From 15 to 21 April 2024, Moncler transforms the Milano Centrale railway station into a spectacular creative hub. The station will turn into one of the world’s largest galleries with an immersive exhibition titled An Invitation To Dream.
“Dreams are what have been moving myself and Moncler forward since day one, because we never stop dreaming about what is possible, and how we can inspire and be inspired by others around the world. Always aiming to not only do new, but to do better,” says Moncler chairman and CEO Remo Ruffini.
Curated by Jefferson Hack, the theme of the exhibition heeds closely to the brand’s values. An Invitation To Dream is filmed and photographed by Jack Davison, and features a lineup of visionaries that are the cultural leaders of today. They include Daniel Arsham, Dr. Deepak Chopra, Isamaya Ffrench, Laila Gohar, Jeremy O. Harris, Francesca Hayward, Julianknxx, Ruth Rogers, Ruffini, Rina Sawayama, Sumayya Vally, and Zaya.
“The curated community represent some of the finest creative visionaries across culture who dare to dream for us. They are today’s reality-shapers and they were invited to participate as their work carries with it new hopes and possibilities. It’s the deeply transformative aspects in their work and practice that makes them essential artists of our time and essential for us to bring into this project,” Hack explains.
Without a doubt, the station is one of the city’s busiest travel hubs. But not only that, it also represents the pivotal moment for those daring enough to pursue their dreams. Billboards and screen-based advertising sites featuring imageries and quotations from the artists stand amidst the station's bustling environment. These large-scale text pieces and slow-motion portraits serve as powerful yet silent invocations. An Invitation To Dream celebrates those who embody passion and belief.
Arsham tells us more as he reflects on the concept of dreams and manifestation, and how it might help him in his creative processes. From childhood inspirations to the subconscious realms where ideas germinate, Arsham's narrative offers a glimpse into the inner workings of a visionary artist.
ESQUIRE SINGAPORE: Do you consider yourself a dreamer? Are you a dreamer?
DANIEL ARSHAM: Yeah, I believe in the power of manifestation. When I was younger, I didn't fully grasp this concept or its reality, but looking back, I see how I've manifested many opportunities in my life. For instance, when I applied to Cooper Union, I wasn't accepted initially, but I kept pushing for it until it happened. Similarly, working with Merce Cunningham was a dream I actively pursued.
ESQ: You have a lot of notebooks and that you sketch a lot. It's interesting how dreams often start in the mind before taking tangible form. How do you document your process of manifesting ideas? Do your dreams directly influence your work?
DA: There's that 5- to 10-minute period right before you fall asleep where you're kind of in between sleeping, lucid dreaming, where you're partially in control of the vision that you're having in your dream and part of it's taken over by your subconscious. And you can’t differentiate what’s real and what’s imaginary. I often find inspiration in that liminal state right before sleep. There are moments, especially during air travel, where I enter a state between wakefulness and sleep, and ideas emerge. I rely heavily on note-taking and sketching to capture these fleeting thoughts.
ESQ: It's interesting how much our subconsciousness can help recontextualise the conscious mind in a way it can be a freer space. You know, you have an idea, you sketch, you look at ideas, but then when you're in that kind of dream world, you're able to kind of rethink things, or things are presented to you without bias.
DA: Yeah. Ironically, I sometimes do this thing to document an idea where I'll text it to myself. I woke up the other morning from a dream and saw this text I wrote to myself and it said, "Have you ever woken up out of a beautiful dream 30 minutes before your alarm, and you really just want to get back into that dream? Make your life feel like that."
ESQ: Creative flow and dreaming share similarities in their meditative nature. Do you experience a flow state while creating?
DA: Yeah. My studio practice feels like capturing an existing idea rather than inventing one. The idea behind it has already passed. So it's about capturing an idea rather than implementing it. I don't know how exactly to say this, but when I'm painting, It's almost as if the idea is kind of already there and I'm just finding it. Does that make sense?
ESQ: So are you able to kind of paint and not think about what you’re doing? How would you describe that, that feeling of being in a flow state?
DA: I've been making paintings now for 30 years, and I've gotten into a process that almost feels, I wouldn’t say mechanical, but it's very regimented. I know exactly where all of my paint is, the types of brushes that I like to use, and I've refined all of that, even down to the point where I only use a specific kind of paint now.
ESQ: It's interesting because I think that that kind of discipline and rigour is akin to a meditation practice where you're doing something very mundane, but you're doing it very precisely, over and over again, like raking the Japanese garden in your big installation.
