin, Hermès proves that its signature style and elegance can't be replicated for cheap.
View the full Hermès Autumn/Winter 2025 menswear collection in the gallery below.
Saturday during Paris Fashion Week Men's is Hermès day.
Longtime artistic director Véronique Nichanian is taking a slightly different approach this season, switching up the runway show format once again. While show attendees will be watching the show live in Paris at 3pm (10pm Singapore time), the show film will only be screened a couple of hours later. A little bit of a delayed gratification, if you will.
Nichanian has cemented Hermès' menswear look for decades now—founded on classic staples designed with clean lines and an occasional nuance of playfulness. Based on the teasers, she's most likely sticking to a relatively modern, oversized silhouette with hues that's already synonymous with the Hermès menswear universe. What surprises will Nichanian include throughout the collection? That, we will have to wait and discover.
For confirmation of what the Hermès Autumn/Winter 2025 menswear collection will look like, stay tuned for the show this Sunday. And for an even closer look at the collection, follow @esquiresg on Instagram as we bring you the action live from Paris Fashion Week Men's.
What: Hermès Autumn/Winter 2025 menswear runway show
Where: Paris, France
When: Sunday, 26 January 2025 at 12am Singapore time
I have been to the Collège des Bernardins in Paris a couple of times. The former Cistercian college is located on the city’s artsy left bank and has become quite a popular event space. You’d immediately be taken by its long nave stretched by magnificent Gothic vaulted arches and columns; then, a few seconds later, you’d realise how the walls have aged with a sort of chaotic uniformity.
The historical monument provided the perfect blank canvas for Hermès to present its latest dinner service. Much like the open floor plan of the Collège des Bernardins, Tressages équestres (“equestrian braiding” in French) is designed with a sense of airy quality marked by strategically placed artwork set against kaolin white porcelain.
“We wanted to carry on the theme of the equestrian world that we have referenced in our previous collection, called Saut Hermès, which was already about the theme but in a different way, in a much more figurative way,” creative director of Hermès Tableware Benoit Pierre Emery tells me. We’re in a backroom of the presentation space, sequestered from the series of scenography conceptualised by French art director Maxime Tetard where individual pieces that make up Tressages équestres are in constant rotating motion.
“We had in mind to do something very delicate and very precise in terms of artwork. And to go in this new direction, we wanted to work with an artist who brings a really strong sense of details, who could express and pay reverence to the craftsmen and the equestrian elements. Working with Virginie was really the best choice we could make because she has this magic hand,” Emery adds.
Virginie Jamin is the creative hand behind Tressages équestres. She is no stranger to Hermès, having first designed a porcelain ashtray for the house in 2004, which then sparked a longtime collaboration that has seen her putting her stamp on throws and almost 30 silk scarves. Emery praises Jamin’s ability to “find the perfect balance between abstraction and figuration, traditional and modernity”.
One look at Tressages équestres and you’d be able to tell the inspiration behind the collection. The dinner service references the passementerie and braiding used in harness-making—something that Hermès certainly knows a great deal about. Jamin’s line-work precisely captures the intricacies of braiding techniques while also highlighting the material that they are set on. The colours used stay true to the natural fibres employed in real-life braiding and are punctuated with bright hues the likes of lemon, mint and petrol blue. Yet, they’re not done heavy-handedly, serving only to accentuate textures and volumes.
Jamin shows me just a sliver of the equestrian paraphernalia like saddles and whips that she discovered at the Emile Hermès Museum and the Conservatoire des Créations Hermès. “There were so many options because every object is functional. And through this functionality, there is some kind of beauty,” Jamin explains. “I wanted to share that because it’s not made to be beautiful but it is beautiful. I wanted to express this in a light way with clear lines and very respectful for the work of the artisan because it’s about artisanal, about drawing, which are very important for the brand, and about the equestrian world in a very abstract way.”
