It started with shoes.
When Gian Jonathan first saw his friend wear a pair of FBT shoes, he was piqued by how they looked. She told him that they were from the Japanese brand, visvim. That planted a seed in Jonathan. Years later, he would show us an ICT (Indigo Camp Trailer) Noragi Kofu outfit and remark on how hard it was to find it. “This was a special release at an Isetan pop-up,” Jonathan says. “If you look at the construction, the patterns may look random but it’s actually coordinated. Check out the indigo fabric and the kasuri design, which is how they…” Jonathan catches himself and apologises for “geeking out”.
It’s understandable to be lost in the world of visvim. It’s a brand that is uncompromising in its usage of traditional construction for its products. The founder, Nakamura Hiroki, was already well-versed in Americana, having spent time all over Alaska. After quitting his job at the Japanese division of Burton Snowboards, Nakamura decided to form his own label, visvim.
By all accounts, the appellation visvim doesn’t mean anything, at least as a whole. Cribbed from a Latin dictionary, Nakamura loved how the words “vis” and “vim” look and decided to use them as a brand name. (Coincidentally, both words mean “power”.) visvim started as a show company but it grew into a thriving business that has found fans in Eric Clapton and John Mayer.
Years later, during a company trip to Tokyo, Jonathan’s girlfriend (now wife) gifted him a pair of visvim shoes. This would seal Jonathan’s fate as a serial visvim collector.
The clothes that Jonathan collects, while some might be precious with them, Jonathan treats most of them like any other pieces of clothing: washed, folded and worn. He took out a pair of red shorts that were made out of bandanas. He points to the vintage indigo patches that cover the holes incurred from constant wear. “My mom would sew some of the holes in my visvim T-shirts and she’ll tell me to throw them away already because of how worn they are,” Jonathan says.
Jonathan takes the cake for being someone with a wardrobe that’s only filled with visvim products. To his credit, he wore other labels like Kapital, which is known for its traditional manufacture. “But the cutting and distressing are a little overwhelming for me,” he says. “It’s too much. For visvim, they know how to balance out the perfect and the imperfect.”
There are some downsides to having such a varied visvim range. For one, the weather in Singapore isn’t the most ideal for some of the thicker pieces. Jonathan can only wear them in cooler climates like Japan. And with the arrival of his two children, Jonathan has to make concessions to his collection. “When the firstborn arrived, he was always grabbing at my visvim jewellery and putting them into his mouth. I had to sell the accessories off. Maybe when they are older, I might start collecting again.”
Back then, when he first started collecting, there wasn’t enough information about how visvim processes its outfits. It was through meeting with other like-minded people, online forums and Google translate that Jonathan was able to develop his knowledge about many of visvim’s esoteric processes.
One such method is katazurizome. It’s a dyeing technic that places paper stencils on top of a fabric and a brush rubs dye into it. This process requires a high level of discipline that only an experienced craftsman possesses.
There’s also a visvim arm that makes products via “natural means”. Called “ICT”, which stands for “Indigo Camping Trailer”, the construction of products can utilise Japanese indigo to traditional mud dyeing techniques to the incorporation of vintage fabrics.
Jonathan feels that he may have about a hundred visvim pieces, the scarcity of space in his home has nudged him to store some of them at his office. His IG account (@gian2) showcases the outfits that he finds interesting. He has somewhat catalogued his collection, or at least, the more precious items. “I told my wife that if anything were to happen to me, don’t anyhow sell my things. Just refer to the list.”
He recounts the time that he bought a fake. “It’s a short-sleeved shirt, naturally dyed with a Japanese print. When it arrived, there were no alarm bells. The fit is the same. It came with its dust bag.” But on the way back, he placed more scrutiny on the item and realised that the prints of the shirt did not bleed through the fabric. The outfit also felt thicker.” Jonathan had an existing shirt and compared the two, which corroborated his suspicions.
These days, Jonathan is more careful; often corroborating with the online visvim community on suspected items online. There is a modicum of awe though in the high technical level of a fake visvim piece. Even fakers who are cashing in on visvim’s popularity are trying to meet the brand’s exacting standards.
There is someone who doesn’t share Jonathan’s enthusiasm for visvim. A framed pair of FBT RICO-FOLK shoes hangs on the wall of the master bedroom. Taken from visvim’s children’s range, the afterthought of Ernest Hemingway’s shortest story popped into our heads. We point to them, Starting them young, we joke.
“Oh, I got that for the firstborn but he doesn’t like it,” Jonathan says, laughing. “He said it wasn’t comfortable."
Photography: Jaya Khidir
Art Direction: Joan Tai
Photography Assistant: Chuen Kah Jun
The show that never was. Celine Homme's cancelled Summer 2024 runway show (and its planned after-party with live performances) in July 2023—in light of the protests happening in Paris at the time—turned into a short film. Shot in the same month, it was largely filmed in Paris with interspersed scenes of classical ballet dancer Laurids Seidel shot at the Opéra Garnier Monte-Carlo.
An extended version of LCD Soundsystem's "Losing My Edge" is the soundtrack to the film, bringing the mirrored set to life as models embodying the collection's amplified androgyny walked on in succession. Artistic, creative and image director Hedi Slimane's aesthetic lies in the rock-and-roll androgyny synonymous with the legendary figures the likes of David Bowie and Mick Jagger. For Summer 2024 however, Slimane took it up a few notches with the adoption of more feminine elements that, quite frankly, Jagger could probably still rock right now.
