Conceptualised by Louis Vuitton men's creative director Pharrell Williams, the Speedy P9 is a reimagining of the Maison's icon. While still respecting the lines and silhouette of the timeless original, the Speedy P9 is the more colourful iteration and crafted with supple leather that gives it its already-signature slouchy look. And that only means that the bag is perfect for just about anywhere and everywhere—making versatility speedy and easy.
Photography: Kim Jaehoon
Editor: Kim Yujin
Art Designer: Choi Jihoon
Grooming: Jang Haein
Assistant: Song Jeonghyeon
Model: Kim Hoyong
Miuccia Prada is one of those rare greats who marches to their own beat. Upon entering the family business—after training and performing as a mime artist for five years, mind you—Mrs Prada upended the industry when she premiered the brand’s now-classic nylon backpack in 1984, introduced womenswear in 1989 and menswear in 1995 to a business that up till then was only manufacturing leather bags, and of course, branched out to create Miu Miu in 1992.
Little need to be said of Prada’s enduring legacy in fashion since. Mrs Prada’s offbeat designs known for challenging one’s perception of what’s beautiful, continue to be referenced by both established and up-and-coming designers alike. It’s often said within the fashion circle that a Prada piece never really goes out of style and that Mrs Prada’s ever-evolving vocabulary of prints can easily be matched with pieces across different seasons to create one’s own unique combination of the brand’s aesthetic.
It came as a surprise then that after almost 40 years of helming sole creative direction of Prada, it was announced that Mrs Prada will have Raf Simons come in as a co-creative director in 2020. There’s a sort of humility in the decision; that after decades and being considered a fashion force, Mrs Prada has no qualms sharing creative custody of a brand she’s effectively built.
While fashion collaborations have become de rigueur in the past decade or so, the existence of co-creative directors isn’t as common.
Since time immemorial, a partnership in fashion has typically been between the “business” and the “creative”—the money and the vision, so to speak. The late Yves Saint Laurent founded his eponymous fashion house with the business mind of Pierre Bergé, entrepreneur Marcel Boussac was the financial backer behind Christian Dior, Marc Jacobs co-founded his own brand with businessman Robert Duffy, Gianni Versace grew and expanded Versace under the guidance of older brother and CEO Santo Versace, and countless others. The separation between the business and the creative side of things makes sense for a more focused organisation, with each side working together to ensure that the vision and the output can be financially successful. Or at the very least, keep a business afloat.
The rigours of an evolved fashion landscape however, can make a one-man (or one-woman) show rather exhausting. The modern fashion calendar unfortunately demands relentless creativity with four, sometimes six collections a year, endless collaborations with other designers as well as brands, various marketing campaigns, and creations beyond fashion alone. Today’s creative directors aren’t solely designing clothes; they’re running empires to feed into the growing fantasy that is fashion. And empires cannot be run alone.
“I’ll only do it with Lucie,” Luke Meier told Jil Sander’s then-CEO Alessandra Bettariher when he was first approached to take over the creative reins of the brand. In a 2023 interview with Business of Fashion, Luke recalled the rationale of that decision. “I’m sure they probably had the idea that if I would do it, then she’s coming along because she had the chops in terms of high level European womenswear. I had no experience whatsoever in that world,” Luke said. The husband-and-wife duo have been co-creative directors of Jil Sander for close to a decade now and each offers different perspectives and expertise to the table. Luke’s largely streetwear-centric background working for Supreme as well as his own OAMC brand (he stepped down as creative director in June 2024) is a juxtaposition to Lucie’s more haute couture experience that was honed at Louis Vuitton, Balenciaga and Christian Dior, where she was the interim creative director after Simons left the post.
For Luke and Lucie, the partnership is almost mutualistic in nature. “The way we work is we really do everything together—everything is kind of merging. Luke definitely has his eyes on the womenswear and I have my eyes on the men’s and, for sure, we add a different element,” Lucie said in the same interview. And it has clearly worked. Not since Simons’ tenure have we seen such creative and visual stability at Jil Sander. One would be able to tell where exactly Luke’s and Lucie’s individual imprints are on a collection, but even then, they’re cohesive—a delicate dance of the organic and the precise.
The same can be said of the growing success of Lemaire. Founded by Christophe Lemaire in 1990, the brand was on hiatus for nearly a decade as Christophe focused on his role as artistic director of Lacoste in 2001, and then relaunching it in 2010 (while simultaneously working on womenswear for Hermès) together with Sarah-Linh Tran as co-creative director. What was initially an if-you-know-you-know cult fashion label, has now grown both in operations as well as profitability. Lemaire’s sales in 2024 reached over USD100 million, a 10-fold growth as compared to 2019’s figures. There’s no doubt that the growth is a result of a number of factors, including a consumer shift to more affordable luxury fashion as well as a large minority investment by Fast Retailing, Uniqlo’s parent company, of which both Christophe and Tran are co-artistic directors of its Uniqlo U line and R&D centre in Paris. But it’s also Tran’s injection of a softer nuance to Lemaire’s designs that have helped make it more appealing to an audience that clamour for comfortable and timeless day-to-night fashion.