DA: Yeah.
ESQ: It does something to the mind. It does something to the creative mind, that practice...
DA: That's why we call it studio practice, because you're constantly trying things out. You're still learning and there's routines that get built up within that that I think are productive, actually, even if they feel like you're doing the same thing over and over again. But, you become better at those things through that kind of practice.
ESQ: Has there ever been a kind of an epiphany moment in that studio practice where you've just done a left turn or you’re shaking things up and thought, okay, I'm going to re orientate what I'm doing here?
DA: I often find it really difficult to trace the origin of particular ideas in my work because they flow from one another. They're kind of iterative. And, I recently started this new series of paintings that are these kinds of split face paintings. We were talking about them earlier and somebody was asking, where did the idea originate from and I can't even remember.
ESQ: So very much like a dream it's fragmentary, right? You know, it could come from the past and could come from, a moment in history or another life and it could also be a premonition of the future, something that you're projecting or wanting to manifest?
DA: Right.
ESQ: I think by saying I don't know where my ideas come from, I start to question whether they are from me or are they from another kind of source in a way that I'm channelling. Have you thought much about that? Where does inspiration come from in general for you?
DA: I think every artist is a product of the era they live in. It is the artist’s job to interpret and reveal new potential things within that reality that often go unseen or overlooked. Oftentimes when I create a work that has a big impact, it feels as though it already existed in the world, waiting to be expressed. This sense of inherent presence gives the work a significant impact and a sense of purpose fulfilled.
ESQ: There's definitely recurring symbols and motifs in your work. Are there recurring symbols and motifs in your dream world?
DA: Oh, I have tons of recurring dreams. One of them that's very strange that I can remember going all the way back to high school is, being in a kind of empty landscape with a single tree and there are these cylinders floating in the air and as I go to grab them, they shrink down into a pencil and then just disappear. Then I often have dreams where I'm in my childhood home where I kind of relive my childhood memories.
ESQ: And how does that make you feel?
DA: It's a beautiful thing to go back to your childhood. And, I could probably draw a very accurate floor plan of it even today. I haven't been in that house in over 30 years, but I know it very well. Space has a way of influencing our psychology that I think imprints a lot in childhood.
ESQ: In what way?
DA: I think your childhood bedroom or the space that you spend a lot of time in as a child imprints on you differently than the way an apartment in your 30s might. There's just a different character about it.
ESQ: I'm just imagining younger you in your childhood home, dreaming of what you might be in the future. What were some of the things that you were looking out for that gave you a sense of inspiration or confidence about taking the path of being an artist?
DA: I grew up in a really suburban neighbourhood where all the houses are literally identical with the same floor plan. They might do a mirror image where the house is in reverse of itself. I started getting into photography around age 10 or 11 when my grandfather gifted me a camera. One of my early artistic endeavours was a series of photos capturing the doors of these houses. Even though the houses were the same, the doors ended up being different. The paint of the door. Some people put a flower pot outside their door, or a cross, or something that gave that sameness a unique character. This experience sparked my recognition of an artist's ability to capture the distinctive aspects of everyday life that others may overlook.
ESQ: It's amazing because I can imagine you sort of looking through the frame and then it altering your sense of reality and perspective on the world. I'm really interested in this idea of how you think about reality and perspective. Obviously, our dream world allows us to play with one of those concepts because it is nonlinear, experimental. It's an unreal world. In some cultures, they would say the real world is an illusion and the dream world is the world. But obviously when you're making art and your artworks are also about world building and creating alternate worlds for yourself to inhabit, I wonder if this idea of reality shaping is something that interests you in your work.
DA: Yeah, I think for most people, they accept reality at face value and they accept the limitations of that. Right?
ESQ: The literal physics.
DA: It's not just about the physics; it's about where we're born, the options presented to us, and what we believe we're capable of achieving. For me, the essence of creating art goes beyond a career; it's about realising the potential to bring my visions to life authentically. It can be unsettling to recognise that much of what we perceive as reality are human constructs. Somebody made them, you know. I have my two young sons, Casper and Phoenix, and I often emphasise to them that behind every design decision lies the possibility for change. There's a lot of potential in realising that reality is malleable.
ESQ: So your motivation is about looking at the world and seeing how you can improve on it or change it. Or is it more about seeking some kind of answers to unrealised questions?
DA: Yeah, I think making art is more about trying to find the answer to something, but actually it's really revealing more questions in some ways.