The objects then informed the initial sketches for Tressages équestres. Jamin opted to transmute them into border-like motifs that trace the circumferences of each piece in the dinner service. “The purpose was to be faithful to this first vision, which is very simple and rudimentary, but everything is already there,” Jamin explains. Rudimentary as they may be to her, they’re actually already pretty impressive to begin with, at least, to my untrained eyes.
What is not rudimentary is the process of completing the entire project; Tressages équestres took nearly three years to complete. It’s not that Hermès artisans are not skilled in what they do—clearly, far from it—but rather, a lot of time and effort were put in to ensure that the very best expressions were realised, and as intended.
For starters, the designs had to be manipulated to perfection, and with the dinner service having 27 different pieces including 10 new hollow-ware pieces, there was a lot of trial and error to best fit each of Jamin’s unique designs to the right piece. From the point of reference to scale and proportion to the colours used, every single detail had to be balanced and well thought out to an almost obsessive degree.
“Sometimes, I believe that we are a bit crazy because we are probably the only house that can really spend that much time on a set of details. But details are really important. One of the first elements that we discovered at the Conservatoire des Créations Hermès—I think it’s a very important detail—is hidden under the saddle. It lets the saddle fix to the animal and it gives security to the cavalier. We were fascinated by it because it’s so beautiful, it’s so well-knitted and handcrafted,” chimes Emery. Jamin echoes Emery’s sentiments, likening the entire process as “a balance between playing together but very seriously”.
While it may not be apparent for the unfamiliar, one of Hermès’ tenets is the element of play that’s inherent in a lot of its creations. If it’s not in the personality of a creation, play comes in the form of being able to manipulate a creation to fit your whim and fancy. With Tressages équestres, the idea is that the individual pieces are part of a bigger story realised by you. “This is a sentence, this is another, and you can compose after that, the other story you want. Then, people who buy the service can play with it, so it’s a free playground,” explains Jamin as she points to a select number of pieces stacked on the table in front of us. It would be remiss of me to not point out that the placement of the designs on each piece are so precise that it allows for stacking without obstructing even a line. Like Emery says, “crazy”.
As the creative director, it’s up to Emery to be the catalyst behind each project—finding the right person to help tell the story and expanding the Hermès universe that pays homage to its heritage in a timeless way. Tressages équestres is thoroughly Hermès in every way.
“Each new project is a new dialogue. I’ve known Virginie for a long time so it was easy for this collection,” Emery enthuses. “What I love is having a certain intuition for a project when you go and ask an artist to collaborate on a project. You have a theme in mind but you don’t have a clear idea of what it’s going to look like. That’s the magic. It’s an emotional thing to see it when it’s finished. And to be honest, you never really imagine it would be that beautiful.”
“The Spirit of the Faubourg” is Hermès’ theme for the year, referencing the Maison’s iconic first flagship that still stands at its original address at 24 rue du Faubourg Saint-Honoré. You may think that it’s somewhat of a disconnect then that Lauren Clay, a visual artist based in New York, was given carte blanche to design artist windows for Hermès’ Singapore flagship. But perhaps Clay’s dream-like, almost mystical oeuvre is the perfect way to channel the Hermès spirit. Clay tells us all about it as she readies to present her first ever window to fellow artists in Singapore.
ESQUIRE SINGAPORE: The theme for Hermès this year is “The Spirit of the Faubourg”. What does it mean to you?
LAUREN CLAY: I’m fascinated by the concept of “place” and the unique qualities that a city or building holds. Sometimes we refer to this as “vibes.” The ancient Romans had a term, "genius loci," which is Latin and translates to “the spirit of a place.” This term, “genius loci,” also describes the atmosphere or character of a space. This is an idea that I’ve been inspired by for many years.