Like in any relationship, a co-creative directorship is only as strong as the communication between the two individuals. The obvious brilliance of having two creative leads is the fact that each brings in a distinct perspective. The beauty lies in a tension between the two ideals—a push and pull that could very well spark innovation. Take for example, former co-creative directors Carol Lim and Humberto Leon, whose combined vision reinvigorated Kenzo in 2011 in ways that were modern and relevant at the time. And who could forget the Pierpaolo Piccioli and Maria Grazia Chiuri era of Valentino where the House’s signature codes were strengthened and recontextualised for both new and existing clientele.
Not all creative partnerships, however, serve to be a united voice—it all boils down to a brand’s vision. Co-creative directorships may be rare occurrences, but installing a creative director for each facet of a fashion business is fairly common. Louis Vuitton’s current creative directors Nicolas Ghesquière and Pharrell Williams work on the womenswear and menswear universes respectively, each distinct in their own ways and hardly ever interweaving ideas and aesthetics. The same goes for brands like Dior, Fendi (before Kim Jones recently exited from its womenswear line), and Hermès. There are certain parameters that each designer would have to work within to stay true to the overarching aesthetic and ethos of a brand, but how they’re interpreted in hopes of relating to either the women’s or the men’s portion of the business is somewhat up to their own creative input.
For decades, the industry mythos thrived on the image of the lone creative genius. Fashion designers such as Yves Saint Laurent, Karl Lagerfeld and Alexander McQueen didn’t just design; they dominated. Their names became synonymous with their brands, their visions untouchable, and their control seemingly absolute. But things are different now, and the fashion system is much harsher than before.
That’s not to say, however, that solo creative directors work alone. There is always a team that works under them, with a leading figure for the different departments under their jurisdiction.
“We believe so much in teamwork. It’s a kind of constant dialect. For us, this is why the ‘designer-as-genius’ mythology is a bit absurd, because if you don’t have a good pattern maker, good assistant, good team and good capacity of communicating, it doesn’t go anywhere. The same idea won’t become the same object at the end, because the root and the process, and the quality of the communication, sometimes the tension of that communication, is part of the creation,” explained Christophe in a 2019 interview with SSENSE.com.
Are two heads better than one? Prada’s new arrangement seems to be proving so. Stalwart followers of the brand may say that Mrs Prada never needed a second hand to begin with. But with Prada being the fashion disruptor that it continues to be, you could say that having someone as equally prolific as Simons—and one who respects and is a fan of the brand and woman behind it—has brought out a sense of newness for Prada. And fashion lovers are all the better for it.
One thing that we'll continue to see year after year, is the increasing number of celebrities attaining the coveted status of "brand ambassador". Not only are these famous faces chosen to represent a brand—be it fashion, fragrance, cosmetics, watches and the like—due to their individual popularity, they're also chosen because of connecting threads linking their identity and beliefs to that of a brand. A brand ambassador isn't merely a face; they're a physical embodiment of the brand's values and aesthetics.
Because keeping track of which male celebrity is tied to which brand is nigh impossible, we're compiling it all for you. Scroll through for a continuously updated list of the latest male brand ambassadors of 2025.
Brand: Fendi
After making his first appearance at the Fendi Spring/Summer 2025 menswear runway show in June 2024, the leader of K-pop group Stray Kids, Bang Chan was officially announced as Fendi's brand ambassador on 16 January 2025. Since the runway appearance, he's been spotted dressed in the brand's ready-to-wear pieces for multiple public appearances as well as while performing on the group's latest tour.
Brand: Bottega Veneta
Shortly after Bang Chan's appointment at Fendi, the youngest member of Stray Kids, I.N, was announced as Bottega Veneta's brand ambassador. I.N made his first appearance at a Bottega Veneta runway show during its Summer 2025 collection, rubbing shoulders with A$AP Rocky and Kendall Jenner. Of the appointment, I.N said: "I am honoured to join Bottega Veneta as brand ambassador. As someone who loves fashion and knows the commitment it takes to master a craft, I am excited and inspired by Bottega Veneta’s incredible artisanship and its spirit of self-expression. The opportunity to represent the house and share its vision really means a lot to me."
Brand: Bvlgari
"Jewellery is a magnificent and genderless accessory that I have always loved to wear. The history of Bvlgari is a tale of beauty and Italian excellence, and like all the excellences of our country, it fills me with pride. It is an honour for me to join the Bvlgari family," said Damiano David. The multitalented frontman of Italian rock band Måneskin, equally known for his stage presence as well as his unapologetic sense of style, officially became Bvlgari's global pr ambassador on 4 February.
Brand: Versace
Representing the fragrance arm of Versace, Thai actor and model Pond Naravit has been appointed Versace Fragrances' ambassador for Southeast Asia. Having captivated audiences with his portrayal of dynamic characters, Naravit extends his charm and personality to a suite of Versace's male fragrances such as Versace Eros Energy, Versace Eros Flame, Versace Eros, and Versace Dylan Blue.
