The "Singaporean Dream" is often summed up by the "three Cs"—condominium, cash and cars. For those not in the know, the three Cs are typical markers of success in our little red dot. Among them, owning a car is particularly challenging given the high cost of a COE—especially if we're talking about luxury brands like Porsche. But if the car seems out of reach, consider their limited edition sneaker as the first step.
It's no surprise that such a brand like Porsche would throw something extravagant for its 50th anniversary: 12 country sneakers in collaboration with PUMA, each limited to 911 units.
The collection has a sentimental touch to it, drawing on historic connections to iconic Porsche models. Two special-editions sneakers are particularly noteworthy: the "Turbo No. 1" and "Turbo 930", both inspired by the cars—the first presented to Louise Piëch on her 70th birthday and the latter created in honour of Dr Ferry Porsche's 911 Turbo from 1976. It's a must-buy for vintage collectors. Meanwhile, the remaining 10 local editions are tailored to their specific market.
Let's not overlook the exclusive Polar Blue colourway, specially chosen for the Porsche Asia Pacific region. This striking colour embodies the 50-year evolution of the 911 Turbo—symbolising loyalty, stability and progress.
The design features vintage turbo lettering, a subtle Porsche logo on the exterior and a heel design inspired by the original 911 Turbo's "whale tail" rear spoiler and horizontal red tail lights. A tonal Porsche Crest in 3D print is featured on the hell, while the lacing is adorned with a removable plaque commemorating the 50th anniversary. All models are built on PUMA's new motorsport-inspired PUMA "Road Rider" sneaker silhouette.
Alongside the Asia Pacific edition, exclusive market editions will be released in countries such as Germany, France, Poland, the Netherlands, the UK, Japan, Taiwan and the US. Each inspired by specific Porsche 911 Turbo cars, featuring one of 30 original exterior colours from the car brand's 1975-1977 charts.
Every purchase comes with an exclusive black sports bag, which doubles as the footwear's packaging and an additional set of black laces. Priced at SGD329, these sneakers are available at Porsche Studio Singapore and online.
Noel Gallagher once claimed you could tell how many drugs Oasis were on by the clothes they wore on stage. The more ridiculous the coats, the greater the cocaine intake.
Liam Gallagher took a different view.
“I’m me in the supermarket,” he said. “The same clothes, the same haircut, the same shades on, when I’m fucking gardening or picking the kids up from school or dropping ’em off. I’m the same, there’s no double-life. I am what I am.”
It wouldn’t be hard to take issue with Gallagher Jnr’s dress sense over the last 30 years—there have been quite a lot of bad clothes, bad haircuts, bad shades and bad gear you’d think twice about wearing to the supermarket, doing the gardening in, let along picking the kids up from school or dropping them off. But it would be a brave soul who’d argue against Liam’s influenced on fashion for the British male.
For a significant swathe of men, the Oasis singer’s mod-adjacent “parka monkey” look has become Route One to effortless cool. Seasons come and seasons go, but there is a corner of an England that will forever be Knebworth, 1996.
And with some judicious editing of three decades worth of Liam’s photographs, there’s plenty of evidence to suggest that—yeah, on his good days, Liam looked pretty cool, actually.
He is what he is.
And you can’t really argue with that.
Originally published on Esquire UK
Michael Keaton knows a thing or two about wearing black. He is Batman, after all. This week at the Venice Film Festival, though, he wasn't repping the Caped Crusader but another creature of the night: the ghost with the most, accomplished "bio-exorcist," and returning big-screen star Betelgeuse. Still, at the photo-call for Beetlejuice Beetlejuice, Keaton hosted a master class on how to pull off one of the trickier stunts in the menswear repertoire and dress up a black shirt.
The secret to Keaton's success? He zagged where others zig. Most of the time, when you see an actor on the red carpet wearing a black shirt, he's opted for a black dress shirt in crisp, somewhat sheeny cotton poplin. Keaton, on the other hand, paired his textured sport coat and drawstring trousers with a black polo shirt. It made all the difference.
Yes, as we have acknowledged in the past, a black dress shirt can occasionally look fantastic. But it can also make you look like you're about to seat a four-top at the local Italian joint that overcharges for shaken martinis and microwaved eggplant parm. Making it work is a pro-level move, is what we're saying.
Dressing up a black polo shirt, though? That's a cinch. You simply... wear it. And pair it with an outfit that lends it more gravitas than, say, something you'd wear to down a couple daytime G&Ts with the boys at the country club. So skip the brass-button blazer and chinos and take your cues from Keaton. Darker colours and a tonal palette create a more elevated vibe, while a healthy infusion of texture is a nice way to lean into the literal feel of a polo, which is often made from nubby cotton piqué. (This is not the time for some stretchy "performance" material) And since you remember you can only get so dressy when a polo shirt is involved, feel free to do as Keaton does and anchor the whole look with classic black sneakers.
You may not be Batman or Betelgeuse, but trust us: You can absolutely be the person who wears a black polo shirt as well as the man who's played them both.
Originally published on Esquire US
We've long been accustomed to Western and European influences dominating pop culture and fashion. However, in recent years, Asian cultures have made profound impacts. They have steadily carved out their own distinctive niches. K-pop and anime have exploded in popularity, showcasing the nuanced aesthetics of traditional and contemporary Asian design. Chinese social media platforms like Douyin (Chinese TikTok) and Little Red Book (Xiao Hong Shu) are also driving this cultural shift, further amplifying Asia's influence. These platforms are shaping global trends and influencing consumer behaviour.
As you explore this list of Asian menswear brands, you'll find yourself immersed in a new world of fashion. There's no mere mimicking of Western styles; instead, it is a pioneering of unique and innovative approaches ripe for exploration and appreciation.
