The Zegna Spring/Summer 2025 runway show wasn't an easy one to get to. It's about a half-an-hour drive from the centre of Milan to the industrial space and from the outside, it looked like a blank white canvas. The inside however, Zegna had it converted into a field of linen plants concentrated towards the centre. This became the runway where the models eventually stood along neat emptied out space in the midst of the field.
The linen plants, however, weren't exactly what they appeared to be. Global brand ambassador Leo Wu proved this as I witnessed him cheekily playing with one before plucking it out from its spot. It was a metal rod, varnished into a specific of shade of yellow and gave it quite a naturalistic look. Aside from the Spring/Summer 2025 collection being centred around the brand's traceable Oasi Lino—a concept that's set to continue on every Spring/Summer season—it was also about this idea of how nothing is ever really what it seems. No two things are exactly same for artistic director Alessandro Sartori, even when they looked similar on the runway.
"It is the moment to focus on how items are or can be used, on the singular ways they mould to individual personalities," Sartori says, referencing how it's the right time to expand on the aesthetic that's been crafted and established since Autumn/Winter 2021. It's evident from the fact that the models engaged for the show were as diverse as they come in terms of age, race, and even gender. And while there were some commonalities among some looks in terms of colours or even print, each look was different, brought out even more by the attitude of the model wearing them.
The fit: It's the Zegna that we've all come to adore by Sartori. The tailoring was impeccable with the kind of flow and languid silhouettes that's favoured, but at the same time, cut at the right spots such that none of the models appeared to drown while wearing an oversized polo or a drop-shoulder blazer.
Necklines were reduced further that at times, they didn't require any sort of fastening. It's a subtle tweak but emphasised this hybridisation of formal and relaxed that's become a fundamental Zegna trait. They looked at home worn under the collection's more traditional suiting to create an almost perfectly layered collar effect.
The details: The brand is through and through a ready-to-wear-first brand. At the same time, its Triple Stitch footwear has become such an icon that it may be time to expand that universe a tad further. The runway saw only one footwear adorning the feet of all the models: a new loafer referred to as Mocassin. It's designed with a slightly rounded toe and crafted long and narrow to elongate. True to form, the Mocassin was also minimally designed but again, traipsed that line between formal and relaxed.
Similarly, the brand's bags haven't been much of a focus as a whole, but the capriciousness of the collection's bags definitely drew my attention. For starters, some models (including runway closer, Mads Mikkelsen) carried a different large one on each hand. These were probably some of the biggest bags that Zegna has done in a while and definitely made to be lived in—for just about everything and anything.
Three exceptional looks: The sumptuous and unexpected pairing of deep colours in look 7; the striking printed look 24 that's essentially a shortened pyjama suit; and look 33's stunning tonal combination of yellows with trousers cut to make one look taller.
The takeaway: A truly studied approach to approaching wearable luxury fashion in the contemporary sense.
View the full Zegna Spring/Summer 2025 collection in the gallery below.
I don't think anyone had so much of an inkling as to how the Gucci Spring/Summer 2025 menswear collection was going to look like. Creative director Sabato De Sarno left little clues, and the show invite—a set square engraved with "la misura dell'amore è amare senza misura" ("the measure of love is to love without measure")—ultimately didn't really have anything to do with geometry or math. And thank god for that because after a hectic Milan Fashion Week Men's schedule, I'm sure none of us would have wanted a problem to figure out.
To some, however, De Sarno's Gucci aesthetic may be a problem. Some might say that his sophomore menswear collection, while a more vibrant proposal with prints ripe for the season, left little to be desired; that there isn't a strong enough of a point-of-view.
Having a "point-of-view" tends to be thought of as having concepts that are singular—a look so unique and easily identifiable that it will immediately be recognisable as being Gucci. I'd argue that De Sarno doesn't lack one, but rather, it's an aesthetic that isn't targeted to just one archetype.
The setting of the runway show reflected this. The Triennale Milano is a museum of art and design where a diverse range of works are collected and exhibited. I'm not equating the Gucci Spring/Summer 2025 menswear collection to that of works of art (although the oversized shirts decorated completely with paillettes came close) but there seems to be a growing idea of the Gucci wardrobe being able to be collected throughout the season, spliced and then combined to create looks that are part of one's style. Is that enough of a point-of-view?
The fit: It's a the-city-meets-the-beach style narrative consisting of short shorts that would've been perfect for the weather during the show (Paul Mescal made an excellent outfit choice). De Sarno repeated his penchant for oversized tops with shirting left untucked, offering just a peek of the shorts underneath.
Colour-blocking was heavily utilised. In fact, this was a stark difference from the Autumn/Winter 2024 menswear collection—this was colour on steroids almost. Acid hues were paired with vibrant prints of dolphins, surfers, hibiscus flowers, and banana leaves.