Brand: Porsche Design
Orlando Bloom's partnership with Porsche Design as its brand ambassador for both its timepieces and eyewear divisions seem like a match made in heaven. "It's a great honour to represent Porsche Design as brand ambassador," Bloom expressed. "From our first conversation, I was excited about the idea of a partnership. I immediately sensed that the Porsche Design team and I share a mutual passion for great design and a similar mindset. The brand has a unique way of translating the unmistakable design and timeless elegance of icons like the Porsche 911 into lifestyle products. This blend of sports car-inspired aesthetics, unique heritage, and exclusive lifestyle truly fascinates me. It’s exciting to now be part of this success story."
Brand: Longines
The former Witcher and Superman has another line to add to his impressive resumé: Longines brand ambassador. In true Cavill form (we're certain the man is a riot in real life), he took to Instagram to announce the partnership and how his more than 27 million-strong audience will be seeing more of him sporting a range of Longines timepieces, asking them to point out some of their favourites along the way.
Brand: Givenchy Beauty
The third member of Stray Kids on this list—the group is certainly having quite a year—Hyunjin has already amassed a pretty impressive roster of brand ambassadorships under his belt. The dancer and visual of the group is already a brand ambassador for Versace and Cartier (announced just last year) and as off 2025, adds Givenchy Beauty to the line-up. Impressive.
Brand: Lululemon
Lewis Hamilton is no stranger to brand ambassadorships, earning partnerships with multitude of brands ranging from luxury fashion to sportswear to lifestyle brands. As of 25 February, Hamilton is now the brand ambassador for Lululemon, promising a close working relationship with the brand's Research & Innovation, Design and Development teams "to collaborate on future products, providing insight and feedback on athletic and lifestyle collections".
It’s the stuff of a TV thriller. Yet it’s also a lesson in how quickly a new industry can grow, eat itself and now potentially collapse. But, first, a recipe. Take a seed, the tiniest slither of carbon material and put it into a chamber. Add varying amounts of gases, including a carbon source. Heat to a very high temperature to produce a plasma, in which the gases break down and carbon molecules attach themselves to the seed, causing it to grow. Let your CVD, or Chemical Vapour Deposition, simmer for anywhere between a few days and a few weeks. Remove gases. Remove the now larger seed from the chamber and crack it open. Congratulations, you have now done what it takes nature billions of years to do: you have made a diamond.
That process is not a new idea. The theory has been understood for over a century: one Henri Moissan attempted to make diamonds back in the 1890s. To revive the idea took a retired American army officer visiting Moscow to buy a new electronic security device, and, while there, being taken aside by a Dr Boris Feigelson to be shown the blueprints for something developed for the Soviet space programme: a tumble-dryer-sized device that, yes, made diamonds. General Carter Clarke could not believe his eyes, immediately bought three, shipped them back to America and founded Gemesis Cultured Diamonds, a market pioneer.
And a market disruptor. Maybe even, eventually, a destroyer. Such has long been the cachet derived from the rarity of diamonds—the product of long searches for sites of potential, followed by intensive mining to find maybe very little—not to mention its mystique—being the hardest substance known to man—that inevitably the ability to make diamonds would bring seismic change to an industry which has historically very tightly controlled their availability. It did not like lab-grown diamonds at all, deliberately if inaccurately referring to them as “synthetic” diamonds, despite the fact that they are not cubic zirconia or glass, but chemically identical to diamonds out of the ground, as court cases have had to underline. The only difference, in fact, is that they don’t come out of the ground.
Over the last decade the production of flawless, white stones of anywhere between one and several carats—the difference between a lovely engagement ring and the kind of gem Elizabeth Taylor favoured—has become routine. Four years ago they accounted for just 11 per cent of the entire diamond market. According to one analysis now they account for over half. And therein lies the problem.
“They have become mainstream now, and at a remarkable rate, with demand only increasing,” explains Lisa Rosen, head of the International Gem Society, an organisation that promotes education in gemology. “The natural diamond folks— maybe better called the mined diamond folks—have done a good job at placing doubt in the mind of the consumer as to whether lab-grown diamonds are real. But obviously, the problem for them has been that they’re significantly cheaper and becoming less and less expensive”.
And in a big way. If just a decade ago a lab-grown diamond might have been priced at a 10 per cent discount on the mined equivalent, now it’s more like 90 per cent. Small wonder that LGDs—as they’re referred to—have no resale value. That’s all been the result of “the cat being let out of the bag [as to how to make them],” as Tom Chatham, of US lab-grown gem company Chatham, puts it. “The tech has been worked on for more than 50 years and really a lot of kitchen secrets go into making quality lab-made diamonds. It’s not just about buying a diamond-making machine and switching it on. There’s a lot of physics, chemistry and special touches that make it work. [And yet] now, over just the last few years, [there are so many] producers all making and selling low-cost diamonds”.
Mass producers in China and India have come online to dominate the market, many backed by state subsidies, further driving down LGD prices—which fell by some 20 per cent over 2023 alone, with some predicting a further 50 per cent fall—and forcing many of the pioneering companies, mostly in the US, to close, consolidate or pivot dramatically. That’s a process that Chatham argues will be on-going until just a few mega-producers remain. In other words, much as the market for natural diamonds has long been dominated by a powerful oligopoly, so too the same fate might befall the market for LGDs.