Post Archive Faction (PAF), a South Korean brand founded in 2018, is known for its utilitarian garments made from performance-specific materials. However, labelling it simply as an outdoor brand would not do it justice. PAF offers more than practical clothing, which likely led to it being shortlisted for the LVMH Prize in 2021.
The brand has showcased at Paris Fashion Week and launched a collaboration with Off-White, partnering with the late Virgil Abloh. Its "left, right and centre" approach to collections stands out the most, inspired by South Korea's political system. Each collection features a numbering system, indicating updates to previous models and designs.
Established in 2021 by Kartik Kumar, Kartik Research is an artisanal brand based in New Delhi, India. With a mission to "reintroduce humanness into clothing," it counters fast fashion's overproduction by prioritising craftsmanship and quality. Its collection showcases a human touch, with handcrafted shirting and quilts dyed using plants and herbs. Each piece bears hand-stitched embroidered details, embodying uniqueness and imperfection. Kartik Research strives to revive forgotten Indian craftsmanship, offering a blend of heritage and contemporary aesthetics.
Each collection draws inspiration from a subculture within India's heritage. The latest Autumn/Winter 2024 collection titled "Delhi-Jodhpur", explores the fractured dialogue of India. The collection blends emotional connections to India's past with optimism for its future. Shot at a sandstone mine in Jodhpur, it symbolises this dialogue, juxtaposing the aesthetic utopia of the past with the realities of modern commerce.
After graduating from Central Saint Martins in London, Taiga Takahashi moved to New York to hone his skills. Starting with cloth and textile, he expanded his practice to include sculpture, architecture, installation, and performance. Takahashi's work embodies a philosophy inspired by the ancient Japanese sense of beauty, refined through time and historical relics.
Describing himself as a "sartorial archaeologist," he draws inspiration from his extensive archive of American garments spanning the 18th to 20th centuries. In his designs, he transforms elements from these archives with each garment telling its own unique story.
In his art, cloth serves as a canvas where craft, design, history, and art converge seamlessly. This concept drove him to found his label T.T Gion in New York in 2017, and later established an integrated Kyoto-based art space and Tea Ceremony in December 2021.
Unfortunately, Takahashi passed away unexpectedly in the spring of 2022. His team continues his legacy, designing garments that draw from the past, are made for the present, and will endure into the future.
Doublet, the streetwear brand founded by Masayuki Ino in 2012, won the LVMH Grand Prize in 2018. Its debut Spring/Summer collection was unveiled in 2013, featuring casual daily wear infused with a sense of uniqueness. The novelty and unique details enhance the avant-garde and distinctly Japanese character of its designs.
The brand has showcased its collections at Tokyo Fashion Week and, as of summer 2022, Paris Fashion Week. Doublet has 25 stockists worldwide including Dover Street Market. Despite the fast-growing presence of the brand, it manages to maintain its relatively underground presence.
In 2016, Liu Dan Xia (Dan) and Shan Peng Wong (Shan) founded Danshan. The design duo strive to disregard gender archetypes and instead explore what is beneath the façade of machoism and strength. Danshan delves into the nuanced aspects of contemporary male existence, dissecting the evolution of male body language and investigating methods to imbue a masculine silhouette with femininity, all while respecting the traditional boundaries of menswear.
Growing up during the era of the "Single Child policy" in China, where sons were often favoured, Dan was raised as a boy by her family until the age of 12 due to societal pressures. Her unorthodox upbringing profoundly influences the brand's ethos, manifesting in garments crafted from "softer" fabrics traditionally associated with femininity.
Launched in 2021 by designer Hung La, Lựu Đạn emerged during the George Floyd protests and Stop Asian Hate movement. The brand delves into the intricacies of Asian identity, symbolised by its name, which combines "pomegranate" and "bullet" in Vietnamese to signify a "dangerous man." Embracing rich-coloured palettes, nostalgic prints, and bold silhouettes, Lựu Đạn pays homage to heritage while celebrating new legacies within its community. Celebrities like Billie Eilish, Justin Bieber, K-pop idols such as Felix (Stray Kids) and Heesung (Enhypen) have been spotted wearing Lựu Đạn.
Born and raised in Taiwan, Peng Tai graduated from the London College of Fashion in 2017 and moved to Paris. His eponymous brand actively explores the relationship between nature, humans, and cities, featuring two distinct lines: the main line and the "meditation room." His design philosophy, deeply rooted in the ancient Chinese principles of yin-yang and the five elements, seeks a precise balance.
Incorporating the five elements—earth, wood, metal, fire, and water—Peng Tai aims to achieve harmony through balanced design. The meditation room line leverages the power of Chinese medicine, using fabrics dyed with Chinese herbal medicine to blend traditional wisdom with contemporary fashion.
Established in 2019 by Danish streetwear enthusiast Tobias Billetoft and Korean designer Sangchan Lee, HGBB STUDIO seamlessly blends regional influences, reflecting their shared ideals. The collections are rooted in utilitarian shapes, enhanced with stylistic flourishes in fabric and detail.
HGBB STUDIO aims to transcend the "visual expression" of established brands by addressing rapidly changing trends and catering to a trend-oriented generation. They strive to carve out a unique identity through diverse projects and collaborations with independent partners.
Phyn Studio epitomises contemporary streetwear with its effortlessly cool vibe and a focus on gender fluidity, crafted by designer Phoenix Tan. Recently, the brand partnered with Levi’s for an upcycle denim workshop, transforming old denim into unique accessories. Tan also curates projects like Morph by Phyn, which deconstructs and reconstructs objects into new forms. Additionally, Phyn Studio collaborated on a capsule line for the 2022 Hennessy x NBA partnership.