At heart of the Celine Homme Summer 2024 collection's inspiration was Slimane's prior photography works in the early noughties. New York's underground art scene—featuring artists such as Dash Snow, Slater Bradley, Mathew Cerlett, Dan Colen, Gardar Eide Einarsson, Terence Koh and others—became the focus of an exhibition that Slimane curated in 2007 in Berlin. He later went on to stage his own in Amsterdam as tribute to the same artists. And as somewhat of a culmination of this continued love and tribute for the scene, Slimane also worked with Snow's estate to include artworks from his archive for the collection.
The fit: The standard Slimane look was apparent in Summer 2024. Impeccable tailoring finished off with skinny ties were nods to his Dior Homme era, but then elevated with rhinestones that seemed to give off their own luminescence with every movement. Leather was a heavy focus as seen with trousers crafted with a slight flare as well as some of the collection's standout moments. The latter saw the beautiful execution of a leather jacket with sleeves that ballooned out, inspired by 17th-century French court royalty.
The newness that Slimane injected into the collection (and let's face it, the man does what he wants and sometimes that equates to tried-and-tested looks) came in the form of more feminine nuances. Referencing couture constructions and silhouettes, bustiers took on exaggerated ribbon-like forms that wrapped around the waist, and in one look, a leather version was crafted with off-the-shoulder sleeves that seemed to levitate away from the body.
The details: As with most Slimane creations, there was a thoroughly nonchalant attitude about the collection. Sheer fabrications were dressed with rhinestones and sequins, with bare skin almost a given under leather outerwear and embellished cardigans. The same magpie-esque treatment was given to a number of heeled boots for that extra rock-and-roll flair.
Three exceptional looks: The opening look that consisted of a halter-neck top wrapped with satin a bow; look 36's disco-treated suiting; and look 47's billowy top that Harry Styles would certainly look at home in.
The takeaway: Slimane is not really a one-trick pony.
View some of the key looks from the Celine Homme Summer 2024 collection in the gallery below.
It’s amusing to read the comments on Gucci’s Instagram posts of new creative director Sabato de Sarno’s debut collection. People seem to fall into two camps: on one side are those who welcome the “return to elegance” with a comment going as far as calling the previous iteration of Gucci “a bad taste freak show”, while the other compares the current collection to that of a fast fashion brand and proclaims it “boring”.
It’s expected, of course. You can’t please everyone. Out of curiosity, I tried searching for Gucci’s posts of former creative director Alessandro Michele’s first collection, but all traces of the old Gucci appear to have been scrubbed from the feed. Anyway, I’m just certain that the reactions back then were just as divided.
It’s funny because, as someone in the industry, I find that we’re quite detached from real-life consumer sentiments. Personally, I loved Michele’s maximalist Gucci. I found it creative, vibrant and presented a luxury fashion aesthetic that was different from its competitors. And evidently, it was an aesthetic that worked for a significant period until consumer fatigue set in—something that I truly didn’t experience.
But I get it. Consumer trends tend to be predictable and are linked to a number of socio-economic factors. There’s no denying that after a period of maximalist fashion, consumers are understandably tired of all the ostentatious more-is-more aesthetic, especially given that their personal economic situations may not be reflective of that aesthetic and thus, completely not relatable.
However, I wouldn’t go as far as to say that we’re living in an era of “quiet luxury”. Because the reality is (and this may sound elitist), if you’re adopting a quiet luxury aesthetic with anything other than brands like Loro Piana, Brunello Cucinelli and The Row, you’re not actually doing it right, I’m sorry to say. Anything else is minimalism; quiet luxury refers to more than mere simple, elevated cuts.
Change is constant and where fashion is concerned, it’s almost destined to move on to something on the other end of the spectrum once a trend cycle reaches the end. Although it is quite an oxymoron to say that maximalist fashion started getting stale, the complete opposite is a breath of fresh air from the visual assault of logos, prints, embellishments and the like.
What we are currently experiencing can be compared to the rise of minimalist fashion circa 2009, when brands like Céline (the old, Phoebe Philo-led one), Calvin Klein and Jil Sander were constant points of references for impeccable style. They were stunningly clean, cut-focused and had little need for unnecessary flourishes, but ultimately suffered the fate of being rather easy to replicate using more affordable alternatives, without looking like a poorer version of the original. Now, attempt that with maximalist fashion and one runs the risk of looking downright tacky.
Of course, that’s not to say that there’s no space for maximalist fashion now—that would quickly erase the existence of quite a number of fashion brands across different categories. Brands whose DNA is maximalist would naturally tone down the visual language slightly or offer pieces that are more in line with current consumer tastes in order to not be alienated. But at the same time, not neglecting their individual identity.
We are already seeing the beginnings of neo-maximalism on the Spring/Summer 2024 runways.
Italian fashion house Versace is unequivocally maximalist through and through. From gilded trims to its signature Barocco print, Versace’s oeuvre consists of a brilliantly excessive decadence that it has been famous for for decades. But for its Spring/Summer 2024 runway show, artistic director Donatella Versace showcased a collection that was a refreshing surprise. Clean lines took precedence over exaggerated silhouettes, and a more curated colour palette was favoured over brash combinations of bold colours. And yet, the Versace-ness remained as prints were rendered in monochromatic treatments that seemed to merge with their pastel base, and Barocco trims (albeit toned down) were done in white so as not to draw too much focus from the cut and make of the garments.
Similarly at Dolce&Gabbana: nary a single logo was seen anywhere throughout the 76-strong Spring/Summer 2024 menswear looks. It was a gradation of colours from black to taupe and then back to black with each look completely monochromatic from head to toe. True to the brand’s DNA, embellishments were still present in a number of looks, but done with restraint. Instead of combining multiple types of embellishments together, there was a more concerted effort to focus on a single type and done in one single hue—often in the same colour family as the rest of the outfit.