“It has been like the Wild West. There have been no rules or standards and the market has effectively imploded,” says Brittany Lewis, commercial director for lab-grown diamonds company WD Advanced Materials, who notes that even the mined diamond players felt compelled to get in on the act: DeBeers, likely the most famous name in mined diamonds, A laser removes the last bit of poly before planning begins at a lab diamond facility. launched Lightbox, its own lab-grown diamond business, and more recently decided to get out of LGDs altogether. “If you’d have asked me just two years ago if the industry would be in the place it is in now, I couldn’t have predicted it,” adds Lewis.
Meanwhile, jewellery retailers have even been accused of keeping LGD prices artificially higher because they’re worried a downward spiral will have a devastating impact on their revenues. “A race to the bottom event is very scary if you’re a jewellery retailer,” Rosen notes.
Much less so, of course, if you’re a potential diamond consumer. Suddenly a good quality and size diamond has been affordable like never before, and the retailers offering them a whole lot more approachable. There’s been talk of the “democratisation of the diamond”. If proposing with a big fat rock was once what only the rich could do, now that is open to the many. That sounds great but, as Chatham says, leaves the whole mythos surrounding diamonds in flux. Aren’t they meant to be special, rare and so extremely expensive? And isn’t that critical to their allure? Can some of the fragile magic that society has imbued diamonds with—from Marilyn Monroe singing about a “girl’s best friend”, to Superman forging them with his bare hands, to rap culture and bling—be saved? Should it be?
Indeed, Chatham—who is trying to establish a council of lab-grown diamond producers to bring some order to the industry—notes how mined diamonds are, actually, not that rare. “For sheer rarity factor, we’ve put the wrong gem on the pedestal,” he says: coloured gems the likes of emeralds and rubies are far rarer. As he might know: it was his father, Carroll, who in 1934 developed one of the first processes for creating lab-made emeralds, some decades before making diamonds became feasible. Diamond’s association with romantic love—and the tradition of using them in engagement rings—is little more than the product of a decades-long and an admittedly hugely successful marketing campaign. “A diamond is forever”? That’s a DeBeers advertising slogan dating to 1948. Yet half of all engagement rings now have an LGD in them.
“Clearly that people are now able to buy a lab-grown diamond of a size you’d almost never find in a mine is going to change things,” says Chatham. “There will always be a natural demand for the billions of carats that have been mined to date. But I think we’re now talking about a clash of mindsets: those who think a diamond is so special it should cost an arm and a leg, and a public more interested in the process of buying a diamond, the setting, the meaning in giving one. For the more practical masses, the future is going to be in lab-grown diamonds”.
Nor will their motivation be just monetary. For some, it’s also about wanting diamonds that are cleaner and greener. While the energy used in the production of lab-grown diamonds isn’t exactly environmentally sound, they are at least free of the human cost of some diamond mines—low pay for dangerous work, child labour, and so on—and of their use to finance terrorism or war, notably across Africa (so-called conflict or blood diamonds).
Provenance and traceability were, for a while, a key selling point for early lab-grown diamonds. The problem now is that they are so cheap to produce, and competition so intense, that even willing manufacturers can’t afford to get recognised third-party accreditation for their ethical or sustainability standards. Still, as Lewis notes, the public perception of LGDs as socially better remains, especially among younger consumers out to buy their first diamonds.
It would seem that LGDs have managed to pull off what the Japanese company Mikimoto did at the turn of the 20th century when, faced with the extreme and genuine rarity of natural, deep-dive pearls, it devised a way of making what would come to be called “cultured” ones—it saw consumers express gratitude at the availability and accessibility of any pearls rather than throw doubt on their authenticity. That cat long ago escaped from the bag too.
Not that there isn’t still some heat between the natural and lab-grown diamond worlds—this remains an uncomfortable topic for them—for all that the last few years have seen them intersect and blur. On the one hand, there are the likes of the US’s Federal Trade Commission ruling in 2018 that a diamond is a diamond, regardless of whether it’s lab-grown or taken from the Earth’s crust; on the other hand, there are mined diamond dealers who argue it is possible to tell the two kinds of diamond apart—at least with the right laboratory equipment. That’s the kind of equipment Neil Duttson, of London-based mined diamond dealer Duttson Rocks, says he and other dealers are having to invest in now: cases of fraud, in which the unscrupulous try to pass off LGDs as mined ones, are on the up.
That suggests the exoticism and mystery around mined diamonds may still be intact. “I understand why people want synthetic diamonds”—as Duttson calls them—“because they get more bang for [their] buck. And there will probably always be some market for them now. But with China and India knocking them out and prices falling, I don’t see that being huge money spinners for the jewellery business within five years”.
The question for the arguably complacent mined diamond industry now is whether can return to its pre-LGD state. Can the mined diamond industry rebrand itself to highlight all of the qualities that might well make its product more desirable to some—co-opting the positivity many consumers feel about naturalness, even though most luxury products are man-made, or perhaps underscoring the cosmic romance inherent in being billions of years old. Maybe it’s just all too late.