Regarding the theme “The Spirit of the Faubourg”, I aimed to capture the feeling of visiting the Hermès rue du Faubourg store, which for me, resonates with the experience of visiting Paris. The store embodies all of the beautiful aspects of Paris that we all love. I also wanted to convey the sense of discovery within the store, highlighting the various elements and unique architectural details it contains. There are numerous pieces from the collection and Hermès family history throughout the store. In my window installation, I wanted to evoke the feeling of exploring and encountering the unexpected.
ESQ: Is that how the name "The Traveller" came about for the windows?
LC: Yes. In the rue du Faubourg store, I particularly admire the main staircase— the curvature of the marble steps and the way they wrap through the different levels of the store. I aimed to capture that in the window display.
In my work, I often try to evoke the feeling of standing on the threshold between the natural world and some other realm. I think this sensation is familiar to most of us in dreams, where we encounter the familiar juxtaposed with the strange or unexpected. It’s similar to the feeling of being a traveler. I appreciate the way Hermès often captures this sensation in their storytelling.
I have a deep appreciation for architecture and ancient art history. Although I studied painting in school, my love for architecture and decorative arts significantly influences my work. The Hermès Faubourg store stands out in that regard.
ESQ: It reminds me of your work as well, because you do feature a lot of stairs in your artworks.
LC: Exactly. I frequently use stairs as a symbol in my work, drawing on art history. Many painters and sculptors have used stairs as a psychological symbol of transition. For example, William Blake’s painting of Jacob’s Ladder and Martin Puryear’s "Ladder for Booker T. Washington" come to mind.
ESQ: What's the process like in creating "The Traveller"? Was it a deviation from your usual process?
LC: This installation was slightly different. Typically, when I create an exhibition for a gallery or museum, I start by making a model of the space and studying its architecture. Usually, I consider the path and vantage points that the viewer has as they walk through the space. However, for the Hermès window installation, the viewer has one main vantage point, which in a way, gave me more freedom. I knew I wanted to create an illusion of depth and space beyond the window. I began with sketches—probably around 20 ideas that only my husband saw—before choosing one and developing it further.
ESQ: Because you're also interested in architecture, did the architecture of the Liat Tower building kind of informed how it was going to look like as well?
LC: Because I live in New York, I hadn’t visited the Hermès Singapore store before, but I studied photos provided by the Hermès team and also different views of the building from the street view on Google Maps. In planning the window, I considered the architectural features, such as the height of the window. Creating this installation felt similar to creating a diorama or tableau, which aligns with my background in painting. A window offers a controlled view, similar to a painting.
ESQ: What was the biggest challenge in designing a window for Hermès?
LC: A key challenge was finding where my artistic vision and the Hermès aesthetic would intersect. I had to ensure both worlds remained distinct while complementing each other.
ESQ: Did you also have to consider where products would be placed or how they would be placed?
LC: Yes, I had a lot of freedom—pretty much full creative license, which was exciting, like a shopping experience.
ESQ: I've looked through a lot of what you've done before and there's clearly a sense of fantasy, dream-like reality to your work. And you often use a lot of pastel colours. Has anything from your own childhood informed or influenced the use of these colours?
LC: I think my colour palette is heavily influenced by growing up in the southern part of the United States. I went to school at the Savannah College of Art and Design, in Savannah, Georgia, one of America’s oldest cities known for its beautiful pastel Victorian and colonial architecture. After Savannah, I went to graduate school in Richmond, Virginia—also an old southern city. It’s hard to explain, but both of those cities have a distinct feeling of place and history. The unique atmosphere there contrasted with my suburban upbringing and profoundly influenced my artistic sensibility. All of my work, going back to college has been influenced by that experience.
ESQ: Is there a story behind the use of the specific colours for "The Traveller"?
LC: The colour palette emerged from collaboration with the Hermès team. Some of my initial sketches were darker, but I’m pleased it evolved into brighter tones. The pastels reflect the stone and marble of the original Faubourg store and work really well with Hermès’ colour palette.
ESQ: I read in previous interviews that you also kind of tie some of your works to dreams that you’ve had. Was there a specific dream that you had for "The Traveller"?