The details: We do need to talk about the hardware. The Horsebit is set to be an element that De Sarno seems to be planning to drive down our throats. It's apparent on the pointed toe iterations of the Horsebit loafers that he introduced for Autumn/Winter 2024 but this time, expanding the offering with boots. Belts are also given the Horsebit treatment and with a new surprise. What I initially thought were just Horsebit belts from my vantage point were actually a combination of a double-ended snap hook closure (a hardware that has replaced the piston closure in De Sarno's Jackie bags) as well as the d-rings of the Horsebit.
A bag that could potentially be on a lot of people's wishlist would be a new crossbody bag fitted with the snap hook closure. They're slightly reminiscent of the Horsebit 1955 and that's not exactly a bad thing.
Three exceptional looks: Look 14's masterful layering of a polo over a shirt; the oversized polo shirt embellished with paillettes in look 26; and look 34's classic with a twist.
The takeaway: Once more (one last time, hopefully), it's a new Gucci that's not quite less is more nor more is more.
View the full Gucci Spring/Summer 2025 menswear collection in the gallery below.
I hate to bring up "quiet luxury" again (have we used this term to death yet?) but that pretty much sums up the Spring/Summer 2025 menswear offering by Dolce&Gabbana. And it's not a bad thing.
The Dolce&Gabbana you see on the runway and what you eventually see people buy into tend to be different—the latter is often logo-heavy. For a few season now, the brand has slowly deviated from this, offering collections that are more subtle in branding with a focus on the silhouettes and details that are more emblematic of the brand but not necessarily what the general public's impression of the brand is like.
It's a strong proposition from the very first look: a raffia jacket woven with two different colours, and with weaving techniques also reflected in an extended belt as well as woven lace-ups. Yes, it did look rather stiff on the runway but then came look 12's raffia coat that dispelled any talk about the raffia pieces in the Dolce&Gabbana Spring/Summer 2025 collection being stiff and impractical. The fluidity was there and so was the structure—in other words, splendid Italian craftsmanship.
The fit: It's difficult to not see the nod to '60s and '70s fashion in the collection—coincidentally or not, that was also when wicker-woven design pieces reigned supreme—but kept to Dolce&Gabbana's classic oversized-top look. There were some semblances of tailoring in a few looks but the overall aesthetic skewed towards the summer holiday locales of Capri, Venice, and Portofino. Sailor-collared shirting were punctuated with stripes of different widths (lending that '70s vibe), while scarves adorned looks that were made perfect for the Italian coast.
The details: Weaving is undoubtedly the central technique that the collection was built around. Dolce&Gabbana employed weaving techniques across leather and raffia. They were varied in applications as well as techniques, with some appearing like crochet, especially in a number of footwear.
What caught my eye however, were the coral embroideries that were featured quite beautifully in a number of looks. It was look 29's variation—an ivory white suit with trousers decorated with coral-hued embellishments—where I could hear the clinging of the pieces as the model walked in front of me. And considering how loud fashion shows tend to be, it was quite an experience.
Three exceptional looks: Look 15's oversized woven top matched with an equally woven bag and shoes; the monochromatic colour-blocking in look 21 with the most gorgeous shade of green; and look 38's clever use of stripes.
The takeaway: Refined, different, and subtle all the same–this is a Dolce&Gabbana collection for the discerning.
View the full Dolce&Gabbana Spring/Summer 2025 menswear collection in the gallery below.
The first thing anyone would have noticed at the Emporio Armani Spring/Summer 2025 runway show—apart from the beautiful projections of horses galloping—were the models. And not that they're unusually more attractiveor that there's quite a diverse cast (it's de rigueur for the brand), but rather, it's the fact that they're smiling. It's a known fact that models don't typically smile on the runway; any other facial expression apart from a neutral one is considered distracting. But at the Emporio Armani show, the smiles added so much more levity and underscored the ease of the collection.
Mr Armani intended to capture an escape from the limitations of city living, running off out into nature in pieces that reflected a nuanced combination of the two. The colours graduated from muted shades of wheat, sand and the like before hitting a crescendo of purple hues brought about by lavender fields. But just how much freedom was Mr Armani looking to convey? Well, let's just say that the finale was rather spirited pairings of a man and a woman—the latter a vision of spring's boldest hues. The Emporio Armani man accompanied her, dressed in nothing a pair of leather shorts matched with a leather harness, boots, and at times carrying a basket of lavender blooms.
The fit: There's no doubt that the Armani aesthetic worked exceptionally well here—no other silhouette speaks to the airiness and lightness of freedom as the Armani look. Shoulders are dropped across the board while trousers (Mr Armani introduced high-waisted variations with their top folded over) billow with every slight movement, giving air a temporary visual presence. Layering was kept to a minimal (at most an inner layer over lightweight outerwear) with bare skin being quite an important element for the season. It's not done in any vulgar way however, but rather a complement to the act of being one with nature.