Duttson says that the appeal of mined diamonds has, ultimately, always been down to salesmanship and the ability to “convey their mystique, the sense of marvel and adventure that surrounds them. They just have such a great story”. It’s why, anecdotally at least, customers of LGDs often see one as an entry-level product, with the intention of trading up to a mined diamond someday.
“Diamonds in general are definitely a luxury product and thus the idea of selling a dream is always going to be a big factor around them. People don’t need diamonds, but most people like the idea of owning something rare, valuable and special - which is the case for all luxury,” argues Paul Zimnisky, an independent New York-based diamond industry analyst. “Diamonds are not typically a practical purchase but an emotional one, so people still want natural diamonds even though manufactured versions are available. [We’re at a place now where] in order to capture higher price points, the lab-diamond industry is going to have to do something unique and different like offer proprietary colours and shapes”.
That doesn’t mean the mined diamond industry won’t have to up its game too. It has also gone into decline over recent years, both in terms of carats dug up—supply peaked in 2017—and in value too, especially post-pandemic, with the price of a mined one-carat diamond down 12 per cent on a year ago. That has encouraged the major suppliers to reduce supply to stabilise prices. Some in the industry claim that, unless some new technology is devised to allow access to the most remote underground pipes, the mining of natural diamonds will cease to be profitable within 40 years. That might suggest that natural diamonds will, at last, become genuinely rare and so more valuable. But it’s likely that by then the whole idea of the diamond will have changed thanks to lab-grown variety.
But maybe we’re looking in the wrong direction. According to Brittany Lewis at WD Advanced Materials, the important future of lab-grown diamonds isn’t about jewellery at all, but in what they can do for the technology of tomorrow. Diamond is already used in cutting tools, in medical applications, in water purification, lasers, optics and GPS systems. But now it’s being posited as a superior replacement for the silicon commonly now used as a semiconductor in computer chips—able to withstand higher voltages and higher temperatures, able to transfer heat more effectively, lower power consumption, and so on.
Such chips —if the lab-grown industry can scale up production because demand could potentially be enormous—will be required for the rise of AI and other 21st century tech, not least proving critical to the development of quantum computing. Indeed, WD Advanced Materials started out as Washington Diamonds, a manufacturer of lab-grown diamonds for the jewellery industry, but pivoted—acquiring specialists, building research labs and winning US Department of Defense grants—as competition and rock-bottom prices crashed the market.
“After so many years thinking about jewellery and the consumer psychology behind it, talking with the head of merchandising at Tiffany’s, now I have to think about substrates and talk with the head of physics at Harvard,” Lewis laughs. “I love a beautiful piece of jewellery but this [new way of considering lab-grown diamond] is extremely exciting in just how revolutionary it could be. Ten years ago it was just another holy grail. Now it’s seen as having real potential”.
That, at least, feels one way in which diamonds will be set to find their sparkle again.
2024 was relatively not a great year for fashion and luxury as a whole. And now that we've kicked off 2025 proper, shifting branding and marketing strategies are taking effect with the upcoming Autumn/Winter 2025 menswear show season showing the first signs of how brands are seeking to ensure newness beyond the collections.
That's not to say that there's very little to look forward to during the year's first slate of fashion shows and presentations—it's quite the contrary. Making early headlines are some eagerly anticipated debuts as well as welcomed returns to the official fashion calendar. Here, we list them all down so you won't be missing a beat when the time comes.
There will be plenty of fashion brands and houses that have opted out of the Autumn/Winter 2025 menswear show calendar, focusing instead on co-ed showings during the women's shows in February and March. Gucci, Moschino, Fendi, DSquared2 and JWAnderson will be absent from Milan, while Loewe (surprisingly) has bowed out of this season's Paris Fashion Week Men's calendar.
After a brief showing in June last year, Moschino decided to release its Autumn/Winter 2025 menswear collection (together with its Pre-Autumn 2025 womenswear collection) as a lookbook back in December. Sparking a trend of a return to co-ed runway shows, Gucci, DSquared2 and Fendi will instead show during the womenswear show calendar—Fendi will also officially start its 100th anniversary celebrations without an artistic director for its womenswear universe.
The Milan Fashion Week Men's calendar may be looking rather sparse without the presence of several flagship brands, but the usual big-named favourites remain. Prada and its host of famous attendees are scheduled in its usual spot, so will Emporio Armani and Giorgio Armani, and Zegna is set to close Milan in true sartorial form.
After multiple seasons of showing off-calendar, Saint Laurent will be making its Paris Fashion Week return. Sort of. While its Autumn/Winter 2025 menswear show won't exactly be part of the official calendar, which ends on 26 January, it's still the closest it has been for a while.
Creative director Anthony Vaccarello is scheduled to show his latest menswear creations for Saint Laurent on 28 January 2025, right smack in the middle of Haute Couture Week. In any case, the show will certainly be one to watch as Vaccarello has certainly come into his own in the past few seasons, especially when it comes to the House's menswear universe—unifying the vision and look of the House as a whole.