Josh Tirados, a Filipino-born, Singapore-based designer and multidisciplinary artist, debuted his gender-neutral label last year with the collection 01-Anino. Working with deadstock fabrics, Tirados handcrafts nearly all his garments. His creations are often characterised as romantic workwear with subtle sensuality, influenced by his background in the Japanese dance form Butoh. They showcase neutral earthy tones, meticulous tailoring, and rustic textures. Alongside his clothing line, Tirados also designs his own jewellery and accessories.
British designer Clare Waight Keller has logged time at some of the biggest fashion brands in the world. Born in Birmingham, England, she moved to New York to work on lifestyle labels like Ralph Lauren and Calvin Klein and eventually to Paris to oversee artistic direction at luxury houses Chloé and Givenchy. But when she struck up a partnership with Uniqlo in 2023 to create the Uniqlo : C collection for the juggernaut Japanese brand, she pulled inspiration from somewhere closer to home.
“The start of Uniqlo : C really came out of me working on a collection that was really inspired by Europe, and London in particular,” she explains. “I think because I’ve worked for so many different companies, I wanted a place that really expressed me more than anything. The portrayal of fashion that I really love is so much more about style than the idea of always having cutting-edge pieces. It’s about this sense of timelessness mixed with modernity, and London always has had that for me.”
Prior seasons of C have focused on different neighbourhoods around the English capital; for Autumn 2024, Waight Keller looked to the Barbican Center, a brutalist performing-arts centre that opened in 1982. “I’ve always had a fascination with the Barbican,” she says. “I wanted to just bring in the architecture, the brutalist nature, the fact that it is kind of a city within a city—it really sort of expresses something interesting.”
(UNIQLO)
The result is a collection of pieces that blend Waight Keller’s signature softness with sharp, architectural lines and a muted colour palette punctuated by plaids and checks. Each piece, from a stand-collar parka to a flowing pair of trousers, can be easily mixed and matched with pretty much everything else in the lineup. And most exciting for us here at Esquire, the collection for the first time includes a full array of menswear, with prices ranging from USD40 to USD130. (This isn’t to say shoppers shouldn’t consider buying from both sides of the proverbial aisle. In fact, Waight Keller encourages it, especially with oversized outerwear.)
We caught up with Waight Keller to talk about the collection’s highlights, why she decided to dive into menswear this time, and the one category she was particularly pleased to add to the offering this season. Read a few (condensed and edited) highlights from our conversation.
Because I’ve done menswear in the past, it was always in the back of my mind it would be great to do it, and especially with a company such as Uniqlo, which has a strength in menswear. What’s been fascinating to me over the last few seasons is you just see how much of the product crosses over. I often hear from the mainline collection how much product women shop in menswear and vice versa.
It felt natural to me to branch into menswear, but especially after launching the last couple of collections, we got so many requests through my social media, Uniqlo’s social media, through the online portal… “When’s menswear coming? When’s menswear coming?” It felt like there was a real need for it. In a way, actually, I didn’t push the conversation; it just came to us. It felt like a very natural thing to evolve into men’s.
(UNIQLO)
You become a lot more aware of how real people are dressing in real life. I really love that, because that’s a part of what I used to like injecting into my collections anyway. For me, it’s sort of tapping even more into an area, which I really think is the way forward in fashion. The reality is that it’s on the street, it’s what everybody’s wearing today, and though we have to keep pushing things forward constantly, the real excitement for me is the fact that so many people can wear this collection. It’s so accessible.
I suppose my specific reference comes from British roots, but also it has a softness. As a designer, I’ve been known to have a slight, soft hand in the way I develop my design narrative. I think there is that element of it, even with the menswear, especially this season—like this soft, sort of felted knitted jacket. It harks back to my knitwear heritage [as prior artistic director of Pringle of Scotland], but it’s the idea of this tailoring piece but completely like a cardigan. Then the long parka, which is ultra-ultra-lightweight, so it’s almost the same weight as something that you might find in womenswear. It doesn’t have as much heft, but it’s just the same warmth. It’s those touches of bringing in things that are much more from my point of view and differentiate from what Uniqlo U is doing and what JW Anderson does.
(UNIQLO)
I really hope that the menswear expands even further. I really do think what Uniqlo : C does, and all the collaborations at Uniqlo, is bringing that perspective of a fashion-centric capsule to the big brand that Uniqlo is, one that sells the best basics and the really great classic items. It’s a layer of a fashion focus. I like the fact that it’s a drop. It comes in, and it goes out, and these things are just there for a moment in time. I think between all of the designers that work with Uniqlo and what we do, expanding the menswear even further and making a bit more of a fashion statement in menswear is really key. I’m really excited to grow that even further.
This season is the first time we’re launching any kind of footwear. For me, that was a really important part of finishing the look. We have these monochromatic black and white sneakers—natural sole, low cut, almost like a classic military sneaker. I think there’s that sort of essence of it, coming from a timeless origin and then brought into this new language with Uniqlo : C. It finishes the look both on the men’s and the women’s; they’re completely unisex. I’ve worn them as well. Really, really comfortable.
Originally published on Esquire US
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
When, last year, customs officers at Los Angeles Airport spotted a number of small packages marked "bracelet’, "decoration" and "wall clock", their suspicions were aroused. And, rightly so. Opening them, they found USD1.3m worth of watches: Panerais, Patek Philippes, Omegas and lots of Rolexes. Or, at least, that’s what they would have cost had they been real. In fact, all 41 of the watches were fakes.