Now that that is sorted out, is maximalism done for now? Well, not quite. Homogeneity isn’t aninherently human trait. Think about it, the rise and existence of subcultures such as punks, mods and grunge, were all a result of wanting to break away from the mainstream. Even with minimalism gaining traction, there will still be individuals and fashion brands that choose to stick to their individual maximalist styles.
The thing about maximalism is that it’s often thought of as being more creative and more interesting as compared to minimalism. That’s not to say that minimalism is, inevitably, boring—it takes superior technical craft and skill to create something cuttingly simple. There is just a lot more to see on the surface with maximalist fashion. It’s something that we can never truly get tired of. We may require some respite after a while but we’ll always come back to awe-inspiring expressions of creativity from the very first glance.
Beyoncé and Jay-Z were not in attendance at the Louis Vuitton Pre-Autumn 2024 menswear show in Hong Kong as rumoured—nor were Zendaya. There was also no post-runway performance as what we saw during Pharrell Williams' debut show during Paris Fashion Week Men's. But that didn't mean that there was any lack of a "show".
Apart from the occasion being a milestone first for both Louis Vuitton and Williams—it was the first Louis Vuitton show to be held in Hong Kong and its first menswear pre-collection to be staged ever as well as being William's first pre-collection outing—quite a lot was at stake. Williams' debut (as all debuts go) served as an introductory teaser to his vision for the maison. The Louis Vuitton Pre-Autumn 2024 menswear collection was an opportunity to drive down those ideas even further, especially in a more commercial setting.
Less we forget, the pre-collections are conceptually commercial fillers to the main seasonal collections. And by commercial, I mean more accessible (fashion-wise) to the average consumer who perhaps isn't looking to purchase an embellished suit or a head-to-toe Monogram fit. Williams appeared to achieve just that with his 64-strong showcase that, while noticeably pared back as compared to his Spring/Summer 2024 debut, offered a number of more extravagant pieces that tied back to his overarching vision for the maison.
Staged on the Avenue of Stars in view of Hong Kong's cityscape, Louis Vuitton recreated a beach complete with sand and floor-screens that displayed continuous waves of water meeting the "shoreline". Williams took reference from surf culture as well as nautical influences that all point to the moon as an element that binds them all together.
The runway show ended with a parade led by Williams himself. But not before a drone-filled sky took on shapes that alluded to the show's narrative of LVers travelling from Hawaii to Hong Kong—show-stopping enough to gather everyone's attention.
The fit: The Louis Vuitton Pre-Autumn 2024 menswear collection was teeming with surf and nautical references. At its very literal, sailor motifs—flap collars, berets, and Dixie cup hats—were prevalent as running elements throughout. These were then amplified with Hawaiian prints reimagined as a new take of the maison's Monogram motif, appearing on bags, accessories, tailoring, and of course, Hawaiian shirts.
What's quickly becoming key for Williams' Louis Vuitton menswear is tailoring—a surprising approach given his streetwear leanings similar to that of the late Virgil Abloh. While there were a number of streetwear-inspired separates ranging from oversized shirting to mixed-material outerwear, the collection consisted of a heavy emphasis on tailoring. Suits were aplenty and came in a number of iterations and embellishments, and were all finished with mother of pearl buttons. When they're not paired with signature-Williams berms, suit trousers were flared for a decidedly stylish touch.
The most labour-intensive creation came in the form of the closing look's spectacular bomber jacket. Crafted from denim, the entire piece was covered with crystals and pearls depicting Poseidon, fish, florals and water—a nod to the lakes and fisherman of Williams' hometown of Virginia.
The details: Bags and accessories heavily leaned on the nautical spirit of the collection. The most literal were leather charms that took on the forms of sea creatures and were fixed on the collection's bags. The new Surfing Monogram—that combination of Hawaiian prints and the LV Monogram—appeared in four different colourways on a number of pieces including Williams' new iteration of the emblematic Keepall bag.
Three exceptional looks: Look 9's clever update to a striped coordinate that's interpreted with pearl embellishments (including a mini LV charm interspersed throughout); the burnt orange ensemble of look 40 that's decorated with floral appliqués and topped with a woven beret; and the all-denim look 57 cleverly styled with a simple hint of a surfer-inspired charm.
The takeaway: Williams knows what's he's doing with Louis Vuitton, no doubt about it.
View the full Louis Vuitton Pre-Autumn 2024 menswear collection in the gallery below.
Louis Vuitton men's creative director Pharrell Williams certainly knows how to make waves. After a show-stopping debut during June's Paris Fashion Week Men's, Williams is bringing the maison's Pre-Autumn 2024 collection to Hong Kong.
The staging of a Louis Vuitton menswear pre-collection runway show has never been done before. The maison typically opts for a lookbook release (pre-collections tend to be more commercial in aesthetic as compared to main runway collections) instead of making it an event like what its womenswear division does. There's no denying that with Williams' debut garnering the kind of reach brands clamour for—Louis Vuitton reported over one billion views across its owned platforms as well as its press accounts—the maison is hoping to replicate a similar moment once again.
The Louis Vuitton Men's Pre-Autumn 2024 runway show will also mark the first time that the maison stages a show in Hong Kong. The show will see the takeover of the famed Avenue of Stars as well as the neighbouring K11 MUSEA—both iconic landmarks of the city.
What could the collection look like? Well, that remains to be seen. But if the teaser is anything to go by, we're expecting to see semblances of cruise-appropriate designs interspersed with Williams' inimitable sense of style. Or perhaps sailor-esque fits embellished with pearls.
What: Louis Vuitton Men's Pre-Autumn 2024 runway show
Where: Hong Kong
When: Thursday, 30 November 2023 at 8pm Singapore time
Before reading this second part of our deep dive into the Autumn/Winter 2023 menswear trends, read part one.