The details: Leather harnesses and waists cinched with triple-tour belts (or what looked like a belt-over-belt-over-belt situation) added equestrian elements that juxtaposed the overall airiness of the collection. Sure, you'd think everything would be loose and unrestraint for a collection that's all about freedom. But therein lies a beauty in reining in—some stylistic tension is always the mark of a genius. And speaking of genius, Mr Armani is also all about the details and I spotted a tunic with stunning trimming along its front that added such fine, luxury craftsmanship.
Three exceptional looks: Look 3's super relaxed vibe topped off with strings of unrefined stones as a necklace; a look consisting of an oversized white suit decorated at random with raw edged holes; and look 65's masterful pairing of monochromatic hues.
The takeaway: An Italian Western love story of spring and its bountiful harvest of colours and freedom.
View some looks from the Emporio Armani Spring/Summer 2025 menswear collection in the gallery below.
It would be remiss of me to talk about Balenciaga without referencing the moment in February 2023 when creative director Demna declared—after months of dealing with a duo of controversial campaigns—that he was "to go back to my roots in fashion as well as to the roots of Balenciaga, which is making quality clothes—not making image or buzz." The quote (taken from an interview with Vogue) has been brought up many times since, cropping up after every runway show or collection drop.
Demna may have jumped the gun, and it's rather understandable. In the hopes of quelling the heat surrounding the campaigns, he may have underestimated just how much people would cling onto the statement he made. But to his credit, the Balenciaga collections since have been rather restrained; or at the very least, less controversial.
To say that fashion—especially luxury fashion—could do without the "image" or the "buzz" seems pretty idyllic. One of the reasons Demna got into the position at Balenciaga and in turn, helped build this image of a rebellious and out-of-the-ordinary luxury fashion house was because of the buzz that he created through pieces that were so out of left field that one wouldn't necessary associate them with luxury. And in many ways, so did founder Cristóbal Balenciaga during his time.
Balenciaga's Spring 2025 runway show in Shanghai felt like an eventual return to Demna's roots. The rain was pouring rather heavily but the House decided to carry on with the show, prompting the audience to be shielded from the rain with on-brand black umbrellas. The models, including brand ambassador PP Krit, walked down the runway with little concern for the weather—it actually added to the overall mood of the show.
The fit: If "roots" were of any concern, the Balenciaga Spring 2025 collection showed that Demna knew how to balance the House's tailoring expertise with his more contemporary sensibilities. The show opened with a slew of oversized tailoring that have become Balenciaga signatures. Padded, elongated shoulders were de rigueur but this time, they were designed to be long and tall to mimic the towering high rises of Shanghai's Pudong district. In fact, the entirety of the collection referenced this elongated silhouette with platform footwear upping the ante.
The menswear portion of the collection riffed on favoured staples the likes of blazers, coats as well as sweats. The latter were at times skintight, further emphasising the inspiration of the collection. A futuristic sense of styling—sharp-angled eyewear, oversized accessories, and bags shaped like garments—leaned into the more experimental sides of the House.
There were a couple of collaborations too. One that was immediately noticeable was a collaboration with Under Armour, which essentially saw the brand's technical fabrications and logo given the Balenciaga treatment through oversized silhouettes. The other would've easily escaped the eyes of those unfamiliar with the brand. An Alipay collaboration was kept simple: a merch T-shirt simply branded with logos of both brands.
The details: If you thought the Triple S sneakers were oversized enough (or not), Demna took things quite literally a few levels higher. The collection's platform sneaker was essentially the Triple S on steroids, featuring an outsole significantly bigger than the sneaker's upper. Metalhead boots (also given a supersized platform treatment) proved to be very sturdy during the downpour and no model slipped or fell down throughout the show.
The Spring 2025 collection's more buzzy piece would probably be a clutch shaped into a sneaker box and crafted in leather. It's in line with Demna's penchant for attention-grabbing accessories. Turning the ordinary into seemingly ridiculous luxury objects, you could take it as a critique of the state of luxury—why just covet the sneakers when you can do the same with the box they're packaged in. Or you know, just chalk it up to the "buzz".
Three exceptional looks: Look 2's monochromatic look that showcased the ageless nature of a Balenciaga collection; the effortless Under Armour collaboration of look 17; and look 27's equally effortless combination perfect for the storm that was happening.
The takeaway: There's no taking out the "buzz" from Demna.
View the full Balenciaga Spring 2025 collection in the gallery below.
Creative director Anthony Vaccarello wants eyes on the shoulders of the Saint Laurent man. For the 49-look Summer 2024 collection, he had models either donning jackets with emphasised shoulders, or baring them. Even in unlayered overshirts, the shoulder seams have been intentionally extended to accentuate the broadness of a man’s frame. Presented in Berlin, Germany, at the monumental Neue Nationalgalerie by Ludwig Mies van der Rohe, the Saint Laurent Summer 2024 collection found the perfect stage. There, in the glass-and-steel temple of modern architecture, the occasion seared the setting into the minds of guests in attendance—the collection was paraded with the aplomb of modernism amid a glorious sunset.