LC: I've been studying my dreams carefully for about five years now. In my dreams, I often find myself in familiar places, like a grandparent’s house, but I keep discovering hidden doors, stairwells, or entire rooms that I didn’t know were there. I have this type of dream frequently, and I wanted to bring that sensation into the Hermès installation—that feeling of discovery and mystery.
ESQ: Have you learnt anything from studying your dreams?
LC: Definitely. Yes, I feel like a completely different person after spending five years studying my dreams. I agree with Carl Jung’s idea that dreams often reveal parts of yourself that you didn’t know were there. Dreams come from the unconscious realm—quite literally, the part of you that you’re not aware of. Sometimes the unconscious can reveal something encouraging; other times, it stings a little. But it’s valuable information, and I’ve found studying my dreams to be really rewarding.
ESQ: Do you dream in colour?
LC: I do, and some dreams have particularly vivid colours, though not always. Colour is a whole other type of symbolic language.
ESQ: It does seem as well that your work mostly has this positive, dream-like energy. But I do feel that there are some darker influences in certain pieces.
LC: I'm curious what pieces you’re thinking of.
ESQ: For example, "Fix your eyes on the unseen realm" and “Lover’s Knot" I feel had darker undertones.
LC: I think what you’re picking up on is that feeling of witnessing something that is simultaneously familiar and uncanny. I'm intrigued by spiritual ideas and the realm of the unconscious, which is why I often discuss dreams in relationship to my work. I think most of us have experienced this feeling in our dreams; there’s a mysterious aspect to dreams. Carl Jung referred to it as “the numinous” aspect of dreams. The sculpture, “Lover’s Knot” is inspired by an old Scottish folk song, "Barbara Allen", which is about unrequited love and a couple who die and are buried next to each other. Out of one’s grave, a thorn bush grows, and out of the other, a rose bush, and they grow together, intertwined. It’s a folk song that influenced early country music, but there’s definitely a dark element to that reference.
ESQ: Is it important for you to keep your artwork kind of lighthearted?
LC: Given the darkness in the world, I prefer to bring light. The New York art scene can be very cynical and political, which isn’t my focus.
ESQ: It feels like your work is a collage of different ideas and references, that you then twist into your own vision. In some ways, to me, it echoes what AI does, right? Pulling out information from everywhere, and then generating an image. What are your thoughts on AI with respect to art?
LC: I find it fascinating. I’ve experimented with AI for generating ideas, and I think it’s an exciting tool. There are artists who have been successfully using it for years—like Jon Rafman. I’ve only played with it a bit but I’ve used it to inspire new concepts, feeding in images of my work and observing the results. It has sparked ideas for a few of my drawings. Sometimes it has good ideas. (laughs)
ESQ: There's this saying that likens a painting to a window and now that you've done an Hermès window, how do you feel about it?
LC: Working on this installation for Hermès felt particularly poignant because it literally serves as a window, offering a curated view into a space that is simultaneously real but impossible. Just as I do in all my work, for this project, I wanted to create a bridge between the familiar and the fantastical, allowing viewers to experience a moment of discovery.
This interview has been edited for length and clarity.
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
Longtime artistic director of Hermès menswear, Véronique Nichanian, has crafted such a signature look for the House's menswear collections that its Spring/Summer 2025 outing will certainly be one to anticipate. Hermès has already teased a look—a knit shirt with a dip-dye effect in a blue that reflects the sea. It does seem as though that could be the reference point for Nichanian's latest collection, or at the very least, just one element of it.
For confirmation of what the Hermès Spring/Summer 2025 menswear collection will look like, stay tuned for the show this Saturday. And for an even closer look at the collection, follow @esquiresg on Instagram as we bring you the action live from Paris Fashion Week Men's.