Forget about the former US President Barack Obama tan suit controversy—it was, quite honestly, no big deal and all partisan political agenda. Sure, the tan suit on a president known for wearing dark navies and blacks was a stark departure from the usual, but did it warrant a huge reaction from everyone from fashion critics to political pundits?
Let that not steer you away from tan suits. When done right (Obama’s was a touch big for his frame), it’s the perfect suiting option that traipses the line between formal and casual. Berluti’s classic fit, for example, is the kind that you’d want to wear with a turtleneck, or even a basic tank as exemplified by Louis Vuitton’s more beige-like option.
Fashion-forward individuals should look to Dior Men’s voluminous version that’s fitted with utilitarian arm warmers done in the same colour and material. and still exudes elegance with the perfectly constructed cut. Kenzo too follows the same thought process with a structured tan suit blazer paired with wide-legged trousers. The former is also cut boxy with lapels that mimic the detail of a traditional yukata.
Not many patterns out there denote the kind of regal elegance that the Prince of Wales check alludes to. Its entire history is rich with ties to royalty.
Just like the tan suit, the Prince of Wales check offers respite from the usual slate of suiting fabrics and colours. Sure, we’re hardly a suit-wearing society any more but why settle for the norm when you feel the need to bust one out?
While Celine’s iteration leaves the flourishes to a minimum, the fit is true to Hedi Slimane with a slim profile and strong shoulders. There’s no denying the rock-and-roll glamour, especially with how it’s styled—a fine example of how versatile the Prince of Wales check can be.
Gucci offers a modern take with transformable details that turn trousers into berms as well as shortened sleeves. In a similar vein of constructed deconstruction, Balenciaga’s Prince of Wales check coat is trimmed with the brand’s Autumn/Winter 2023 collection’s leitmotif of trousers as outerwear.
It’s Louis Vuitton that completely turns the pattern on its head. Like haphazard puzzle pieces, the Prince of Wales check has been broken down into separate pieces before reconstructed and left with raw edges intact. It’s manic but quite stunning to look at all the same.
There has been no shortage of fashion collaborations year after year. They’re so widespread now that it’s difficult to cut through the noise and stand out. Hence when a brand that rarely collaborates with another decides to do so, it’s likely to be noteworthy.
Zegna’s last big collaboration was also its first. It was an exceptionally well done effort with Fear of God that saw both brands’ aesthetics melded into one. Its latest collaboration is also with another Los Angeles-based brand, The Elder Statesman.
Unlike the Fear of God collaboration, Zegna x The Elder Statesman is part of Zegna’s Oasi Cashmere—a collection focusing on cashmere that the brand is aiming to be fully traceable by 2024. The entire collection is crafted from Oasis Cashmere but rendered in bold colours and prints that The Elder Statesman is known for. If you’ve been a follower of Zegna, you'll know artistic director Alessandro Sartori tends to favour a more monochromatic palette. This collaboration updates the tailored ease of Zegna with colours that one wouldn’t normally associate with the brand. Yet at the same time, it offers the same level of craftsmanship the brand is known for. And that, ladies and gents, is what a great collaboration is about.
Remember that episode of Friends—aptly named “The One with Joey’s Bag”—where Joey decided that a bag from Bloomingdale’s was befitting of his new style conceived by Rachel? “It is odd how a women's purse looks good on me, a man,” he opined. Alas, that feeling didn’t last all that long as people around him saw the leather tote bag as nothing more than feminine. Oh, the ’90s were such a different time.
Fast forward about 24 years later, the lines have been further blurred on what exactly constitutes a “women’s purse”. The tote bag that Joey sported is the norm by today’s standards. For Autumn/Winter 2023, the man-purse makes a return in shapes that recall the more typically feminine shoulder bag.
The Fendi Baguette bag may have been male-coded since the Autumn/Winter 2019 menswear collection, but its latest iterations stay close to the original. The functionality of this season’s Baguette for men are amped up with additional zipper details, refreshed with an oblong silhouette that remains true to the original. It’s even coupled with a short top handle meant to be worn on the shoulder.
Similar styles can be seen by brands the likes of Balenciaga, Louis Vuitton, Saint Laurent as well as Tod’s. Versace’s version comes in the form of a camera bag, while Gucci expands its repertoire of man-purses with with a pliable Dionysus messenger bag and a top-handle bamboo creation.
Beyond the stellar storytelling, blockbuster hits such as The Bear, Succession and Christopher Nolan’s latest hit Oppenheimer, help to timestamp where we’re currently at with regard to men’s fashion. And if you’ve yet to delve into their respective worlds (we highly recommend it, by the way) the consensus is that we’re currently obsessed with the basics.
It’s a telling shift when the cut and make of a Merz B Schwanen white tee becomes almost as newsworthy as The Bear’s critically acclaimed storyline. Or how the if-you-know-you-know old money aesthetic in Succession has spawned articles alongside TikTok content breaking down what “quiet luxury” is as a trend. We’re moving away from monograms and in-your-face logos, with an appreciation of the craft behind each piece becoming key.
The Autumn/Winter 2023 menswear collections are driving down on the idea of elevated basics. Though the silhouettes are familiar (and at times, simplified), these new-old forms recall a time when fashion ingenuity was subtle and flourishes were done with intention. But if you think that means there are hardly any fresh ideas, think again.
Burberry’s overhaul begins with Autumn/Winter 2023. Under the stewardship of chief creative officer Daniel Lee (of #newbottega fame), gone are the uncharacteristically dark and punk-ish looks that were favoured by predecessor Riccardo Tisci.