After a year of opening boutiques in New York City and London, another brand that will be making its Paris Fashion Week return is Jacquemus. Known for showing somewhat off-calendar and away from Paris, Jacquemus' last Paris Fashion Week Men's showing was back in 2020. The brand has been focusing on co-ed runway shows since, with an overall sense of dramatic theatricality reflected in both its show locations as well as its designs. While there's little information of where the show will take place, there's little doubt that founder and designer Simon Porte Jacquemus will be putting on a show made to go viral on social media.
Let's face it: Lanvin hasn't exactly been quite the same since the late Alber Elbaz was its creative director. British designer Peter Copping—he had most recently spent five years at Balenciaga—was named Lanvin's newest artistic director in June 2024 and is set to show his first collection for the brand, closing out Paris Fashion Week Men's on the eve of Haute Couture Week.
Copping's Lanvin debut won't be the only debut of the season. In Paris alone, a couple of brands will be making their first appearance in the City of Lights.
American designer Willy Chavarria will make his Paris debut after years of being a New York Fashion Week fixture on 24 January, before the Kenzo show in the evening. And on the second day of Paris Fashion Week Men's, British brand S.S.DALEY—the brand that Harry Styles himself owns a minority stake in—will open the day's proceedings.
There will unfortunately (to the disappointment of this style director) not be a Dries Van Noten show by newly installed creative director Julian Klausner this time around. However, it's been said that the Autumn/Winter 2025 collection will instead be dropped in a lookbook and presentation format, showcasing a first look into Klausner's vision for the beloved brand.
For all the first-person encounters during Paris Fashion Week Men's for the Autumn/Winter 2025 show season, follow @esquiresg.
It was in October 2023 that Dior Men artistic director Kim Jones released the first Dior Icons capsule collection. Fronted by Robert Pattinson—an indelible face of the House—the collection was an exercise in restraint with a curation of pieces meant to act as a contemporary wardrobe for the Dior man.
The concept hasn’t changed a year later. For Spring 2025, the Dior Icons capsule collection continues to be centred around a complete wardrobe meant to be versatile and timeless enough to get one well-equipped for just about any occasion. And while the overall vibe remains discreet and luxurious, Jones has doubled down on interpreting house iconographies in a manner that stays true to the original vision of the capsule.
For example, the use of pale pink. Dior may be more famously known for its characteristic grey hue, yet pink is also among one of the colours that have grown to be part of the House’s haute couture visual vocabulary. In fact, Jones’ first Dior Men collection paid homage to the bluish-toned shade of pink (inspired by Christian Dior’s childhood home in Granville) with a spate of tailoring. For the latest Dior Icons capsule, Jones introduced pale pink into the mix as a sort of palette cleanser to its earthy foundations. Pale pink polo shirts come in two versions—one crafted in a lightweight knit, and another that casts a luxurious sheen.
The Dior Cannage and Oblique are inescapable motifs. Present in the capsule since its first drop, the maxi version of the Cannage is focused on tactile applications in the form of cable-knit tops. They’re enhanced this time around by cashmere, and in the capsule’s more outstanding pieces, a mock-neck cable-knit vest is decorated with pronounced Cannage lines that’ll cause a double-take on the streets. Along the same vein is the Dior Oblique that appears on bags, accessories and shoes as Dior Gravity Leather creations, serving to complement the more quiet presence of the brand’s ready-to-wear.
Yet, at the heart of the Dior Icons capsule collection is the savoir-faire of the Dior ateliers. Modernising time-honoured craftsmanship for the modern man, the capsule is grounded by classic wide-legged trousers, tailored jackets and long, structured coats—all defined by their impeccable lines and detailed finishes. Because when it comes to Dior, nothing else is as iconic as its craftsmanship.
Photography: Brett Lloyd
For those of us who don’t ski but hit the slopes just for the vibes (well, someone has to hang back and drink all that mulled wine!), keeping warm is essential. And doing so with a little bit of style won’t hurt.
There’s an inherent opulence to that ’70s style that continues to be a point of reference for fashion across the board. It’s not quite an excessive display of richness as much as it is about a sense of frivolous refinement. When it comes to the Italian style of that era, it’s more to do with luxurious tactility than anything else.
The latest Tod’s Holiday Collection heeds said ’70s Italian style, revamping its icons with elevated nuances. Gommino loafers take on more luxurious forms with calf leather and a sleek, branded metal bar, while soft shearling line bags for added warmth. They’re subtle enhancements yet embody the timeless elegance that’s a hallmark of Tod’s craftsmanship.
The brand’s Winter Gommino too gets an upgrade in time for the holidays. You may not be able to put them on and attach them to ski bindings (maybe just not yet), but the Winter Gomminos have become a Tod’s classic you’d want to bust out every winter season. Each is shaped like an ankle boot that’s built upon the famed Tod’s rubber pebbled sole for maximum comfort. A new desert boot style is introduced this time around, offering a shorter option for those who prefer the silhouette. Both the ankle boot and desert boot styles are expertly crafted by Tod’s artisans in suede and leather—a brilliant versatile duo of materials that works both day and night; in the city or at the ski lodge.