They also represent just a tiny fraction of the global trade in counterfeit watches, sales of which boomed over the pandemic, as the bored or comfortably-off looked online to fulfil their horological cravings. Figures are hard to rely on but upwards of an estimated 40 million fakes are circulated every year, according to the Federation of the Swiss Watch Industry, some 25 per cent more than the Swiss watch industry produces itself.
Those fakes make for a business worth USD3 billion dollars a year—with a record year of 2013 seeing 90,000 fakes confiscated in Dubai alone, the city the Federation identifies as one of the key strategic storage hubs through which fakes are then exported internationally in those many small packages. Watches now account for between 20 and 35 per cent of all sales of counterfeit consumer goods—that’s despite them being illegal in most countries.
Not that this seems to dissuade anyone buying a fake. Or those who manufacture them—mostly in China, Hong Kong, Singapore and, chasing cheaper labour, increasingly Vietnam and Thailand—often on sophisticated factory lines also making legitimate parts for the legitimate watch industry. They’ll take an order for so many “Rolex-style” cases, for example, as they would for any other watch component. Bit by bit these various components come together at various locations and, at some nebulous point involving the application of brand names, a look-a-like becomes a counterfeit and a criminal matter.
“The battle against the counterfeit watch market is very hard to win. It’s really about reducing their visibility as much as possible, about intervening on a diplomatic and political level,” says Yves Bugmann, president of the Federation of the Swiss Watch Industry. “Counterfeiters want to benefit from the value that often world-famous watch brands have created, and people want to access a certain social prestige that counterfeits present. But while some of them we just can’t influence, we find quite a lot do respond to a good argument.”
The problem is, perhaps, that no one of these arguments is a killer. Those countering the counterfeiters speak, for example, of the risk of buyers exposing themselves to malware, or to having their credit card details stolen—this does happen but the sophistication of the online marketplace, and the guarantees that underpin it, make this increasingly unlikely.
They speak too of the poor quality of counterfeit watches: the cheap metals, the likelihood of them lasting not long at all, their inability to fool anyone that they’re the genuine article. But that was then. We’re now in the era of the so-called “super- fake”, even of the ultra-fake. The counterfeiters’ embracing of the latest manufacturing technologies, from CNC machines to 3D printers, means the top-notch counterfeit today is all but indistinguishable from the real thing, at least to the naked eye of a non-expert. Knowledge accumulated over time means the fakers have only got better, and faster, at what they do. That’s concerning when, it’s been argued, the less distinguishable a fake watch becomes from the original, the more consumers become unwilling to pay the premium for the real thing.
Pre-owned watch dealer Watchfinder & Co noted in a 2023 report that five years ago 80 per cent of counterfeit watches sent into its stores were easily identified as fake, with 20 per cent needing closer inspection. Now those figures have been reversed. Of course, this is an aesthetic judgment, a question perhaps of less-than-perfect finishing; the counterfeit may still be well-made and contain a dependable movement, but it will lack the technology—in terms of materials and movement—of the genuine article. Some fakes can only be spotted in being handled—the hand-setting is off, or in daylight the colour isn’t quite right—which is no good to the online buyer.
“The fact is though that the counterfeiters’ emphasis is on the look of the watch because that’s all the guy who buys a counterfeit really cares about,” explains Fabrice Gueroux, author of Real & Fake Watches and an independent authenticator for many high-rolling collectors. “Yes, you can sometimes close your eyes and hold a counterfeit in your hands and there’s something that doesn’t feel right about it, but you need deep knowledge of the genuine watch for that and, of course, that’s what most people don’t have. With enough time even the best fake shows itself, and the best ones have put in the extra time on the paintwork, the fonts, the bracelet. But even I’m surprised by just how good a counterfeit can now be”.
That, he explains, is down to two factors. On the one hand, Gueroux laments, “the quality of some Swiss watches is not as high as is always claimed—so the borderline difference in quality between counterfeit and genuine watch can make spotting those counterfeits the hardest. With some brands [typically those seeking an especially high margin] the quality of the counterfeits is actually better...”
On the other hand, counterfeiters—and he says there are five mega-factories in China that collectively dominate counterfeiting, and which are known to make many millions of fake watches every year—used to have little competition and few, closely protected distribution channels. Now they have lots of competition and the internet has blown the market wide open, necessarily pushing quality up.
“Sure, many people buy a counterfeit because they just want the same look at the best quality for the cheapest price,” says Gueroux, “and they know that the real thing would cost, say, USD20,000. But then that person sells that watch on as ‘genuine’ and prices it accordingly to be convincing. And so on, such that there are so many good counterfeits [passing as genuine] on the market now.”
As for those Swiss makers still at the top of their games, they’re left facing off their counterfeiters, locked in an unending arms race of serial numbers, hallmarks, engravings and holograms—and, eventually, their inevitable copies too. “[And while] there are a lot of technical anti-counterfeiting and traceability measures now being used and developed,” notes Bugmann, “ultimately they’re of no use if the consumer deliberately wants to buy a fake”.
It does make the Swiss industry rightly worried about buyers being duped with, say, a dodgy IWC or Hublot though. And the most well- heeled and well-connected buyer can fall foul: the Brazilian footballer Neymar, rapper Little Baby and musician John Mayer have all bought watches they only later found out were counterfeit, leading to legal action in some cases.
Even brands and expert valuers can be conned: the most expensive Omega ever sold at auction, a supposed 1957 Speedmaster sold for USD3.4 million by Philips to Omega in 2021, turned out to be a so-called “Frankenwatch”, put together using parts from various vintage watches. Embarrassment perhaps prevents other stories of being duped from circulating; or, perhaps, people are just not duped in this way all that often.