Lee’s intention was to bring Burberry back to its British roots. He even cited familial connections to the brand’s Castleford outpost where its iconic trench coats are manufactured—family members on his mother’s side had worked in factories supplying to Burberry, he says in a Vogue interview.
The immediate change is seen in the emblematic Burberry check that’s not only rendered in bold colours, but also shifted in perspective and appear larger than ever on ready-to-wear. The brand’s Equestrian Knight Design—a crowd-sourced logo as a result of a public competition in 1901—has been revived and refreshed, adding to the collection’s number of Brit-related graphics. An English rose print blooms completely on softened aviator jackets and workwear-inspired pieces, while mallards appear as a repeated motif seemingly to break away from the relatively serious palette of the collection.
What about the Burberry trench coats? They continue to live on of course, but Lee’s versions are cut oversized and supplemented with faux fur lapels. And if remotely possible, they look more luxurious in this new interpretation.
It makes sense given that we’re approaching the season when temperatures dip—at least for countries farther up north of the equator—the menswear collections are rife with pieces meant to keep us warm. Instead of piling on outerwear, how about opting for pieces that have been lengthened?
First up is Bottega Veneta where creative director Matthieu Blazy plays plenty with proportions and trompe l’œil effects. A striped shirt is cut decidedly oversized with the hem reaching mid-calf, but what’s even more impressive is the fact that it’s not made of cotton. The shirt is actually leather that’s been fashioned to appear like a cotton shirt, which also means that it’ll keep one a whole lot warmer. There’s also a jumper in a separate look that reaches all the way to the ankles, complete with ribbed hem.
If you’re up for a more distressed option to Bottega Veneta’s long jumper, Coach’s striped iteration features an intarsia Superman motif that’s further enhanced by an overall destroyed aesthetic. Sure, this probably wouldn’t keep you warm but does it really matter when it’s supposed to be a standout piece?
For something more put together, Prada’s suede tunics are in line with its constant exploration of uniforms. They’re minimally designed with a flap breast pocket trimmed with a beautiful patina. Like most Prada designs, they can be cuttingly clinical but if minimalism is your thing, this will be one to cherish.
Is the tie truly dead? Not if Valentino has anything to say about it. The Italian fashion house conceptualised an entire collection dedicated to the black tie and named it, well, “Black Tie”. Creative director Pierpaolo Piccioli shifts the attention of black tie as part of formal dress to that of a style staple that works for just about any setting.
There’s nary a single formal suit look throughout the entire collection. When suits were employed together with a slim tie—an element that’s visible on each and every look—they’re hardly traditional black tie-ready. Instead, suit blazers are paired with short shorts and Rockstud Chelsea boots for outfits that certainly wouldn’t fly in a traditional black tie setting.
From an artfully tailored boiler suit matched with a bold red shirt, to a voluminous pea coat worn over a pastel green shirt in the same tone as a pair of creepers, each look makes a strong case for the tie as simply another accessory to consider—and without the stuffy undertone that it’s been associated with.
Taking the co-opting of women-centric fashion a step further, we’re seeing an increasingly intentional softness to the menswear collections this season. The designs are undoubtedly more fluid à la Zegna and Dior Men where constructions of tailoring have softened over the years. But what’s more apparent for Autumn/Winter 2023 is the influence of womenswear.
Dolce&Gabbana for example, included corsetry for a number of its menswear looks. They’re styled over silk shirts in tone-on-tone monochromatic colours, accentuating the waist. In some ways, they do resemble cummerbunds albeit taking more significant real estate on the body.
But what’s more severe in execution is Fendi’s slew of one-shouldered tops. If creative director Silvia Venturini Fendi’s Spring/Summer 2022 menswear collection saw her cropping tops and blazers, the current collection has her slashing diagonally to create toga-inspired knit tops and shirting that expose skin. Alexander McQueen’s tailoring-heavy collection also features flashes of skin through careful deconstruction. In one look, a suit blazer is slashed into half with the bottom-half kept buttoned to instantly create a fit-and-flare silhouette; in another, the back panel of a blazer is cut up and replaced with floral embroidery for maximum visual impact.
At Saint Laurent—easily one of the highlights of the season—the lines between the House’s menswear and womenswear are blurred. While the latter have always been informed by menswear, this time around, Saint Laurent’s menswear tap on the exceptional fluidity of the women’s universe. The proportions are lengthened and exaggerated with massive bow details, beautiful draping as well as hooded creations that are borrowed from previous womenswear collections. Clothes are clothes are clothes, after all.
The cardigan was an intrinsic part of Mister Rogers of Mister Rogers’ Neighborhood fame, whose zipped, cable-knit variations became a ritualistic introduction to each episode. The transition from blazer to cardigan signalled a dressing down that immediately brings viewers closer, almost to a more intimate level of comfort. Then there’s Kurt Cobain’s penchant for cardigans. They’re worn over graphic tees and patterned shirts, and are a reflection of grunge’s anti-establishment sensibilities.
The contrast between the two is stark and exemplifies the versatility of the cardigan beyond functionality. We hardly consider wearing cardigans, but that’s about to change this season as luxury fashion brands offer options that are hard to ignore.
Dior Men’s pearl-embroidered iteration is one you’d easily want to pair with tailored separates, while Zegna’s minimalist cardigans designed with hidden buttons and crafted thin are perfect for all-year layering.
When they’re made plush and with considerable weight such as the ones by Ferragamo and Loewe (beautifully crafted with drop shoulders), treat the cardigan as a knit shirt by wearing one on its own. Or like Celine’s devil-may-care attitude, an embellished cardigan paired with quintessential rocker accessories will also be the way to embrace the humble knitwear once again, and in your own stylistic leanings.