While it is easy to pick up the references Vaccarello pulled from the Saint Laurent Women’s Winter 2023 collection, translating a female collection onto menswear is no simple trick. Due credit must be given to Vaccarello for making it even remotely appealing to the everyday man. The androgynous wardrobe he has created succeeds because it modernises the inverted triangle body shape that traditionalists worship.
Vaccarello’s modernist approach comes into focus at waists that are cinched, so the inverted triangle is fully realised to its tip, literally. In every look, the top is presented tucked and nipped into the generously cut high-waisted flute pants. After the shoulders, attention gravitates towards the pants of the collection. There is an assuring dissonance in the suaveness of the pants being high-waisted and cut in a flute shape. But there is also a comfort in knowing there’s wiggle room for such a sharply tailored garment. Hemmed at the ankle, the pants are also given attention to the chunky heeled boots that are paired with the looks. The least desired thing about flute pants is the bunching at the legs, breaking up the masculine stature.
There are many other modernist approaches employed by Vaccarello throughout the Saint Laurent Summer 2024 collection. Seemingly stereotypical female garment types are butched up. Deep décolletés satin tank tops are cut wide to look like luxurious muscle tanks. One-shouldered toga sheer tops are treated into cut-out T-shirts for a grunge outlook where the other non-exposed shoulder is completely covered. A silk satin blouse is perhaps Vaccarello’s take on the basic oversized T-shirt seen all over the streets.
The Saint Laurent Summer 2024 collection is entitled “Each Man Kills The Thing He Loves”. And by the way it was presented, many men may have overkilled their excuse of being presentable with lazy suits over basic T-shirts. Vaccarello shows the way with sharp tailoring and a modernist masculine appeal of truly being presentable.
The Saint Laurent Winter 2024 runway show was a departure from its Summer 2024 one, but only conceptually. Saint Laurent doesn't shy away from the duality of the male spirit. It's apparent in the House's throng of global famous faces adopted into its fold—from rock legend Lenny Kravitz to younger upstarts the likes of Austin Butler, Mark Tuan, and Ten Lee of NCT U—who all, while exuding an air of elegance, are more than stereotypical masculine tropes.
Creative director Anthony Vaccarello has been reiterating Saint Laurent's masculine-feminine tension for a few seasons now. While typically shown during different fashion week calendars, the womenswear and menswear collections have effectively been mirror images of each other. There's been a consistency in aesthetic where Vaccarello would borrow womenswear silhouettes and fabrications for menswear, while the latter's cut would dictate the form of the womenswear collections.
For Winter 2024, the menswear show was somewhat of a surprise. Instead of showing during January's Paris Fashion Week Men's or completely off schedule (like Summer 2024's in Berlin), the Saint Laurent Winter 2024 show was about a week apart from the womenswear show—further blurring the lines between the two. But the actual surprise was the collection itself. After seasons of embodying a softer side of the Saint Laurent man, Vaccarello opted to switch things up at Paris' Bourse de Commerce (also the site of one of my personal favourite runway shows by the creative director).
The fit: Right from the first look, there was little doubt that the collection wouldn't be following a similar formula of collections prior. It was classic, almost too classic, veering on old-school. A grey double-breasted suit paired with a white shirt and (gasp!) a striped tie of significant width. There was a decidedly '80s feel to the entire ensemble but perhaps only on first glance. The wide, peak lapels of the blazer were matched in intensity with the shirt collar. Yet there were nuances of contemporary flair: the overall silhouette was still very languid and soft with a strong-shoulder anchor; the blazer was cut straight with a deliciously roomy give; and while still respecting the traditional rule of a peek of shirt cuff under the blazer, sleeves were lengthened just enough to strike away any old-school notion.
This classic-made-new combination continued on throughout the entire Winter 2024 collection. There were a few outerwear-focused looks interspersed—the liquid-like rubber propositions looked otherworldly—but the main star was the gradual dissolution of the formality of that very first look. As the show went on, the suit became lighter and more fluid both in construction as well as colours, while shirts returned to their Saint Laurent-silk normality with matching ties.
The details: The aforementioned rubber outerwear weren't just for mere drama. Vaccarello reimagined a '60s archival reference with a structured rubber peacoat worn with a leather hat that it's connected to (look 7). Beautiful things can indeed be functional.
If you were missing the silk blouses—seen aplenty on the front row—Vaccerello offered up a number in rich hues that echoed the tail end of the line-up. Although if you were looking out for classic Saint Laurent pointed boots and footwear, they were replaced with square-toed variants that added so much gravitas.
Three exceptional looks: Look 14's all-black drama punctuated by that rubber coat; look 28's sublime colour combination; and an olive green version in look 37 that I would've never considered up till now.
The takeaway: Covered up as compared to previous collections yes, but the Saint Laurent man is still as sexy as Vaccarello has made him to be.
View the full Saint Laurent Winter 2024 menswear collection in the gallery below.