ESQ: That's super interesting. I like that we talked a lot about childhood and your children as well. I think also part of it seems to me that you are always open to change and new possibilities. You said earlier, always learning is also a little bit about staying in a childlike state?
DA: Yeah. Children have this unique ability to perceive things differently.
ESQ: How do you maintain that sense of freshness and openness to new experiences? What are some of your techniques?
DA: I try to relive my own childhood through my sons. This is a bad example, but they've been wanting to get these go karts. Obviously, cars are a big part of my life, so I got them these really fast gas go karts that are probably not even legal today. I have a paved area behind my garage and you can fully drift these things. They kept telling me ‘you're going too fast’ and I was like ‘I got it under control!’ And eventually, like a child, I pushed it over the limit and fully flipped the thing, tore up my arm and knee, and it was funny. Casper, who's the older one, said ‘you know, I told you not to do that.’
ESQ: How have you showcased "pushing the limits" in your work?
DA: As an artist, we often engage in series, and the public often perceives artwork through repetition. It's like pages of a book that you're putting together, but knowing when the book is finished and how it progresses to the next chapter or book is a constant consideration. I often have too many ideas that I'm always waiting to realise. I don't know if that really answers the question. But yeah, I always have too many things on my list to make, too many ideas.
ESQ: Was there an experience, an artwork that's made such an incredible impression on you, the kind of impression you hope your work would have on the public when they encounter it?
DA: Right around the time that I was shooting those photographs, when I was 10, 11, 12, there was a hurricane in Florida that completely destroyed the childhood home that I grew up in. The house was reconstructed back in exactly the way that it had been before, except obviously, the wallpaper was different. The tiles on the floor were different. The furniture was different. But it was the exact same space. It also gave me the experience of seeing how architecture was put together. The structure, the electrical lines, the plumbing, the drywall, the paint. Understanding that, yeah, somebody thought about that, somebody made that, it was a considered idea. I think that really had a major impact on the way that I think about everything. Something being destroyed, something being reconstructed. The use of different materials for different possibilities and its manifested in my work in so many different ways.
ESQ: That's a great story. Last question, what’s an unrealised dream or ambition for you?
DA: Ummm.. an unrealised dream? Film is certainly something that I've played with in the past and I think never really realised in its full potential. Made some short films. But I think at this phase in my life, I keep coming back to the most interesting things that constantly draws me back. I have made a big return to painting after almost a decade. It's become not only a part of my art practice, but also a significant aspect of my daily life in the studio.
When one thinks of Moncler these days, its often that two things come to mind. One, the collaborative efforts that drop on an almost monthly basis with some of the biggest names in fashion and pop culture; and two, those highly dependable (and sought after) down jackets.
But it is Moncler Grenoble that propelled the brand into what it is today. Moncler's super technical and professional pillar, Moncler Grenoble is named after the French city where the 1968 Winter Olympics was held. Moncler officially kitted the French downhill team, and needless to say, the team pretty much dominated that category for that edition of the Games.
Over the years, Moncler Grenoble has evolved while staying true to its aim of creating superior skiwear with a host of technical capabilities. The line now includes both men's and women's collections that offer après-ski options as well as professional-level skiwear—all designed with Moncler's contemporary aesthetics with nods to its heritage. The latest iteration (55 years since it was first conceived) is a fine example of this endeavour.
Punctuated with bold colours, the Moncler Grenoble Autumn/Winter 2023 collection amps up its High Performance subdivision with nifty design elements such as ski pass pockets, GORE-TEX fabrications, and heat-sealed laser-cut zipper patches. The Après Ski line consists of tactile knits, while the less technical (but still ski-appropriate) Performance & Style line feature pieces that are easily transitional. And because form and function are key tenets of all things Moncler in general, the entire Moncler Grenoble collection is meant to be seamlessly paired with one another.
The latest campaign stars a quartet of Moncler Grenoble ambassadors: Cai Xuetong, Perrine Laffont, Shaun White, and Richard Permin. All ski stars in their own right, the campaign captures them in their skilled element, all while displaying the high performance and style of the collection.
French skier Permin's journey is much like Moncler Grenoble's—a natural evolution and progression built from an undying passion for the sport. And as we learn from the man himself, a love for where it all started.
ESQUIRE SINGAPORE: You’ve worked with Moncler for a couple of years now. How is this partnership different perhaps from that you’ve experienced with other brands?