Versace is typically not one to quickly hop onto trends or care much about the shifts in consumer tastes. It marches to its own beat—coming up with a new-ish monogram, La Greca, only in 2021 (well after other brands) but relatively sticking to its signature Barocco prints, Medusa logo, and sexually charged designs.
It's surprising then that for Spring/Summer 2024, Donatella Versace decided to do a 180 with a collection that's representative of a return to minimalism—or that often misused phrase, "quiet luxury"—but done the Versace way. To be fair, this wasn't the first instance of Donatella going rogue with a rather minimalist collection. This is, however, perhaps her most successful execution yet.
The fit: The show opened with luxurious duchess silks adorned with the Versace Contrasto Checkerboard—a pattern that debuted in Spring/Summer 1982—in varying sizes and later paired with utilitarian pieces the likes of a perfectly cut trench and multi-pocketed gilet. They were simply teasers of what's to come: a skilful combination of tailoring and Versace motifs rendered in pastel hues.
The checked and square motifs continued on in multiple fabrications including wool crepe tweed. In some instances, checkerboard prints were layered with signature Barocco prints as well as a Versace Rose motif but in quite muted monochromatic renderings such that they weren't fighting for attention.
The focus on cut and tailoring were evident for the Versace Spring/Summer 2024 collection. Lines were sharp and clean with nipped in waists and three-dimensional sculptural shoulder moments that elevated the level of craft and construction further. In look 69 (the most minimal menswear look of the lot) for example, an impeccably tailored jacket with flared trousers showcased the peak of Versace tailoring but at the same time exuded a timeless aesthetic. It's highly edited and pared back, yes; yet the Versace man still exudes a sexy confidence.
The details: There's no denying that there were semblances of Miu Miu and Prada stylings—it's difficult to not reference the of-the-moment combinations, especially when taking on a minimalist approach. But again, Donatella made them her own. The peeking of underwear under trousers, scoop-neck tanks and fine gauge knit cardigans (both interpreted with gorgeous macramé Barocco borders) were reworked codes of Versace sensuality.
There were hints of a feminine-masculine tension that skewed in neither direction yet showed that the Versace man wouldn't be fazed even if it did. He's that confident.
Three exceptional looks: Look 12's maroon leather suit that's a stunning showcase of leather tailoring; the pastel blue mod-tailoring in look 23 with that clever styling of unbuttoning the last few buttons to show a hint of skin and underwear; and look 73's excellent tailoring.
The takeaway: This is how you do timeless, elegant minimalism while evolving house codes without looking like the next Zara collection.
View the full Versace Spring/Summer 2024 runway collection in the gallery below.
There was no doubt that Burberry chief creative officer Daniel Lee's first showing for the British brand was a stark departure from predecessor Riccardo Tisci's.
The debut—a collection that we're finally able to experience in boutiques now—was a return to Burberry's Britishness, replete with elements and motifs ripped from Lee's lived experiences as a Brit as well as from the brand's archives. The Burberry check was rendered at a slant and blown up (a simple but effective way of modernising the brand signifier) and the Equestrian Knight Design (EKD) revived as a complementary branding device.
For the Burberry Summer 2024 collection, Lee continued to reimagine the brand's heritage with an even more focused lens. Building a new visual vocabulary for a brand like Burberry is no mean feat. With the second runway collection, we're starting to see the fruits of that labour.
If the Winter 2024 collection was a foundational collection that at times may have seemed a bit chaotic—a mallard beanie and a cacophony of visuals ranging from roses to more mallards to the EKD—the Summer 2024 collection felt more intentional and evolved. Surprisingly, the latter was more subdued and less colourful than the debut. In fact, the 'knight blue' that Lee has adopted for Burberry was little to be seen on the runway.
The fit: The overall colour palette for the collection was relatively quite dark. Instead of knight blue, colours graduated from black to a dark green before branching off to richer hues.
Yet, at the same time, prints were a key focus of the collection. What appeared as though vintage scarf prints lifted from the Burberry archives were actually prints of metal hardware in the shape of a horse—part of the Knight bag introduced for Winter 2023—and chains. Similarly, a repeated motif of the clasp of the Rocking Horse bag too appeared as a print. Both prints adorned a number of ready-to-wear pieces, including a new take on the classic Burberry trench. Lee's intent was to reimagine the trench for the summer and that included making it more lightweight than ever—in look 47, the trench could be seen hung by the neck simply by a thin chain.
What I especially liked about Burberry Summer 2024 was how Lee doubled down on the brand's military past. And while that could have resulted in quite costume-y creations, the ready-to-wear looked simply at home. Epaulettes on shirting as well as outerwear extended well beyond the shoulder line, while the trench coats cut a sharp, regimental silhouette while still retaining a sense of modernity with a dropped waist and exaggerated belt.
The details: Lee may have kept the tailoring sharp but he injected off-kilter semblances in the styling as well as accessories. The collection's slip-ons for example (looks 41 and 45) were doused in rhinestones with the EKD fixed like one would a Crocs Jibbitz. Leather loafers were crafted with an extended leather buckle in the shape of the Burberry Shield bag and topped with the EKD. It's these constant details that help drive the message of the new subtle visual vocabulary of Lee's Burberry.
Three exceptional looks: The ease and simplicity of look 16's black fit embellished with cleverly printed trousers; look 23's printed coordinates that could easily be broken up into pieces that could stand on their own; and look 45's new take of dressed up casual in classic Christopher Bailey-era hues.
The takeaway: Burberry is back to being refined with doses of unexpected quirks—a truly Brit aesthetic.
View the full Burberry Summer 2024 runway collection in the gallery below.