What: Hermès Spring/Summer 2025 menswear runway show
Where: Paris, France
When: Saturday, 22 June 2024 at 9pm Singapore time
In season five of Friends, there's an episode aptly titled "The One With Joey's Bag". The central narrative was of Joey Tribbiani (played by Matt LeBlanc), having received a bag from Jennifer Aniston's Rachel as part of his desire to fit into a role of "a real clothes horse" that he's auditioning for, falling in love with said bag. But of course, given that it was 1999, his friends found every opportunity to ridicule him for even carrying the bag.
You'd think that the bag was in a ghastly shade of pink or a tiny purse that could barely fit anything (even so, there's absolutely nothing wrong with a man wanting to carry either) but in actual fact, it's reminiscent of a top-handle briefcase that's far from extraordinary in today's context.
How times have changed, and thankfully so.
The best bags this season are big. They're made to fit more than just the essentials, with some having the capability to be versatile enough to transition from work bag to gym bag. And of course, because we're all for longterm investments, they're crafted from sturdy and luxurious materials that'll not only last but age well too. From Loewe's latest Pebble Bucket bag to Bottega Veneta's massive tote, we've curated some of the best bags of the season made for every man that you are.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Grooming: Kenneth Chia using KEVIN.MURPHY and TOM FORD BEAUTY
Photography Assistant: Xie Feng Mao
Styling Assistant: Chua Xin Xuan
Model: Aaron C at MANNEQUIN
You’re dressed to the nines: a carefully crafted outfit complete with shoes that function as splendidly as they look, and punctuated with the right amount of accessories that say you’re all about the fine details. From the first glance of the ensemble, it’s obvious that you know who you are and what you like. The aesthetic is set. What more can elevate it? The right scent.
That’s the idea behind fragrances guided by luxury fashion houses. Yes, they’re often thought of as entry-level introductions to a fashion house—an affordable way of immersing oneself into its tenets—but conceptually, they act more like final touches to a look. The final accessory, if you will.
It is counterintuitive, however, to complete a head-to-toe Dior Men fit with a Dior fragrance—it says little about you as a person than you’d think. As is the case with style and fashion, it’s not so much about what you wear as it is about how you wear something.
Master perfumers may sometimes take inspiration from the fashion house but more often than not, the fragrances tend to stand on their own. They remain true to the spirit of the house they’re crafted for, yet hardly are they literal manifestations of a certain collection or fashion creation of the house. And that means that these fragrances are as malleable as fashion, capable of being paired and layered to suit a mood or occasion.
Subtle nuances rank high in fashion. The simplest and most minimal of fashion creations should never be taken as the easiest to execute—the more seemingly minimal a piece is, the more technical the craftsmanship needed.
The latest expression of the Hermès H24 eau de parfum is a strong representation of the notion. Formulated by the director of creation and olfactory heritage for Hermès Parfums Christine Nagel, the H24 Herbes Vives revisits the original with a more vegetal vision. The result is a greener fragrance brought about by a combination of fresh herbs the likes of parsley, hemp, and sorrel while still retaining that slightly metallic signature allure of H24. The latter is reimagined with Physcool® that adds a hint of mint to the mix.
Francis Kurkdjian interprets Dior’s iconic New Look spirit as a fragrance, reimagining it as an encapsulation of the term for today. The top note consisting of a soaring aldehyde strikes with a clean, almost sterile, hit that is then grounded with the earthy characteristics of frankincense. What gives the La Collection Privée Christian Dior New Look even more body is the base amber accord for a completely balanced fragrance that hardly overpowers.
Maison Margiela’s Replica From The Garden is essentially a bottled memory of harvesting tomatoes in a rich and healthy garden. Hence, the freshness of tomato leaves is matched with bright green mandarin, patchouli, and geranium essences for a truly green concoction. It’s fresh but not cutting, so much so that you’d smell like a bush; rather, a spritz of the very best of nature.