CELINE has finally made its presence at ION Orchard, one of Orchard Road's unmissable landmarks. Building on the House's architectural design concept that had been put in place since 2019, the latest CELINE boutique greets eyes with a curved glass façade and Calacatta oyster marble that stretches from floor to ceiling. The interior is a constant juxtaposition between the natural and the industrial as metallic elements and furnishings (together with a lot of mirrored surfaces) are positioned with natural stones such as Basaltina and marble as well as warmer, wooden accents.
Like other CELINE boutiques the world over, the furniture (some commissioned) were curated specifically for the boutique. They're especially opulent in the boutique's private salon that can be easily closed off for added privacy with movable mirrors. It is also here that a CELINE Art Project piece is on full display, among a selection of other art pieces. Created by Royal Academy of Art alum Machteld Rullens, "Dolphin Creme" is a wall object reflective of her usual practice where used cardboard boxes are reshaped and then covered in epoxy resin—turning something that was once fragile into a sturdy piece. The artwork hangs to the right of the salon, a stark contrast from the glossy black wall that it's positioned against.
The ION Orchard boutique is dedicated to both the men's and women's universe of the House, including ready-to-wear, accessories, leathergoods, and the beloved Haute Parfumerie collection. It also marks the first time in Singapore that a CELINE boutique has a dedicated counter for the new CELINE Beauté line premiered a few months ago. While only one lip colour has been launched thus far, more are on the way.
There's no doubt that this new CELINE boutique is striking from the outside, but its interior offers a more playful and luxurious feel that needs to be experienced in person. Sure, online shopping is convenient but luxury shopping is all about the experience and living the brand, even if it's just for a moment.
The new CELINE boutique is located on the first level of ION Orchard.
If an accessory is like the icing on a log cake (you know, to decorate and enhance), a scarf is akin to the pieces of candied fruit in a fruit cake, where they serve a bit more of a functional purpose aside from mere aesthetics. Depending on the type, it has the ability to elevate while giving much needed comfort—we're talking about scarves, of course.
Comfort is key, especially this time of the year. And even if it may not necessarily apply to those of us not heading to cooler climes, there are always lightweight silk scarves as options to spruce up an outfit in a manner that's uniquely you. The way we see it, a scarf is a necessary tool to have in one's style arsenal. A quality piece is an investment you'd be able to whip out time and time again—a Loro Piana trait that's consistent throughout all of its creations.
The Loro Piana Grande Unita scarf is a fine example of how the brand's unparalleled elegant aesthetic is rooted in its use of luxurious materials. The scarf is made from the finest cashmere that gives it an exceptionally soft hand feel and a lightweight body, without skimping on its heat-retaining capabilities. The hand-finished details add touches of artisanal craftsmanship to an already sophisticated piece rendered in refined, solid colours. It's understated, yes. But that's exactly what you want in a versatile accessory that can easily be worn for just about every occasion.
For something a tad more versatile, the Two Tone scarf offers additional styling options with two different contrasting colours on opposite sides. The scarf is sublime; crafted from baby cashmere obtained only from the underfleece of Hircus goat kids, the scarf is incredibly buttery soft to the touch. It's so soft that no one will judge should you choose to simply lounge around at home wrapped up in the cosiness of one. Twist or fold the Two Tone scarf while wearing it to show off a hint of its contrasting colour for an added visual interest to every outfit.
No matter how you choose to enjoy a Loro Piana scarf—a gift to a loved one or to yourself—rest assured that it'll be one that'll be used and cherished for years.
Discover a selection of Loro Piana scarves now available in Loro Piana boutiques.
When duralumin was first discovered by German metallurgist Alfred Wilm in the early 1900s, no one could have predicted that the aluminium alloy would change the course of aviation. And certainly none could have foreseen it becoming the hallmark of a German brand for decades to come.
Successfully claiming a colour or a unique design or even a motif is quite common for brands, but not many can claim a material like RIMOWA has.
Legend has it that in the 1930s, a fire completely engulfed a RIMOWA factory leaving nothing save for the aluminium. This incident inspired second-generation owner Richard Morszeck to turn to aluminium as a replacement for subsequent RIMOWA creations, instead of its foundational wooden designs. Morszeck had already toyed with the idea in the 1920s, having created the brand’s first aluminium trunk.
The thing about claiming something as part of one’s branding is the need for constant innovation in order for the association to stick. A brand can be known for one thing (let’s face it, RIMOWA isn’t just about aluminium) but it doesn’t mean doing the same thing over and over again.
Much like how air travel has changed since, RIMOWA’s aluminium creations too have evolved. Initial aluminium suitcases were trunk-like with no wheels (the horror!) before wheeled luggage became mainstream in 1972; RIMOWA introduced its first Roller suitcase with removable wheels in the very same year. Eventually, the brand streamlined its aluminium offerings into three series: the super sleek Original, the Classic with leather handles, and the polycarbonate-based (another RIMOWA invention) Hybrid framed by aluminium accents.