RICHARD PERMIN: Working with Moncler has been a fantastic experience for the past couple of years. What sets this partnership apart is the brand's commitment to pushing the boundaries of style and performance. Moncler's fusion of high-quality materials with innovative designs aligns seamlessly with my vision, allowing me to express myself athletically and aesthetically. The collaborative spirit and emphasis on excellence make this partnership truly unique in enhancing both my skiing performance and personal style.
ESQ: What’s one thing about the latest Moncler Grenoble collection you think avid skiers would appreciate?
RP: The latest Moncler Grenoble collection is stunning, especially the entire GORE-TEX range. I'm particularly loving the Montgirod jacket—for its incredibly stylish design, and the GORE-TEX membrane that adds another level of quality and durability to the product. The collection has got a bit of everything for every style, whether it's on the slopes or in freeride. Personally, I rock the GORE-TEX line daily in the mountains—walking, hiking, skiing, it's my go-to.
ESQ: The kind of skiing that you’ve pioneered is a combination of showmanship and technical skill. How do you prepare for these acrobatic feats? Is it a lot of trials and experimentations or have you done things in the spur of the moment?
RP: I've gotta give credit to the journey, you know? Started from alpine, grooved through freestyle and freeride, and here I am, merging experience and style. Training's a mix of reps, getting cozy with the mountain vibes year after year. It lets me level up in the mountains, keeping that cool, calm vibe but safety always riding shotgun. Because, you know, safety's the MVP in this game.
ESQ: What is it about skiing that gets you still passionate about it?
RP: Skiing's my grind, where freedom meets challenges, and the stoke never fades. Lately, I'm deep into video projects, rolling with the crew, and it's not just a job—it's the mountain passion on repeat, fuelled by determination and the love for the game and to be out there.
ESQ: How did you get into filmmaking?
RP: Getting into filmmaking for me is a natural extension of freeride skiing. Competitions are part of the sport, but when you're navigating uncharted terrains, films become integral. They've always been a key aspect of freeride skiing, enabling us to showcase the level each year. We operate in secluded areas where there's no audience, so films become the medium to share the experience. From the start, it fascinated me, and I prioritised capturing beautiful visuals even more than winning medals. It's ingrained in the culture—a way to share the passion and elevate the sport.
ESQ: What challenges have you faced in your career and how did you solve it?
RP: The biggest challenges in my career have been injuries, which typically demand a substantial recovery period. Additionally, conceptualising projects might seem great on paper, but executing them in reality is often far more complicated. So, these are challenges that you solve on the field and require a significant amount of time and patience.
ESQ: How does one become a good skier?
RP: Shred like a pro, swap walking time for ski time. It's all about sliding, not striding!
ESQ: Where’s your favourite place to ski thus far?
RP: Europe holds a special place since it's where I began, and then there's the love for British Columbia, Alaska, and Japan.
ESQ: What is your future plan and target?
RP: I've got some exciting travels lined up—Japan, Georgia, and Norway. As for target: it's all about snow conditions and terrain, so there's a lot of on-the-spot improvisation. The charm lies in the unpredictability—you never know what you'll encounter, and that's where imagination kicks in.
The Moncler Grenoble Autumn/Winter 2023 collection is available now on moncler.com and in select Moncler boutiques.
This isn’t the most extravagant necklace by the brand, but considering its size—and it weighs a mere 17g—quite a lot is packed into the pendant. The centrepiece is an elegantly cut turquoise flanked by the brand’s Greca motif and inscribed in the Versace logo type. And of course, in classic Versace gold.
Big, oversized shades hardly go out of style. This pair by Bottega Veneta offers a familiar silhouette in acetate but piles on a trio of clashing elements. The signature green frame is trimmed with gold accents and finished with slightly tinted lenses that lend a ’70s air. It’s time to embrace that Miami Vice vibe perhaps.
Penhaligon’s latest Potions and Remedies collection of fragrances is designed with your well-being in mind. Each fragrance is crafted from botanicals that uplift your mood. The flacons themselves are a delight to behold—resembling old-timey potion bottles complete with eye-catching names.
The irony of a Formula One racing team partnering an alcohol brand is not lost on anyone. The latest is between McLaren Racing and Jack Daniel’s in the form of a limited edition Tennessee Whiskey bottle that represents both brands visually. Celebrate to the max after a win. But never drink and drive, of course.
A clean, minimalist aesthetic comes to mind when anyone mentions Marimekko. Yet its Oiva teapot is maximalist by Scandinavian standards—a statement piece for any home. The body features a graphic pattern by Maija Louekari, featuring linked irregular dots that clash at points for a subtly disruptive visual.