For more intense flavours, these latest selections offer more body and depth that are best suited to be worn on their own. Take the BOSS Bottled Elixir for example. The eau de parfum is a more elevated take on the popular eau de toilette original that’s become part of a starter pack for men venturing into fragrances. Just like the original, the overall fragrance is warm and heavy. Incense and cardamom top notes combine with earthy vetiver and patchouli before being rounded with cedarwood essence and labdanum absolute. It’s typically what one would think of as a masculine fragrance but amped up in intensity.
YSL Beauty’s new MYSLF eau de parfum is its take on “new masculinity”. While it is as bold and heavy as other masculine fragrances, there are hints of vibrant freshness. A bergamot accord serves as its top note, giving off that freshness while a middle orange blossom heart dials down the citrus with sweetness. And for that depth typical of masculine fragrances, a woody accord of Indonesian patchouli and Ambrofix.
If rich, leather-inspired scents are what you feel, add that luxurious complement to your fit, the Noir Kogane eau de parfum by Armani/ Privé deserves a spot in your fragrance rotation. The leather base is topped with sharp elemi and pink pepper, with saffron and frankincense adding on to the intensity. But if the first spritz is intense, the fragrance dries down into a sweet balance of leather and tobacco in a rather satisfying way.
Photography: Jaya Khidir
Styling: Asri Jasman
Styling Assistant: Chua Xin Xuan
Unlike most other brands, Hermès always does things a little differently. While it's become common practice for brands to furnish fashion editors and journalists with a list of celebrities who will be attending their shows (we've sadly all become glorified paparazzis), Hermès does nothing of the sort. In fact, I attempted to press the Hermès Singapore team multiple times so that I can be prepared for who to look out for before the Hermès Autumn/Winter 2024 menswear show for soundbites and general content, but they maintained that they themselves had no clue.
But there they were. A sizeable number of celebrities—both established and up-and-coming—entered the Palais d'Iena to a runway show audience that was mingling with pre-show drinks in hand. James Marsden walked in wearing a suit over a white turtleneck. And from the corner of my eye, in an outfit from Hermès' Spring/Summer 2022 menswear collection, was Swedish singer-actor Omar Rudberg of Young Royals—he paired the look expertly with a statement Hermès necklace and a bag with matching hardware. Queer Eye's Antoni Porowski rocked up in a shearling jacket with leather details, young Danish actors Alex Høgh Andersen and Lucas Lynggaard Tønnesen (known for Vikings and 1899 respectively) arrived together, The White Lotus' Leo Woodall was there too, and so was Luka Sabbat. I'm sure I've missed out a number of other celebrities but Hermès was very low-key about it.
The younger famous faces at the front row perhaps seemed like a calculated move. Does a venerable brand like Hermès need the awareness of a younger generation? Arguably, every brand could. Yet, the very spirit of the House is one that's irreverently playful and artistic director Véronique Nichanian has always channeled that into every collection. If anything, the appearance of these young faces could further help communicate the true nature of Hermès, one that's even more apparent in its Autumn/Winter 2024 menswear collection.
The fit: Right off the bat, it felt like as though the Hermès Autumn/Winter 2024 menswear collection was inspired by a rather British sensibility with the use of Prince of Wales checks and argyle knits. The styling seemed to have carried over some of the influences of the punk-inspired Autumn/Winter 2023 menswear collection. Yet, the overarching theme of the collection was simply one of versatility and paradox. The merging of traditional menswear with non-traditional fabrications, timeless motifs rendered anew, and a decidedly contemporary take on the familiar.
It was evident from the trousers in the collection. They were cut slimmer than ever while tops remained oversized. Jackets (a number of them reversible) were slightly cropped, but not too much—just enough to be a modern update. The argyle motifs were spliced and reconstructed with other colours and patterns, while waterproof gum canvas were cut into functional layers with its translucent nature affording multiple ways of styling and wear. Layering was a focus with sleeveless elements (a definite buy for this side of the equator) either worn on their own or layered over a multitude of other lighter layers.