The fit: The Givenchy Autumn/Winter 2024 menswear show was an intimate one. Held salon-style at its Parisian headquarters, the collection was designed by the Givenchy studio—Matthew M. Williams' final collection was for Pre-Autumn 2024. To be honest, even without the hand of a known creative director, the Autumn/Winter 2024 menswear collection felt a lot more refined with just enough injections of playful modern nuances.
The entire collection was based on founder Hubert de Givenchy's personal wardrobe with elements that he had a penchant for. The use of the colour sapphire, for example, was adopted because de Givenchy adored it as a replacement for black, while cut up armholes of outerwear were an ode to his penchant for capes. Tailoring was central to the collection—although trousers could have done with a little bit of length adjustments but I'm just nitpicking—with suits and tailored outerwear making up a bulk of the collection. And in true Givenchy style, the shoulders were strong and cutting.
The details: Fun came with the way that an archival cat motif was incorporated into some of the looks. It was done tongue-in-cheek as a oversized parka that featured a number of the cat faces seemingly drowning in their own fur, and in another, the fur took on the form of a shearling jacket-cape hybrid. In look 18, it became a mini shearling crossbody that was paired with a tank featuring the print.
What was quite a stunner, especially up close, was the closing look's jacket. Beautifully ornate, the jacket was a reminder of the kind of craftsmanship that the design studio is capable of, and one that had been sorely missed on the runways.
Three exceptional looks: Look 2's interpretation of the studio's blouse blanche as a workwear staple; the double cardigan styling of look 13; and the closing look.
The takeaway: Not all luxury fashion houses need to infuse some semblance of streetwear into their designs.
View the full Givenchy Autumn/Winter 2024 menswear collection in the gallery below.
The fit: Within the realm of menswear tailoring, the structures and limits are palpable, owing to the time-honoured techniques of not only constructing a suit, but also in the idea of tailoring as a garment of authority. Chinese designer Sean Suen recognises this. His eponymous label's Autumn/Winter 2024 collection—and also, pretty much his entire repertoire thus far—tapped on the conventions of tailoring by referencing the period where Western tailoring began being adopted by the East.
There's an undeniably rebellious take on tailoring, and I'm not even talking about the one look where the model revealed some derrière. Traditional menswear silhouettes were deconstructed before being spliced together, creating asymmetrical shapes that formed beautiful drapes. At the heart of it was a '50s-led reference with wide ties and geometric prints indicative of the period.
The details: While the tailoring was, in every sense, contemporary, Suen included mandarin-collared suiting. But of course, they were also rendered in more contemporary styles—the first outing saw elongated sleeves with an oversized bodice with equally oversized patch pockets.
On a number of looks, Suen piled on the waistbands. On a number of occasions, they took on the appearance of a visible ribbed knit layer (akin to that play of visible boxer waistbands) while others were more literal interpretations of a double layer of trouser waistbands.
Three exceptional looks: Look 2 and its spliced collar and draped asymmetry; the obvious old-school reference of look 11 but made fresh; and the regality of look 27 that had tie bars used as lapel pins.
The takeaway: There are always ways to move around the preconceived confines of menswear, and Sean Suen is becoming quite a master at it.
View the full Sean Suen Autumn/Winter 2024 collection in the gallery below.
The fit: Dries Van Noten can do no wrong in my eyes. There's consistency in his design aesthetic—you can definitely tell a Dries Van Noten piece even with the brand steering away from obvious logos and branding—but Papa Dries offers something new every season.
For Autumn/Winter 2024, the man known for his play with prints and proportions, kicked things off with a string of dark tailored looks. Each felt different and at times disjointed from the one before—yet that was the unifying narrative. The collection was a play in the unexpected and of juxtaposition. There was no telling what the next look would be as he moved from a cuttingly tailored suit worn almost rock-and-roll-like with a fringed, long scarf, to a deconstructed jumper worn over a languid, long coat.
As the darks became increasingly punctuated by textures and infusions of muted colours, Papa Dries revealed a sudden spate of his signature prints and colour-blocking. But at the same time, they remained washed and pared back in intensity.
The details: There was a studied use of garments in non-traditional ways. Jumpers were worn either unzipped from the side or completely cropped with zippered hems. Leather was used as mock-neck tops, while shirting and a number of jackets were fastened with brooches and pins for a rakish drape that was simply sublime. Long opera-like gloves took on many different forms and added edge to some of the simplest tailoring and combinations in the collection.
But at the end of it all, everything was wearable—a key Dries Van Noten element.
Three exceptional looks: Look 9 that I honestly wanted to wear right there and then off the runway; look 24's brilliant use of textures and draping; and look 53 that's a combination of both.
The takeaway: Whatever Papa Dries has been doing to keep his creativity constantly fresh yet consistent, I want it.
View the full Dries Van Noten Autumn/Winter 2024 menswear collection in the gallery below.