It's the official end of an era. Creative director Sarah Burton is parting ways from Alexander McQueen—a fashion house that she's worked for for close to three decades, of which the past 13 years had been at its creative helm.
"I am so proud of everything I've done and of my incredible team at Alexander McQueen. They are my family, and this has been my home for the past 26 years. I want to thank Francois-Henri Pinault for believing in me and offering me this amazing opportunity. Above all I want to thank Lee Alexander McQueen. He taught me so much and I am eternally grateful to him. I am looking forward to the future and my next chapter and will always carry this treasured time with me," reads Burton's statement.
The end of Burton's time with Alexander McQueen means that, for the first time, the creative reins could potentially be handed over to someone outside of Lee McQueen's circle. Before being appointed as creative director, Burton was considered to be McQueen's right-hand person and the only one possible to carry on the legacy of the house as well as its founder.
McQueen may be more famously known for his otherworldly and provocative creations on the runway (more so evident on his womenswear collections) but Savile Row techniques and constructions were key tenets of his menswear. Tailoring was often the foundation of every McQueen-designed Alexander McQueen menswear collection that were then embellished with disparate elements and flourishes. Burton continued the execution. Eventually, the menswear evolved in tandem with its womenswear counterpart, creating a cohesive vision that partly contributed to Alexander McQueen becoming one of Kering's big moneymakers.
Burton is scheduled to take her final bow during Paris Fashion Week later this month. But before that, we look back at her evolution of Alexander McQueen's menswear aesthetic to become the force of craftsmanship and creativity that we know today.
The early collections of Burton's Alexander McQueen menswear focused on McQueen's Scottish roots as well as elements of Britishness. The silhouettes were kept quite conventional but often peppered with instances of exaggerated volume and deconstruction.
Flora and fauna were highly favoured elements of McQueen. Burton started incorporating them into the menswear universe through prints and embroidery—the former gave rise to insect wings that adorned suiting in a myriad of colours and combinations.
Suiting and tailoring began to take a turn with conventional colours and minimalism substituted for mosaic-like prints as well as traditional jacquard and heritage patterns. This was the beginning of a more vibrant interpretation of tailoring.
While embellishments weren't completely new for Alexander McQueen menswear, Burton began to include more metallic beading and embroidery—amping up the level of craftsmanship in the house's menswear pieces. They were starkly employed against dark fabrications and often juxtaposed with streamlined cuts.
Tailoring evolved to include bolder prints that seemed to envelope the entirety of a look. At the same time, Burton nipped waists and offered elegance in the form of cuttingly sharp tailoring.
The house's Britishness was never lost, however. Opting to continuously include typically British motifs—elements of regimental military uniforms as well as fabrications—Burton grounded them with sneakers and more contemporary touches.
The level of craftsmanship exploded with embroidery becoming a key focus. Not only were they employed throughout each and every piece, they were styled with accessories and jewellery to match—a sort of more-is-more aesthetic that came across as haute-couture punk.
Sportier elements of dress were given the Alexander McQueen treatment of exploding sleeves and deconstructed-constructions. Everyday pieces like knitwear and function-first utilitywear took on avant-garde forms that added on to the creative vision of the house.
Gender lines may not have been a consideration for any Alexander McQueen creation—pre- and post-McQueen—but it became increasingly evident with the inclusion of dress-like ensembles incorporated into menswear. Softer elements of flou became quite commonplace too, running in tandem with an increased focus on couture-level embellishments.
Burton's final few menswear collections capture the essence of her time at Alexander McQueen. The blurring of gender, a steely focus on craft techniques as well tailoring at the heart of it all have been continuously refined. There's a certain element of timelessness to the creations, marked by distinctive leitmotifs—the harness and the streamlined silhouette, for example—that have become characteristically Alexander McQueen.
Walk into the Suitsupply store at ION Orchard and the tailor's station positioned in the middle would immediately catch your attention. There's no mistaking that Suitsupply is serious about suits—an affordable range of everyday and occasion-ready tailoring made from Italian mills-sourced fabrics. The tailor's station is a key asset to ensure that the made-to-measure pieces fit perfectly. Surrounding it however, are the brand's ready-to-wear pieces and accessories that complement its main tailored options.
The overall look doesn't stray too far from Suitsupply's elegant tailoring. The ready-to-wear collection is made from the same quality Italian fabrics as its suits with the cut and make meant to work seamlessly with the made-to-measure tailoring. At the same time, they're contemporary enough to be integrated into one's existing wardrobe. Consider them as elevated wardrobe staples—easy to wear and classically stylish all the same.
With plenty of events lined up in the coming months—whether you're sitting at the grandstand of the Singapore Grand Prix or watching acts the likes of Kodaline and Charlie Puth—here's an edit of just some Suitsupply pieces to look and feel good for exact those moments.
Leave the navies, blacks and whites. Choose between a dark brown or mint green slim-fit shirt to make a statement without opting for something completely out of the norm. Or, you know, get them both because they're made from pure linen—you'd put them on rotation for everything from the beach to a dinner party.
The perfect pair of sneakers doesn't exist. But Suitsupply gets it close with this suede pair that's made to be worn with sartorial-laced pieces. The details are kept minimal but when you're looking for something that sits stylishly between formal and casual, this would be it.
Even if you won't be making use of the thoughtfully roomy patch pockets on this pair of shorts, the detail adds a utilitarian touch perfect to be paired with the plainest of tops. The subtle Herringbone pattern ensures that it's still a sartorial piece dressy enough for most situations.
This buttonless polo shirt—in a mint blue that's a key colour for Suitsupply this season—simplifies the look of the humble polo, with the ribbed detailing offering visual interest and comfort. Wear this on its own or layered under a denim jacket and you're good to go.