Christian Louboutin makes the most maximalist shoes for men. A collaboration with Marvel sees the Amazing Loubi loafer dressed in patent leather, treated with a starry effect and embellished with gunmetal hardware inspired by Marvel’s Moon Knight character. It also bears the signature red line on the lug sole.
How many compartments do you need on a bag? The XS version of its aptly named Superbusy bag offers external compartments across its front, sides and shoulder strap, many with designated purposes, including one specifically for AirPods Pro. It’s proof that you can never have too many compartments.
Nothing is too much when it comes to protecting your hands from the winter chill. The Moncler x adidas glove offers optimal defence with a down construction and an inner sock layer that extends up the arm for enhanced grip and insulation. The bright hue makes it perfect for snow activities. You won’t lose this one easily.
It’s hard to ignore Franck Muller’s Vanguard Beach. The Vanguard already packs a punch with its big, bold numerals; but the Vanguard Beach takes it up several notches with a striking design that resembles ripples in the sand. The strap fastens with Velcro for convenience and a carefree beach vibe.
Known for his trompe-lœil confections, French pâtissier Cedric Grolet has set up shop in Singapore—his first outside Europe. This Vanilla Flower is one of his visually simpler creations, but as its name suggests, packs a quartet of vanilla-infused flavours. Eating it is one truly decadent experience.
Photography: Danial Mirza
Styling: Asri Jasman
Photography Assistant: Chuen Kah Jun
Additional Images: Getty Images
Ahead of the launch of its first-ever skiwear collection, Balenciaga has released a first look into what to expect. With a thorough focus on technical garments using innovative materials for enhanced visibility, insulation, aerodynamism, and protection in snow, the designs are undoubtedly Balenciaga as envisioned by Demna. There are the typical water-repelling treatments on outerwear and accessories as well as in-built ventilation systems. But the Balenciaga skiwear collection also introduces the Alaska Boot—an oversized and stylised version of footwear developed for arctic conditions.
The Balenciaga skiwear collection is scheduled to launch on 15 November 2023.
Doyoung of K-pop group NCT is now officially the global ambassador for Dolce&Gabbana. The announcement comes following his appointment as the brand's first Korea and Japan brand ambassador on 9 May of this year, as well as becoming the face of Dolce&Gabbana's Autumn/Winter 2023 collection for the region.
Talking about stars, Loewe has amped it up with a host of global faces for its Spring/Summer 2024 pre-collection campaign. Familiar faces who have worked with the brand before as well as attended its shows such as global ambassadors Josh O'Connor and Taeyong, are expectedly part of the campaign. It's the appearance of new faces Dakota Fanning, Greta Lee and fan-favourite of the Harry Potter film franchise Dame Maggie Smith. Lensed by Juergen Teller, the campaign features a host of textural contrasts and Loewe's range of new bag styles.
Supreme is at it again with another collaboration. This time around, the latest Stone Island x Supreme collaboration is a street-ready collection of co-branded pieces including down jackets, hoodies and more. Standouts include a reversible down puffer jacket and a wool-blend bouclé cardigan tagged with the Stone Island insignia right on the sleeve.
The Stone Island x Supreme capsule collection is now available at the Stone Island Marina Bay Sands Flagship.
Coming into its third season, the Inter x Moncler formalwear partnership adds a new level to its partnership. Tapping on the design sensibilities of artist Daniel Arsham, comes a limited edition run of light down jackets. The design is reminiscent of a shirt-jacket style that's popular among off-duty Inter players, crafted of course from Moncler's signature down material and bearing the brand signatures of all three collaborators. And because this is a truly exclusive collaborative piece, it is only available at Moncler’s Galleria Vittorio Emanuele II boutique in Milan.
If the Riccardo Tisci-era saw Burberry taking over beach clubs with the TB Monogram, Daniel Lee’s appears to be more subdued and tastefully so. As part of the brand’s announced "Burberry Streets" takeover series, the British brand has kicked things off right at home during London Fashion Week. In partnership with Transport for London—the government body responsible for the transport network in London—Bond Street station has been completely transformed into Burberry Street, complete with signs rendered in Lee's knight blue hue. The takeover will last until 19 September 2023. “Burberry Streets” is set to be an immersive brand experience consisting of events and installations in cities around the world. The series will make its rounds in Seoul and Shanghai this October.