The fit: Kenzo was my last show for day four of Paris Fashion Week Men's and after a rather exhausting day, it personally wasn't as exciting as it ought to be in the moment. The venue was spectacular, however. Held at the Bibliothèque Nationale de France, the space offered a brilliant backdrop for an Autumn/Winter 2024 collection themed around the cross-cultural exchange of the origins of the fictional universe of the Star Wars franchise.
Thankfully, artistic director Nigo opted to not be literal with the inspiration—there weren't obvious nods to the films nor were there prints done in collaboration with the franchise. But rather, he chose to incorporate the Asian influences of the Star Wars lore and references into the silhouettes. Outerwear had semblances of sci-fi with knot fastenings adorning the front.
The details: The silhouettes may not have been severe or fashion-forward, but the prints added some punch to the entire collection. A woven pattern inspired by Japanese hikeshi-banten fireman's jackets appeared on everything from suits to workwear, while a number of different tiger motifs were rendered in jacquards and embroideries.
Three exceptional looks: Look 6's more extravagant coords that featured the collection's more standout motif; look 30's streamlined tailoring; and look 50 that felt more Kenzo by Nigo.
The takeaway: Elevated and streamlined, yes. But where's the fun?
View the full Kenzo Autumn/Winter 2024 collection in the gallery below.
The look—that pretty much sums up the Giorgio Armani's latest menswear outing during Milan Fashion Week Men's. The staging for the show was intimate with two separate timings (this style director might have misread his invite and turned up for the wrong time slot) and with almost zero information given. And up till now, there's no official collection notes for the Autumn/Winter 2024 menswear collection.
The reason? Mr Armani wants the reactions and reviews to be organic points-of-view untainted by his personal intentions behind the collection. And quite honestly, that's a rarity. And also a beautiful thing, because as a fashion journalist/writer/editor you're then left to give an opinion based solely on what's seen and experienced.
So here it goes...
The fit: From the very first moment that the opening look came onto the runway, there's no denying that it's a Giorgio Armani creation. The ease and fluidity of the suit was an Armani classic, but tweaked. The shoulders were dropped ever so slightly, with the bodice cut oversized. The effect was a decidedly oversized fit done with intent such that the model still looked well-proportioned instead of seemingly swimming in fabric.
The idea ran throughout the Autumn/Winter 2024 menswear collection. Classic menswear suiting fabrications—herringbone, Prince of Wales checks, houndstooth—were reimagined in roomier cuts and their patterns manipulated just enough for an update. They're paired with signature Giorgio Armani geometric motifs set against a relatively muted palette of favourites the likes of blacks, greys, and navies, but at times, with a flash of bright hues to keep things interesting.
The details: There's not much in the accessories department to speak off (Giorgio Armani isn't exactly an accessories house) but the small pouches with braided straps in the more technical ski-ready portion of the collection looked like a steady combination of form and function.
We do however, need to talk about the styling. A number of the looks had trouser hems stuffed into boots, which is hardly a groundbreaking idea but served to further emphasise the cut and airiness of the fabrics used, even with the seemingly thicker wools.
Three exceptional looks: Look 4's somewhat mismatched combination that looks irreverently cool; the coordinate in look 23 that's simple but beautifully executed; and look 31's lapel-less suiting.
The takeaway: If it ain't broke, don't fix it—or maybe just a tad.
View some of the Giorgio Armani Autumn/Winter 2024 menswear collection in the gallery below.
Unlike most other brands, Hermès always does things a little differently. While it's become common practice for brands to furnish fashion editors and journalists with a list of celebrities who will be attending their shows (we've sadly all become glorified paparazzis), Hermès does nothing of the sort. In fact, I attempted to press the Hermès Singapore team multiple times so that I can be prepared for who to look out for before the Hermès Autumn/Winter 2024 menswear show for soundbites and general content, but they maintained that they themselves had no clue.
But there they were. A sizeable number of celebrities—both established and up-and-coming—entered the Palais d'Iena to a runway show audience that was mingling with pre-show drinks in hand. James Marsden walked in wearing a suit over a white turtleneck. And from the corner of my eye, in an outfit from Hermès' Spring/Summer 2022 menswear collection, was Swedish singer-actor Omar Rudberg of Young Royals—he paired the look expertly with a statement Hermès necklace and a bag with matching hardware. Queer Eye's Antoni Porowski rocked up in a shearling jacket with leather details, young Danish actors Alex Høgh Andersen and Lucas Lynggaard Tønnesen (known for Vikings and 1899 respectively) arrived together, The White Lotus' Leo Woodall was there too, and so was Luka Sabbat. I'm sure I've missed out a number of other celebrities but Hermès was very low-key about it.
The younger famous faces at the front row perhaps seemed like a calculated move. Does a venerable brand like Hermès need the awareness of a younger generation? Arguably, every brand could. Yet, the very spirit of the House is one that's irreverently playful and artistic director Véronique Nichanian has always channeled that into every collection. If anything, the appearance of these young faces could further help communicate the true nature of Hermès, one that's even more apparent in its Autumn/Winter 2024 menswear collection.