Watchfinder & Co suggests that one in five watch buyers have been victims of purchasing a fake watch, the kind of figures, no doubt, that incentivised Rolex to take ownership of the problem by launching its own certified pre-owned programme in 2022. Of course, many other buyers—the small majority, according to one study—know full well that they are buying a fake watch. After all, the vast majority of fakes—Rolexes with quartz movements and the like—are still obviously so.
The counter-counterfeiters even make the appeal to guilt. There’s the rather tired line about morally minor crimes—as they may be perceived—being used to fund major ones, the likes of human or drug trafficking, though this is more a bogeyman argument than one that’s well-evidenced. The Federation of the Swiss Watch Industry speaks of counterfeiting’s negative impact on employment and revenue—to the tune of EUR1.9 billion annually—across the legitimate industry.
But the vast majority of people buying a fake would not buy the real thing were the counterfeit not available—they couldn’t afford it, yet still crave the status power that in part makes the genuine brands so appealing. This is especially the case in rapidly developing economies where peer comparison pressures are more stark. Indeed, the first in-depth studies of why sales of counterfeits are growing—led by Dr Xuemei Bian, professor of marketing at Northumbria University, UK—suggest that the motivation for buying a fake is far more sophisticated, and twisted, than the simple fact that of its relative affordability.
“One clear driver in purchasing [counterfeit watches] is the thrill of the hunt,” she argues. “There’s a fun factor in finding the best counterfeit for the right price. There’s a sense now of people who buy counterfeits belonging to a kind of ‘secret society’, one that’s curious about the original items and the counterfeits alike, especially in relation to their quality. There’s a transfer of the interest they would have had in the original article to the counterfeit. It’s a gateway to enjoying Rolex and other brands”.
In other words, Dr Bian’s research reveals, there is a growing culture of counterfeit buyers who buy them out of admiration for the artistry inherent in the fakery, as one might take a pleasure in just how convincing a fake Renoir is relative to the original. What’s more surprising, Dr Bian adds, is the incorrect assumption that counterfeit watches are only bought by those who can’t afford genuine ones.
“We found that even affluent people who can buy the real article buy counterfeits,” she says. “In part that’s because other people are less likely to question whether their watch is real or fake. They look the part. In part because they just see mixing up their watches—real and fake—as fun, or a bit naughty.”
So what of the ethical question? Don’t people just think buying a counterfeit watch is wrong? The Fondation de la Haute Horlogerie’s anti-counterfeiting campaign of a few years ago was based around the statement “Fake Watches are for Fake People”. But, Dr Bian argues, this highlights a disconnect between what a prestige watchmaker may think of as wrong, and what a consumer might.
Take, for instance, arguably the watch industry’s strongest case against counterfeits: the plain and simple one that it’s an infringement of their intellectual property, the investment the real makers have put into building the brand value that makes counterfeiting their wares worth it in the first place. This is not necessarily regarding design per se—this typically needs to be protected under patent, and when patents expire watch brands are free to copy one another’s designs, and maybe it doesn’t help their cause that they have done so most liberally—so much as of names, logos and other trademarked elements. A replica or ‘homage’ that’s a precise copy all except the branding isn’t a counterfeit— ethically maybe it is, but not usually in law.
“Of course a lot of people know what they’re buying even if the ad calls the counterfeit a ‘replica’ or some such kind of code. But what we’re dealing with here is theft of intellectual property, of the ‘Swiss-made’ label, of the maker’s reputation,” says Bugmann. “This can be frustrating for the industry especially given that, for the EUR300 you might spend on a fake, you could actually buy a good Swiss watch—maybe not one from a top luxury brand but from what’s still a prestige manufacturer.”
An affront to these intellectual property rights really can be detrimental to the top brands’ reputations too. If counterfeiters reduce the branded products’ exclusivity, people who could afford the real things are less inclined to buy them: if there are fake Rolexes everywhere, the appeal of the genuine article is limited, in part lest it too be considered a fake. Research by Moty Amar, professor of marketing at Ono Academic School, suggests that the moral disgust—to overstate it somewhat—felt towards a counterfeit not only negatively affects it use, but also attitudes towards the genuine item that, as it were, looks like the counterfeit.
“A copy of one of our watches—all copied except putting ‘Bell & Ross’ on it—is a counterfeit,” states Bruno Belamich, the brand’s co-founder, in no uncertain terms, “and that is an infringement of intellectual property rights. Counterfeit watches are not authentic products but imitations designed to copy the look and feel of the brand-name watch. It’s the desirability of the brand [that we have created] that’s ‘the cause’ of the desire to buy counterfeits.”
Unfortunately, further psychological studies have suggested that while the perceived risk can influence the rationalisation of why people buy counterfeits, ethical concerns—the likes of "what impact might I have on Cartier’s bottom line?"—don’t typically register at all. Yes, many strategies are used to dodge ethical consideration. Some see buying counterfeits as just making perfect consumer sense— they’re entertaining, cheap, almost disposable; others deny responsibility—"I’m merely the smallest cog in a long chain of events over which I have no influence"; while others argue that the market for counterfeits is beneficial to the brands copied. It’s a way of paying them a back-handed compliment.
Others, remarkably, even see their decision to buy a counterfeit as a form of retaliatory behaviour—a way of hitting back at brands they see as acting in a socially irresponsible way through their ‘unreasonably high’ pricing. But, whichever way you cut it, the idea that buying a counterfeit watch is in some sense wrong barely even figures, especially when it comes to dry legalistic matters of IP.