In what would be any fashion designer's foremost nightmare, Balmain creative director Olivier Rousteing revealed on Instagram that pieces from the house's upcoming Spring/Summer 2024 runway show have been stolen. "More than 50 Balmain pieces stolen," Rousteing says, expressing his anger and disappointment at the loss of the hard work by his team. With just 10 days to go to the show during Paris Fashion Week, it does seem like Rousteing and his team will have to, in his words, "work days and night" to ensure that everything turns out as planned.
A new take on adidas' iconic Stan Smiths has been revealed, courtesy of British fashion designer Craig Green. The CG SPLIT STAN retains the original silhouette of the shoe save for the "splitting" right down the middle—a rubber protrusion that's seemingly inserted between the two segments. The new design has dropped in three monochromatic colourways: white, black, and khaki.
The adidas Originals and Craig Green CG SPLIT STAN sneakers are now available through the adidas App and online.
Stone Island is embarking on a multi-year partnership with Frieze. Starting with Frieze London 2023—happening this 11 to 15 October—the brand will be the Official Partner of Focus, a fixture dedicated to younger galleries at Frieze London, Los Angeles, New York, and Seoul. Participating emerging galleries of Focus will each receive a bursary from Stone Island amounting to 30 per cent of each exhibitor's stand fee (in addition to Frieze's ongoing subsidies) as well as overall amplification of Focus through a dedicated content series. Stone Island will also become the Official Partner of Frieze 91, the organisation's membership programme. Frieze 91 allows members so gain exclusive access to art and artists through curated experiences as well as members-only content and benefits.
As part of Moncler's RE/ICONS series—an annual celebration of the brand's iconic achievements of the past while looking to the future—the brand has revived its 1954 Karakorum duvet jacket. Worn by climbers in 1954, the Moncler Karakorum is known for its unparalleled warmth as well as technical excellence. Just how excellent, you ask? Achille Compagnoni and Lino Lacedelli each wore the Moncler Karakorum while scaling K2 and becoming the very first people to reach the summit in 1954. For the RE/ICONS series, the Moncler Karakorum has been reenvisioned in three designs (with a range of colours) varying in length and fit.
In Coach's latest campaign, Dove Cameron, Yanfei Song, Lil Buck, and newly appointed global ambassador Youngji Lee battle their inner demons. It might sound a bit too dark for a fashion campaign but the "demons" in question are doppelgängers criticising their choice of wearing the Coach Shine collection—a range of metallic and patent leather pieces. The individual duos battle it off in fast-paced choreography before the expressive selves eventually triumphs. Basically, no one should ever dull your shine, Coach Shine or not.
It takes skill and taste for someone to take something as unanimously ugly—I'm not even going to bother sugar-coating this—as Crocs, and turn it into a design that's contemporary and at the same time, shifts one's perception of the item. Yes, I caved. The Salehe Bembury-designed Crocs are the only ones that deserve to be bought—at least, until another designer aesthetically reinvents it.
The American designer has quickly risen up the ranks as one of the footwear designers to watch. While Crocs may have afforded him global recognition, his career already includes time at Yeezy and Versace as well as partnerships with brands the likes of New Balance, Vans, and Clarks. Which is why when Moncler Genius announced its 2023 lineup during London Fashion Week earlier this year (although Bembury teased the partnership sometime in November 2022), this style director was especially elated.
Moncler x Salehe Bembury—also titled, 'Moncler ēquipements'—is a landmark collection for both Moncler and Bembury. Not only is the collection the first collaboration between the two, it is also Bembury's first foray into ready-to-wear. "'Moncler ēquipements' is an exploration of palette, shape, and utility. From extensive time spent in the wilderness, I have developed a deep appreciation for nature and the elements that come with it," Bembury says. The avid hiker opted for an outdoor-ready collection inspired by Moncler's mountaineering line from its '50s archive.
There's no doubt that Bembury definitely put his stamp throughout the collection. His signature 'grain' thumbprint has been reinterpreted as part of Moncler's quilting and are apparent on the collection's range of padded outerwear, vests and a number of lighter layers. It also makes its appearance on Bembury's known expertise: footwear. For Moncler x Salehe Bembury, the Trailgrip sneaker features the motif done in a combination of treatments and textures while retaining the sneaker's functionality.
The ready-to-wear is certainly not to be overlooked. Practical utilitarian elements form the foundation of the collection. Pockets are aplenty and water-resistant GORE-TEX INFINIUM™ add further versatility and comfort to parkas. Teddy fleeces, leggings, caps and beanies complete the entire assortment made for the intrepid outdoor adventurer.
The Moncler x Salehe Bembury collection is now available.