The fit: Right off the bat, it felt like as though the Hermès Autumn/Winter 2024 menswear collection was inspired by a rather British sensibility with the use of Prince of Wales checks and argyle knits. The styling seemed to have carried over some of the influences of the punk-inspired Autumn/Winter 2023 menswear collection. Yet, the overarching theme of the collection was simply one of versatility and paradox. The merging of traditional menswear with non-traditional fabrications, timeless motifs rendered anew, and a decidedly contemporary take on the familiar.
It was evident from the trousers in the collection. They were cut slimmer than ever while tops remained oversized. Jackets (a number of them reversible) were slightly cropped, but not too much—just enough to be a modern update. The argyle motifs were spliced and reconstructed with other colours and patterns, while waterproof gum canvas were cut into functional layers with its translucent nature affording multiple ways of styling and wear. Layering was a focus with sleeveless elements (a definite buy for this side of the equator) either worn on their own or layered over a multitude of other lighter layers.
The highlight for me though were the calfskin ensembles that were paraded towards the end. I initially thought that they were ponyhair pieces owed to the incredible sheen, but at the collection's re-see the very next day, it was revealed that they were polished calfskin. Fashioned into a number of outerwear, suiting and even a stunning vest, they were beautiful examples of Hermès craftsmanship and that spirit of playfulness.
The details: Nichanian has a knack for styling every facet from the Hermès menswear universe into one cohesive look without ever making it feel too much. Jewellery for Autumn/Winter 2024 were simple and effective. A personal favourite were the pebble-shaped necklaces in palladium and wrapped with a bit of leather for a chic statement that doesn't shout. Silk scarves turned into snoods with a reversible plain leather side, and ties echoed the Prince of Wales check suiting but rendered in fine topstitching.
But of course, the bags were what I'm certain everyone had their eyes on. I adored the Hermès Équipier pouches that were designed to fit comfortably on bicycle bars and fitted with multiple zipped compartments. The Fouree-Tout Étrivère—essentially an oversized holdall—was crafted with a sturdy top panel where its top handle is attached to while the bottom half is made of more supple leather that gave it a beautiful shape when carried using its shoulder strap. And the classic Haut à Courroies was given an appliqué treatment with leathers of different finishes for a more rugged appeal.
Three exceptional looks: Look 11's play on layers that's especially visible thanks to the gum canvas turtleneck; Look 34's simple monochromatic ensemble of a leather jacket with slim-cut trousers; and the closing look that should be worn to an awards show pretty soon.
The takeaway: You don't need to design wide-cut trousers to be relevant and cool; a contemporary aesthetic is more than just about being trendy.
View the full Hermès Autumn/Winter 2024 menswear collection in the gallery below.
It was almost a given that the Dior Men Winter 2024 collection would once again be artistic director Kim Jones' homage to the storied history and archives of the House. Jones' continued reverence for the House has undoubtedly created some of the most inspiring contemporary pieces of late. And the fact that he's able to do so season after season, displays just how extensive the Dior archive is—there are still so many stories to discover and rediscover. Jones is helping to tell those stories.
For Winter 2024, Jones focused on the relationship between Dior and ballet, specifically Margot Fonteyn and Monsieur Dior, and by extension, the former's dance partner, Rudolf Nureyev. In a surprising happenstance, Jones' uncle—photographer and former ballet dancer Colin Jones—too had a link to Nureyev, having photographed the legend and developed a friendship with him. The Winter 2024 collection was thus fashioned as a complete wardrobe of a dancer's life, both onstage and off—channelled through Nureyev's life.
And if you think theatricality was left only in the clothes (including a Dior Men haute couture finale debut), you'd be sorely mistaken. Jones has been dabbling with the runway show theatrics of late. Summer 2024's show saw models ascending from the ground; Winter 2024 saw models ascending to the starry sky of the showspace in a stirring finale that in some ways, reminded me of the staging of one of the rooms in La Galarie Dior.
The fit: Tailoring was sharp and languid all the same—once again taking inspiration from Yves Saint Laurent's definitive silhouette for the House. But for Winter 2024, I'd like to focus on how the collection felt like it's made ready for travel. The collection consisted more of separate pieces than specifically designed coordinates, meaning that everything could be easily spliced and remixed together, reflecting the malleability of a dancer's off-duty wardrobe. Just grab a few pieces and one would essentially look pretty put together.
There's an apparent '70s vibe to the entire collection, marked by the simplicity of the shapes and the lack of excessive details (especially in the beginning looks). Fastenings too were designed to be easy—zips were rampant throughout the entire collection on everything from coats to rompers to deep-V cardigans.
The details: Ballet slippers were interpreted as Mary Jane loafers in a multitude of colours. One that stood out the most on the runway for me was one rendered in an electric blue, paired almost casually with a more grounding brown outfit (look 19). There were also more obvious interpretations of ballet slippers as well as slip-ons thrown in the mix.