Besides, that’s only relevant to modern watches anyway. The whole world of fake watches is leaning towards ever greater complexity given the growing interest in vintage watches in recent years. Frankenwatches are said to now account for a fifth of all vintage watches sold in the US. Over the course of a watch’s lifetime it’s possible that the case will have been over-polished or the dial reconditioned; indeed, send a watch back to its maker for servicing and, until this vintage market won recognition, it was standard practice to make the watch look as new again as possible. But is a vintage watch with undisclosed reconditioned parts—perhaps reconditioned long before the current owner took possession—a counterfeit? Is, similarly, a customised watch, or a “modification”, in some sense counterfeit? These questions are still being worked through.
“Put modern hands on a vintage Monaco and it’s not exactly a counterfeit, and yet it will have a very real impact on its value,” stresses Jonathan Scatchard, founder of specialist dealers Vintage Heuer. “But the problem is that the quartz crisis [of the 1970s and 80s] caused all sorts of anomalies when so many Swiss watch companies went bust and parts were distributed and used across the industry. Authentification services have advanced considerably in recent years. But the vintage watch market has also made the question of what is a counterfeit and what isn’t even more of a grey area.”
And, adds Fabrice Gueroux, assuming that we will continue to live in a consumer culture that keeps telling us to define our self-worth through our possessions, it’s only going to get greyer still.
“The manufacturer can’t win this battle,” he states. “You have reality and you have PR. You see the manufacturers spending a lot of money on anti-counterfeiting tech but it’s all BS. They can’t keep up. You know the only way to tackle watch counterfeiters? It’s for manufacturers to push up the quality of their products, and to keep pushing. We’re getting to the point where that’s the only way that the fake watch is going to look fake.”
Originally published in Esquire ME
Louis Vuitton men's creative director Pharrell Williams tapped on Western Americana for his third runway collection for the Maison. Replete with Western motifs—think old-Western cowboys, denims, heavy buckles and more—the Louis Vuitton Autumn/Winter 2024 menswear collection twists these elements with the Maison's signature design vocabulary for a contemporary take on workwear silhouettes.
Sure, they may be primed for the desert and rough terrains (especially with the collaboration with Timberland) but the collection is equally suited for the city with craft-centric versatile pieces. Any way the wind blows—that's pretty much where you'd be able to wear them.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Grooming: Christian M
Photography Assistant: Chaw Wei Kang
Model: Hayate O at MANNEQUIN
Yes, we are facing the consequences of our actions—global warming. The heat is becoming unbearable, making it daunting to venture outside our homes. Dressing appropriately in this climate poses a challenge; layering clothes would probably risk suffering from a heatstroke.
Walking in this heat has become increasingly frustrating, with perspiration soaking us within moments. Moreover, the intense sun makes it difficult to keep our eyes open. How can we stay fashionable in this weather?
If your clothes aren’t hitting the mark, you can always elevate your outfits with accessories. We understand that jewellery might not be the most practical choice, so we focused on a more functional accessory: sunglasses. Your peepers stay protected and sunglasses also add a stylish edge to your look.
Classy and minimal with a touch of edge, the Gentle Monster Loti 01 sunglasses exude an effortlessly cool vibe. These versatile sunglasses complement almost any look. They feature a cat-eye silhouette with a black acetate frame. The softly curved top and balanced lines of the bottom create a chic, lightweight design. The sunglasses also have voluminous temples with silver metal details and black lenses offering 99.9 per cent UV protection.
This pair takes the classic square silhouette to another level. Bold yet understated, they serve as the statement piece in your minimalist wardrobe. Their size and unique black and grey hue add a touch of sophistication to any outfit. Suitable for any weather, these sunglasses can withstand rain or shine—just remember to dry them immediately if they get wet.
Of course, this list has to include Oakley. As one of the most iconic eyewear brands, they are essential. If you're into Opium core fashion, the Silver Encoder Ellipse sunglasses are a must-have for your wardrobe. Innovative and forward-thinking, this pair boldly elevates style with its unique Encoder lens shape.
Equipped with Detachable anti-slip Unobtainium (no, really; someone at Oakley really likes Avatar) rubber nose pads and earsocks for a secure, no-slip grip, these sunglasses showcase Oakley's commitment to both style and functionality. Their PhysioMorphic Geometry design methodology ensures a close fit to the face, optimising coverage, offering a wider field of view and enhancing frame retention and impact protection.
What is Opium core without Rick Owens? The iconic brand blends dystopian themes with grunge, gothic punk, French culture, and rock avant-garde, making it essential for achieving the Opium core aesthetic. This pair of wraparound-style sunglasses features a nylon frame and black lenses, adding an alluring and mysterious vibe to your look. They also offer 100 per cent UVA/UVB protection, Category 3 rating, and integrated nose pads. While layering is a key element of this genre, it can be challenging in this hot weather. With the Black Ryder Sunglasses, it will help you exude the look effortlessly.
If you're into the office siren look, the Brown EQ100 sunglasses are the perfect accessory to complete your outfit, embodying the corporate core aesthetic. This rectangular, semi-rimless pair offers the best of both worlds with slightly tinted yellow lenses that can be worn indoors. They also feature an anti-glare and scratch-resistant coating, 100 per cent UVA/UVB protection, integrated nose pads, and graphic hardware at the temples.
For a more understated look, consider the Prada Silver Logo sunglasses. Featuring thin metal frames, these sunglasses offer greater versatility and complement any outfit colour. The gradient grey lenses, subtly etched with the Prada logo, provide a sophisticated touch. They offer 100% UVA/UVB protection and include adjustable rubber nose pads, making them a great option for those with a lower nose bridge.
Embrace the retro-futuristic style with these sunglasses from A Better Feeling. Featuring sharp angles, minimal decoration, and matte metallic tones, each pair is hand-manufactured from lightweight, functional materials such as stainless steel, titanium, and acetate. These sunglasses possess a sleek silver tone, polarised beige lenses, 100% UV protection, adjustable rubber nose pads, and an engraved logo at the temples.