The brand’s iconic grooves became part of RIMOWA’s design language in 1950. Taking inspiration from the all-metal (duralumin, of course), made-in-Germany Junkers F 13 plane that was a significant aviation milestone, the grooves run parallel to the length of every RIMOWA piece. And while the grooved design remains as an identifying element to a large majority of the brand’s creations, it had experimented with other decorative treatments for aluminium. The limited-release Hammerschlag collection for example, was inspired by a Hand-Carry Case from 1966 that featured a “hammer hit” exterior. The textured surface reflects light in ways its flatter predecessors don’t while at the same time, minimises any obvious nicks and bumps of prolonged use.
Over the years, RIMOWA’s presence in luxury has been strengthened not only by its distinctive aesthetic, but also by its steely determination to stick to it while innovating. It’s no longer just a luggage brand; it’s a luxury mobility brand with the aim of creating pieces for every and any movement. The brand’s use of aluminium evolved from protecting travel necessities to keeping just about anything that matters to an individual. Aluminium has been shaped into specific functionality such as vanity cases, an attaché solely for mahjong, and a watch case fit for three timepieces.
Aluminium’s more wearable, everyday functions have seen it being transformed into a number of bags and accessories. The crossbody Personal bags—a crossbody and a sling clutch iterations—have become known for their mini-sized similarities to RIMOWA’s trusted suitcases, but cleverly designed with unique locking mechanisms adapted for heightened ease of use. The brand has even crafted aluminium into a sleek cardholder that opens with a rather sexy swivel, and protects against RFID and NFC technologies.
And if you’re wondering, RIMOWA hasn’t stopped innovating with aluminium. In the last quarter of 2024, the brand released two new aluminium expressions. The Original bag is the brand’s first unisex, multi-carry handbag that takes on the shape of a shrunken suitcase adapted to be carried as a top-handle, a shoulder bag or a crossbody. Then, there’s the limited-edition Original Cabin Optical with a new take on the aluminium suitcase featuring a truly mesmerising interpretation of the grooved design.
Where will RIMOWA go from here? It has already built its aluminium legacy and will continue to do so. Perhaps, like its high-flying inspirations, the sky is the limit.
Gifting can be a tricky task, especially when the goal is to gift something that expresses more than just feelings and emotions, but also one that leaves a lasting impression. When it comes to your significant other, the pressure is even higher. At the very least, you'd want to gift something that feels personal yet luxurious, and one she’ll cherish for years.
Here’s why the AUPEN Nirvana bag makes a strong case as the perfect gift: It’s not just a handbag, but a statement of sophistication and timeless design. Crafted by luxury brand AUPEN—known for its craftsmanship—the Nirvana bag blends style and practicality, making it a favourite of a bevy of international celebrities the likes of Selena Gomez, Taylor Swift, and Lady Gaga.
The Nirvana bag is crafted from premium calfskin material, with a minimalist design and versatile structure. Its clean lines and subtle gold accents make it a suitable accompaniment for any occasion, and its timeless appeal ensures it will be cherished long after fleeting trends fade.
Priced from USD340, the Nirvana bag is hardly a significant investment that'll dent that bank account. Furthermore, with AUPEN's partnership with LVMH Métiers d’Art, prices for the brand’s bags are expected to increase as its production expands to include global ateliers under the luxury group. What that simply means is that now is the right time to snag a bag from the brand.
At the end of the day, the AUPEN Nirvana bag isn’t just the ultimate gift—it’s a thoughtful, high-quality accessory made for someone with style, and one that can be enjoyed for years to come. Because when you truly love someone, something that lasts is what they deserve.
The AUPEN Nirvana bag is available online.
It's safe to say that Christmastime is almost here (for those of us who aren't partaking, the holidays are almost here) and that means, all the festive things associated with this time of the year. In a sort of extension of its "It's Always Burberry Weather" campaign, the British luxury brand is doubling down on the cosy with the "Wrapped In Burberry" campaign. If the former refers to specific products, "Wrapped In Burberry" is more visceral in nature—building memories through traditions and spending time with loved ones.
"Wrapped In Burberry" features a trio of loved ones, including actual Burberry VICs (that's "very important customers") Drs. Herschel and Lilly Stoller, who've been longtime clients for over 20 years. British thespians David Tennant and Alex Hassell, as well as London-based artist Slawn with partner Tallula Christie and their two children, complete the campaign that was shot in London.
In Singapore, the campaign materialised in realtime as Burberry celebrated the opening of three boutiques in the past few months. It was undoubtedly festive with guests and friends of the brand coming together, with South Korean actor Kim Young-dae flying in to revel in the celebrations.
As a way of actually being wrapped in Burberry, the brand highlights scarf personalisation and bespoke monogramming services made to be perfect gift ideas. The range is as wide as one would imagine by the brand known for its iconic check—from two-tone reversible cashmere scarves to classic Burberry check ones. Add on initials (up to three) or labels featuring festive Burberry messaging for a piece of luxury that's a timeless style addition.
The Burberry scarf personalisation and monogramming services are now available at the Burberry Wisma Atria and Marina Bay Sands boutiques until 22 December 2024.