You'd need a pair of these whether you're standing for hours on end at the standing pen or making that quick dash from meetings to meetings in the city. The calf suede and mesh detailing ensures that the level of sophistication remains no matter the outfit pairing.
Not only is this pair of shorts made from stretch cotton (giving you that little bit of give for extra comfort), the cuffed hem and double pleats offer a more elevated look even when you're just sitting poolside. Wear this with anything from your favourite leather sandals to a well-beaten pair of sneakers.
A camp collar shirt has become a quintessential part of a man's wardrobe. This Suitsupply version is made out of a seersucker fabric perfect for all-year-round humidity. Style one as is or over a tank and complete with a pair of black tailored trousers for an undoubtedly chic look.
For the full Suitsupply range, visit the boutique at 03-15 ION Orchard.
Will Poulter has had a very busy year. Before he was cheffing it up at Noma as Luca on The Bear, the 30-year-old British actor was getting the Marvel treatment as Adam Warlock in Guardians of the Galaxy Vol. 3. Before that, he was a front-row favourite at fashion week, a demigod fallen from grace on magazine covers, a social media trending topic garnering every reaction from thirst-tweets to “Wait, this is the kid with the eyebrows from We’re The Millers now?”. When he hopped on a call with me at the tail-end of a long day in Budapest, where he’s working on a SAG-waived project; just before that, he starred in the autumn/winter ‘23 campaign for COS, looking sharp and graceful, a tousled prince straight out of a Friedrich painting.
“To be honest, I have a bit of impostor syndrome when it comes to doing this sort of stuff, but I feel so grateful,” Poulter says. It’s slightly jarring, how warm and humble he is on the phone—for someone with that bone structure, who has played several villainous roles in the past that well, Poulter is delightfully charming and sweet, completely opposite to some of his most well-known roles.
“This was just a really cool, full circle moment for me, because I think genuinely, when I first started taking an interest in fashion, COS was something that felt elevated but affordable,” he says. “So it was something I kind of aspired to wear and saved up for and did wear, and I always felt really good in it. I always appreciated the simplicity of their designs and how thoughtful all of their clothing was. And to do a campaign for a brand you've been a longterm fan of is very cool.”
The campaign, shot by Daniel Jackson, pictures Poulter in stark black-and-white or warm sepia, a 6-foot-2 vision of timeless tailoring and understated elegance. He inhabits the entire frame of every shot with an unapologetic self-possession that could only come from a 16-year career as encompassing and expansive as his has been, hair ruffled just-so, eyes never wavering from the camera lens.
“In my scenario, it's very rare that I see a photo of myself and I'm like, ‘I like that,’” says Poulter. “But with Daniel, it's like, ‘Oh, actually, I'm more than comfortable with it.’ And that's a nice position to be in.”
Poulter wears the clothes as naturally as a second skin, perhaps because his own personal style is a conglomeration of precise tailoring, timeless pieces, and classic cuts, too. “It’s kind of understated,” he says, “but I like to be thoughtful where possible, so I don’t like to wear anything just for the sake of it.”
That much is evident, even if you’ve only seen one or two pictures of Poulter’s street style. His closet is no stranger to a neatly cut blazer or a long coat with proportional lapels. Fashion, he says, is something he’s always had an interest in; what started with taking cues from his favourite movies and TV shows evolved into gravitating towards characters and roles that reminded him of the ones he grew up with, the ones that influenced his long-standing relationship with style. He credits now-retired Arsenal legend Ian Wright as his number one style icon of all time (and adds that he’s the kind of person who would “look fantastic in COS”), and praises the understated, cool approach to layering Wright has.
“I think developing a relationship with fashion is about what makes you feel good and also an extension of how you express yourself has been something that I've come to terms with maybe a little bit later in life, or as my relationship to fashion has evolved,” he says. “And I think I've also been encouraged to take a few more chances as well, and be a bit braver and bolder. But generally, I do err on the side of understated, and I think when something's well-made and in a colour that you like, really, you don't have to get much more complicated about it than that.”
The mark of a true menswear nerd, though, is knowing it’s all in the details. Poulter, a sneakerhead himself, doesn’t just leave his outfits at a matching shirt, pant, and shoe—it’s about the fit, too. “I think pants or trouser length is very important, depending on what kind of shoe you're wearing,” he advises.
Unlike the masses of celebrities who know a thing or two about fashion posting fit pics on your feed, Poulter isn’t dropping his latest looks to the 'Gram. You wouldn’t know, from a quick search of his socials, that he’s armoured with an arsenal of tailoring tips and sneaker scrutinies. That’s because, as far back as you can scroll, he takes to social media only as an advocate.
His Instagram highlights are a quartet of posts from the past three years, platforming various Black-owned businesses, charities, and causes; on his feed, he’s spreading information on how to donate to earthquake survivors in Syria, or victims of state-sponsored homophobic violence, or foundations that are working to combat the climate crisis.
“I just have a lot of respect for people who do the work that I choose to platform on my social media,” he says. “I think that probably emanates from the fact that my family are medics and caretakers and educators and volunteers.”
Most recently, Poulter partnered with The Reuse Research campaign, which funds cancer research through clothing donations to UK charity shops. The campaign encourages people to be thoughtful about their clothes, and instead of throwing them away, it urges participation in a more circular, sustainable economy powered by donations.
“Being an actor, there's only so much impact I can make,” says Poulter. “I just found [this] to be the best use of my social media platform, because there's more attention being directed my way than there is any of my family members in their roles. And that's wrong in many senses, so it's a way of tipping the balance somewhat, and also just making sure that I'm trying to maximise the potential of my impact.”