"The Goggle" sunglasses are handcrafted from recycled stainless steel, inspired by the iconic eyewear of Tokyo's vibrant 1990s scene. Combining retro appeal with futuristic influences like Steampunk goggles, these sunglasses make you look like a character straight out of a science fiction movie, embodying the retro-futuristic look to its core.
While this pair may appear simple at first glance, a closer inspection reveals intricate spring details on the temples. If you appreciate subtle yet refined touches, this pair is perfect for you. Highlights include blue lenses and a "Gaultier" engraved bridge. Beyond its stylish appeal, it features a category 3 UVA and UVB filter with anti-glare treatment, ensuring both fashion and function.
The Santos de Cartier sunglasses feature a metal frame with a smooth and brushed golden finish, a rectangular shape, and green lenses. These aviators perfectly complement the vintage "grandpa" look you’re aiming for. Additionally, the iconic Santos screws, borrowed from the renowned watch of the same name, add a distinctive touch.
So, the next time someone asks, "Why is it so hot?" just tell them it's because they are standing next to you.
Earlier this January, the Louis Vuitton Autumn/Winter 2024 menswear runway show explored the American Western roots of workwear, blending the Maison's craftsmanship with dandy-esque elegance, utility, and comfort. The Men’s Workwear Capsule Collection—a core part of the Autumn/Winter 2024 menswear collection—reflects the meticulous LVERS ethos guided by creative director Pharrell Williams.
Focusing on the versatility and durability of the refined suits and overdyed jacquards, the capsule collection features reimagined workwear staples in browns, blacks, and beiges. Western-inspired yokes and leather appliqués adorn trucker jackets and coats with sculptural cuts, echoing the American workwear's functional lines. They're complemented by turquoise-like buttons, pearls, embroideries, and studs as a beautiful showcase of the Maison's savoir-faire.
Doubling down on the workwear inspiration, Louis Vuitton introduces the Keepall 50 Toolbox: a utilitarian take on the Maison's iconic bag. Crafted in natural leather with its preserved earthy nuance, the Keepall 50 Toolbox echoes the rugged functionality of American workwear with multiple exterior pockets, rivets, and lined in coated Monogram canvas.
The capsule completes the accessories line-up with an engraved flash and cigarette case reminiscent of the American West, along with a silk scarf paying homage to its key accessories.
The Men’s Workwear Capsule Collection by Pharrell Williams is further enhanced by a collaboration with Timberland. Synonymous with workwear, the American brand is a fitting partner to showcase Louis Vuitton's craftsmanship applied to the real-life practicality of its footwear.
The reimagined LV x Timberland 6-inch boot—developed with Timberland and crafted in the Maison's Italian shoe atelier Fiesso d'Artico—is available in two designs. Each iteration features premium Italian nubuck leather, an insulation system, and seam-sealed waterproof construction. The boots are distinguished by their signature rubber lug outsole detailed with LV Monogram embossing (a treatment that's also visible on the underside of the tongue), LV eyelets, and leather tag adornments.
Amplifying the 6-Inch silhouette by 15 per cent is the LV x Timberland Boot. Available in five distinct styles, each features a robust rubber lug outsole. An ankle boot in wheat or black grained leather is adorned with a Monogram-embossed tongue lining and leather tag details; a ranger boot features an extended shaft, lace hooks and strap embellishments; a pull-on mid boot is topped with bag puller accents; and a pull-on harness boot with side buckles and a harness. All of the five styles are available in either wheat or black colourways.
But the most impressive and available in limited-edition quantities of 50, is the LV 6-Inch Exceptional Edition. Designed in collaboration across Louis Vuitton's shoe, jewellery, and hard-sided experts, this unique boot features Classic Monogram premium Italian leather with bespoke rubber lug outsoles for an extra distinctive touch. The boots are also adorned with 18K gold LV tongue initials, eyelets, lace tips, and tag hardware. Engraved on the LV tongue initials is "THE SUN IS SHINING ON US", echoing sentiments from Williams' debut Louis Vuitton show last June. And true to form, this Exceptional Edition is housed in a custom Monogram leather and plexiglass shoebox with VVN trims, as showcased on the Autumn/Winter 2024 runway.
The Men’s Workwear Capsule Collection by Pharrell Williams is now pre-launched online and on the LV app. The capsule collection will be available at the Louis Vuitton Marina Bay Sands Island Maison from 8 August 2024.
You'd probably find it odd holding a Bvlgari Aluminium for the first time. You heft it in your hands, unsure of its weight. It’s undeniably metal, but the light, cool, matte aluminium feels unlike any watch you’ve encountered. Then there is the rubber bracelet, each supple piece of rubber linking to the next, softly swivelling on partially exposed joints. You can’t quite put a finger on its design either—is it a sporty watch? Contemporary? You'd wager it’d look equally at home paired with a suit though. The Bvlgari Aluminium is complex, avant-garde even, but it’s a haute horlogerie affair, and this one is unmistakably Bvlgari.
It’s 1998, Bvlgari, a titan of luxury, just revealed its latest collection—a luxury watch line made from two heretical materials: aluminium, a material typically relegated to soda cans, and, well, rubber. It was a defiant move that sent shockwaves rippling through the realm of haute horlogerie. Little did Bvlgari know, this one step would propel the brand into the future, and it was dragging the entire watchmaking industry along with it, whether they liked it or not. Just ask what Apple thinks of aluminium watches.