The highlight for me though were the calfskin ensembles that were paraded towards the end. I initially thought that they were ponyhair pieces owed to the incredible sheen, but at the collection's re-see the very next day, it was revealed that they were polished calfskin. Fashioned into a number of outerwear, suiting and even a stunning vest, they were beautiful examples of Hermès craftsmanship and that spirit of playfulness.
The details: Nichanian has a knack for styling every facet from the Hermès menswear universe into one cohesive look without ever making it feel too much. Jewellery for Autumn/Winter 2024 were simple and effective. A personal favourite were the pebble-shaped necklaces in palladium and wrapped with a bit of leather for a chic statement that doesn't shout. Silk scarves turned into snoods with a reversible plain leather side, and ties echoed the Prince of Wales check suiting but rendered in fine topstitching.
But of course, the bags were what I'm certain everyone had their eyes on. I adored the Hermès Équipier pouches that were designed to fit comfortably on bicycle bars and fitted with multiple zipped compartments. The Fouree-Tout Étrivère—essentially an oversized holdall—was crafted with a sturdy top panel where its top handle is attached to while the bottom half is made of more supple leather that gave it a beautiful shape when carried using its shoulder strap. And the classic Haut à Courroies was given an appliqué treatment with leathers of different finishes for a more rugged appeal.
Three exceptional looks: Look 11's play on layers that's especially visible thanks to the gum canvas turtleneck; Look 34's simple monochromatic ensemble of a leather jacket with slim-cut trousers; and the closing look that should be worn to an awards show pretty soon.
The takeaway: You don't need to design wide-cut trousers to be relevant and cool; a contemporary aesthetic is more than just about being trendy.
View the full Hermès Autumn/Winter 2024 menswear collection in the gallery below.
For any confirmation of what the Hermès Autumn/Winter 2024 menswear collection will look like, stay tuned for the show this Saturday. And for an even closer look at the collection, follow @esquiresg on Instagram as we bring you the action live from Paris Fashion Week Men's.
What: Hermès Autumn/Winter 2024 menswear runway show
Where: Paris, France
When: Saturday, 20 January 2024 at 10pm Singapore time
Storied French luxury house Hermès has always believed in an artisan-first model, where the make of the hand is central to every facet of its business. Artistry is not only played out in its sought-after creations but also in how they’re showcased.
For the house’s latest window display at the Hermès Liat Towers boutique, South Korean artist Hansol Kim was invited to create his own interpretation of the Hermès 2023 theme “Astonishing Hermès!”. The London-based installation artist’s works continuously explore the relationship between humans, clothing and spaces, often deploying used clothing as their foundations. The creation of “Unique, Universal and Unity” afforded Kim to use leathers and fabrics from Hermès. He was then given complete freedom to turn them into the works that now inhabit the windows.
The materials from Hermès have been turned into eclectic patchworks of fantastical beasts and humanoid forms. Inspired by hybridisation and hyper culture—where information is available at dazzling speeds because of a digitally connected society—the installations are puzzling and well, fittingly astonishing. Each creature is unique and embody a different form and spirit altogether. They are designed in such a way that invites the viewer to decipher their make. Kim used a range of items that cross cultures and time periods, incorporating pieces such as 16th-century knee high boots, traditional Korean socks as well as balloon sleeves. And of course, the creatures are seen with Hermès’ very own objects ranging from ready-to-wear to its creations for the home.
As these creatures seemingly make their way through a singular destination (wherever that may be), they traverse a confounding backdrop where the sea, land and sky merge, and through their own unique ways of mobility—some are fitted with wheels, skis, and even kayak paddles. They may be stationary but Kim invites everyone to dream up their very own narrative of an imaginary world.
Or at the very least, be in complete awe at the installations and the level of craftsmanship that went into each character.
“Unique, Universal and Unity” is on display at Hermès Liat Towers until 28 November 2023.