Cannage bags were crafted from silk-like material, giving off a sheen that looked luxurious even from the elevated seating I was put at. They came in the form of camera as well as bum bags that added a utilitarian juxtaposition to the ready-to-wear's more elegant designs. One particular bag that immediately caught my eye was a backpack (look 47) embroidered with a somewhat blown-up toile de Jouy motif and paired with a top done in the same treatment. Beautiful.
While this collection felt more commercial and simplified than perhaps the Summer 2024 collection, the details were still aplenty, especially in the couture offerings. Embroidered collars and waists took on intricate forms, enveloping the circumference of where they're positioned and encasing the body with armour-like protection.
Three exceptional looks: Look 4's unassuming romper paired with a turban (inspired by a 1999 Stephen Jones creation for Dior womenswear) and mustard socks; the scrumptious oversized brown coat worn with leather trousers for a monochromatic fit in look 21; and the divine jewelled mastery of look 50 that also combined elements of Jones' interpretation of Dior Men that I personally gravitate towards.
The takeaway: A brilliant way of gaining inspiration from ballet without forcefully injecting tutus and skirts and all that stereotypical ilk.
View the full Dior Men Winter 2024 collection in the gallery below.
"Consistency" could mean different things to different people. For some, it's akin to playing it safe with no actual point-of-view to speak of; others take it to mean being true to one's spirit and key aesthetics. Berluti falls in the latter—a shoemaking brand that has expanded over the decades to offer a more holistic luxury experience.
That's not to say that Berluti is only skilled at shoemaking (it is, of course). But throughout its course of creative directorship changes—Haider Ackermann as artistic director was a personal favourite—it has proven that there's a lot to work with as extensions of its sharp footwear. Berluti is decidedly rudderless but the design team is crafting innovative pieces that works for a lifestyle worthy of the quality of its craftsmanship and pieces.
It's evident from the presentation space for the Berluti Autumn/Winter 2024 collection. Located in a historical house with all the typical flourishes of a luxurious Parisian apartment, it was easy to imagine that the collection could very well belong to the owner of the lavish four-room suite.
The space opened up with an installation of Berluti's new Venezia leather patina colours for the season, displayed on the classics the likes of the Alessandro and the Andy. To the left was a room of the season's ready-to-wear offerings worn by a cluster of mannequins, each completely styled from head-to-toe. And facing that was the return of the Rapiecé Reprisé collection—first created in 2005—as the first instalment of the Berluti Editions line of a limited edition proposal of savoir-faire pieces.
The fit: Workwear was enhanced for Berluti Autumn/Winter 2024. A denim-like coordinate looked and felt somewhat like denim but was expertly crafted from a combination of cotton and silk, making it lighter than traditional denim with the strength of its weave intact. Leather and suede jackets take on lightweight constructions too. Opting to enhance the detailing of the pieces, a suede jacket in a gorgeous shade of burnt orange was decorated with pleats near the placket with pockets left slim and close to the body. Textural accents were also key as topstitched elements were employed quite tastefully and the use of smooth leather on the collar, the underside of which featured the Scritto—a hidden detail that Berluti loves to add almost in every iteration.
Functionality is always key and Berluti offered up some. A shearling jacket for example, was designed with a removable shearling collar—attached by snap buttons—for a second option on how it can be worn. And also, effectively switching up the vibe of the complete outfit. It's not exactly new perhaps, but smart nonetheless.
Suiting too was made with a function-first approach in mind. While Berluti's bespoke service is the brand's heightened form of tailoring on offer, the Autumn/Winter 2024 collection approached tailoring in a more lifestyle-driven manner. They're made for travel and thus are crafted from incredibly soft and lightweight Loro Piana cashmere. The idea is that these travel suiting pieces need little to no steaming—pop one on right out of the luggage and you can be on your way without looking worse for wear.
The details: A new sneaker was introduced. Fitted with a Vibram sole, the Sky Running sneaker echoes familiar silhouettes of trail-running sneakers. But also, it also felt to me like an amalgamation of some of the elements of Berluti sneakers past. The Sky Running sneakers will be offered in three different colourways with each consisting of a patchwork of mixed materials, including a heel counter that's crafted out of a patinated material meant to resemble Berluti's renowned Venezia leather patina.
There were also a duo of square-toed footwear called the Grand Chemin that's crafted from nubuck. In its deck shoe version, it resembled a cross between a formal dress shoe with that of a deck shoe collar. The trekking boots iteration featured a knit ribbed upper rendered in the same colour as the rest of its parts.
Three exceptional looks: The aforementioned "denim"-on-"denim" look 10; look 13's combination of a more rugged (yet rather minimal) suede jacket with key menswear staples (peep also that massive cabas); and look 18's simple proposal that highlights the Sky Running in all its glory.
The takeaway: Clothes that you'd actually wear with shoes crafted with centuries of craftsmanship expertise—consistency isn't necessarily a bad thing, folks.
View the full Berluti Autumn/Winter 2024 collection in the gallery below.