Having received acclaim as an iconic watch at the Grand Prix d'Horlogerie de Genève 2020, Bvlgari finally took its celebrated timepiece out of its award case and unveiled the second generation in the same year. The Bvlgari Aluminium returns in 2024 with three new models—a black GMT model, an emerald green chronograph, and a white automatic version—and they’re arriving with upgrades.
While each differs in capabilities, all three variations share a hallmark: the unabashed “BVLGARI • BVLGARI” signature carved around the 40mm watch face—its stirring arrogance inspired by the names of past Roman emperors stamped on coins, subdued by the black velvety surface of the rubber bezel. Born out of FKM rubber—a notoriously durable material in watchmaking—its bracelet features rectangular rubber blocks held together by pivoting aluminium links. This ensures a perfect drape on your wrist, providing an airy feel absent in most rubber straps while eliminating that clingy grip on sportier days. Though powered by different calibres, all three watches have a power reserve of 42 hours and water resistance of 100m.
As the only watch widely available in the collection, the Bvlgari Aluminium Black GMT builds upon its predecessors by introducing a Greenwich Mean Time (GMT) function, flaunting its capacity for dual-time zone capabilities. This serves as a homage to the inception of the Bvlgari Aluminium when it was brazenly printed onto the fuselage of an Alitalia Boeing 747, which, of course, shared a material common between them: aluminium. Speaking of which, Bvlgari has developed an alloy of aluminium designed to be more durable than the original 1998 collection. Set against an off-white dial, the black hands with luminous sword ends stretch towards the indices surrounded by a colour-coded GMT function with red representing day and black for night. Nestled deeper lies the Calibre B192, a self-winding mechanical movement that allows adjustments for seconds, minutes, hours, GMT hands, and the date to be made through the watch’s single crown.
In a nod to its Italian heritage, the limited-edition Chronograph Smeraldo draws inspiration from the alluring island of Capri. The name of the game is la dolce vita: picture yourself at the heart of Capri, wading in the turquoise water of the Marina Grande. The sand, so fine it feels like powdered sugar squishing between your toes. As you venture deeper, the water deepens just enough to lap at your calves. The water shimmering like shattered gemstones, an impossible emerald so vivid it seems to hold the entire sky itself captive. Here, you feel only the sun on your skin, the cool embrace of the water, and you let the breeze carry your soul into the ocean.
This scene is brought to life in the Chronograph Smeraldo that’s limited to just 1,000 pieces. Now, let’s talk design. Dark green dominates here, unifying the bezel and rubber bracelet to form a cohesive theme. Dark green hands sweep across a gradient dial, transitioning from white to turquoise—a reflection of the Capri coastline. The chronograph counters echo the same palette, hammering home the elegance and essence of an Italian summer. Just as the sun's energy fuels life on Earth, the automatic B130 mechanical movement powers the chronograph and date function of the watch. An engraving of the compass rose adorns the aluminium caseback, ready to rest flush against skin.
The White Automatic completes the 2024 Bvlgari Aluminium trilogy, embodying a blend of minimalist elegance and unflinching boldness, while capturing whispers of the Colosseum’s grandeur all at once. Perhaps the most striking piece in the collection, this limited edition watch evokes the spirit of '90s Bvlgari being draped in all white, mirroring the brand’s audacity back in 1998 during its initial release. The inspiration from ancient Roman coins is magnified by a sleek, one-toned aluminium white dial, creating an honest canvas that complements the splash of red added by the seconds hand. Rhodium-plated indexes and hands treated with Super-LumiNova® only add to the grandeur. Legibility is close to perfection with this timepiece, featuring the classic Bvlgari touch of a 12 and 6, and a clean date display at 3 o’clock. The White Automatic owes its soul to the Calibre B77, the reliable automatic mechanical movement that energised its predecessors.
From the functionality of the Black GMT to the Italian charm of the Chronograph Smeraldo and the minimalist Roman grandeur of the White Automatic, each Bvlgari Aluminium is a conversation starter. On its own, it's a watch that serves as a statement, a bold declaration that luxury can be redefined, that elegance can be found in the unexpected. But on your wrist, it’s a watch that not only speaks for itself as a symbol of supreme confidence in one's own artistry, but also one that undoubtedly screams Bvlgari, Bvlgari.
Moved by a photo of James Dean at his childhood home and his iconic quote—“I think the prime reason for existence, for living in this world, is discovery”. Chitose Abe weaves a tale of growth and self-discovery in Sacai SS25 Men's Show. Her youthful collection captures the essence of Dean’s early years, as models emerge from a deconstructed home, embodying the spirit of coming age.
While the collection paid homage to the classic 1950s American style from Dean’s era, Abe infused it with that Sacai twist.
(SACAI)
Abe found herself captivated by James Dean’s iconic Harrington jacket from Rebel Without a Cause. This legendary piece of cinema fashion enchanted Abe so much that she couldn't resist incorporating it into the men’s collection. The timeless appeal of Dean's style and the rugged, utilitarian aesthetic of WTAPS—a Japanese streetwear brand renowned for their military-inspired style blended seamlessly, creating a distinctive fusion that paid homage to both classic Hollywood and contemporary streetwear.
Meanwhile, Sacai collaborated with Levi’s, fusing Type I, II, and III jackets with classic denim pants to create a unique hybrid piece. Models, clutching books and sporting glasses, evoke the spirit of academia and youth—discovery in motion. With loafers trending, Sacai added their calling card to the traditional J.M. Weston penny loafers. And just when you thought it couldn't get more exciting, the Zegamadome sneaker was born. Thanks to the cutting-edge collaboration between Nike and the brand.
Sacai unveiled groundbreaking collaborations at every turn, ensuring Abe's zest for revamping remained undiminished on the runway. Hybridisation doesn’t end with Sacai.
