The 2024 edition of the Cannes Film Festival made quite a number of headlines. From complaints of rude, handsy security on the red carpet to the coming together of film greats Martin Scorsese and George Lucas on the same stage, it was quite the two weeks. Perhaps, one that went under the radar was Saint Laurent's multiple appearances at the film festival.
There's no doubt that the red carpet at Cannes is as much of a showstopper as the schedule of films—Saint Laurent is anything but a stranger at the former. But this time, the French fashion house took part in the other half of the festival with its newly formed film production arm Saint Laurent Productions.
Initiated by creative director Anthony Vaccarello, Saint Laurent Productions marks the first full-fledged production of film by a fashion house. For its official debut, Saint Laurent Productions premiered three films at the 2024 Cannes Film Festival where Vaccarello is both listed as co-producer as well as costume artistic director.
The trio of long-feature films are Emilia Perez by Jacques Audiard (featuring a star-studded cast including Zoe Saldaña, Selena Gomez, and Edgar Ramirez), David Cronenberg's The Shrouds, and Parthenope directed by Paolo Sorrentino. All three films were in competition for the coveted Palme d'Or. Although none were awarded the honour—it went to Anora by American filmmaker Sean Baker—Emilia Perez took home the Jury Prize while its ensemble female cast was awarded Best Actress. In other words, not too bad for a first-time production house.
It may seem out of left field for Saint Laurent to have a film production arm, but the in reality the House has had a link to the world of cinema back to the very beginnings of its inception. Founder Yves Saint Laurent—apart from contributing to some of fashion's most celebrated silhouettes— designed costumes for a number of films. His most prominent was 1967's Belle de Jour starring Catherine Deneuve, where the entire film wardrobe for the actress was wholly designed by the couturier. Yves' collections were also thought of as cinematic, something that Vaccarello has increasingly channelled in his collections for the House.
There's little doubt that with the successful Cannes debut, Saint Laurent Productions will continue to produce a wide range of films, each with the same depth as Vaccarello's collections. With Jonathan Anderson of Loewe also having had a hand in designing costumes for Challengers, is this a trend that we'll see more of?
In season five of Friends, there's an episode aptly titled "The One With Joey's Bag". The central narrative was of Joey Tribbiani (played by Matt LeBlanc), having received a bag from Jennifer Aniston's Rachel as part of his desire to fit into a role of "a real clothes horse" that he's auditioning for, falling in love with said bag. But of course, given that it was 1999, his friends found every opportunity to ridicule him for even carrying the bag.
You'd think that the bag was in a ghastly shade of pink or a tiny purse that could barely fit anything (even so, there's absolutely nothing wrong with a man wanting to carry either) but in actual fact, it's reminiscent of a top-handle briefcase that's far from extraordinary in today's context.
How times have changed, and thankfully so.
The best bags this season are big. They're made to fit more than just the essentials, with some having the capability to be versatile enough to transition from work bag to gym bag. And of course, because we're all for longterm investments, they're crafted from sturdy and luxurious materials that'll not only last but age well too. From Loewe's latest Pebble Bucket bag to Bottega Veneta's massive tote, we've curated some of the best bags of the season made for every man that you are.
Photography: Shawn Paul Tan
Styling: Asri Jasman
Grooming: Kenneth Chia using KEVIN.MURPHY and TOM FORD BEAUTY
Photography Assistant: Xie Feng Mao
Styling Assistant: Chua Xin Xuan
Model: Aaron C at MANNEQUIN
Given the increasingly intertwined realms of fashion and design, it's expected that major fashion labels continue to expand their design repertoire into furniture during Milan Design Week. As the world's largest furniture fair, the event showcases the latest in furniture and design, drawing hundreds of thousands of visitors annually. Below, we take a closer look at a number of furniture collections and collaborations by fashion brands that were released and showcased during the week.
Titled the "MCM Wearable Casa Collection", the collection by MCM was created in collaboration with Atelier Biagetti and curated by Maria Cristina Didero. This was the MCM's first time taking part in Milan Design Week, yet the collection effortlessly showcased its authenticity. MCM is known for its rebellious spirit, and this collection reimagines the role of furniture through unconventional designs that fit into the avant-garde. The collection brings the audience out of this world with its portable and multifunctional pieces in thought-provoking designs.
Longchamp held an exhibition at its boutique on Via della Spiga from 15 to 21 April, spotlighting on studio högl borowski—headed by Viennese design duo Stefanie Högl and Matthias Borowski. Through the their careful selection of materials used, unique sensory experiences are constantly being explored. Ranging from furniture to sculptural objects, studio högl borowski’s innovative pieces create new dialogues between fashion, art and design. Borowski’s fascination for craftsmanship, shapes and proportions and Högl’s love for colour, materiality and telling stories often lead to their unique compositions in designs.
Saint Laurent Rive Droite teamed up with the Gio Ponti Archives, Ginori 1735 and the Fundación Anala y Armando Planchart to exhibit the Villa Planchart Segnaposto Plates collection. Originally designed by Gio Ponti, the collection is decorated with various symbols of the villa of Anala and Amando Planchart. These traditionally crafted decorative porcelain plates are painted by hand in Ginori 1735’s Italian Manifattura. The Gio Ponti-Villa Planchart exhibition was held during Milan Design Week at the Chiostri di San Simpliciano. The limited-edition plates are now available for sale online as well as at the Saint Laurent Rive Droite boutiques in Los Angeles and Paris.
Versace opened their doors to their original Milan home and design Atelier at Palazzo Versace, Via Gesù 12, to showcase the latest Versace Home collection. The collection's designs prominently feature iconic symbols like the Medusa, Barocco, and Greca, exuding luxury in true Versace style. Visitors immersed themselves in the rich history of Palazzo Versace through an audio experience titled "Versace Home: If These Walls Could Talk". It narrated stories of the Palazzo's significance in fashion and culture, including the historic Fendace fashion show that saw the coming together of Fendi and Versace.
Bottega Veneta collaborated with Cassina and Fondation Le Corbusier to present On the Rocks at Palazzo San Fedele, focusing on the LC14 Tabouret Cabanon. Le Corbusier originally designed the Tabouret for his cabin, and took inspiration from a washed-up whiskey box. It features masterful dovetail joints and oblong openings. The exhibition showcased custom editions of the Tabouret, including a new limited-edition tribute in signature Bottega Veneta's Intrecciato. The wooden editions feature a traditional Japanese charred-wood technique, providing natural protection to the wood while revealing the unique patterns of the wood grain. On the Rocks also offered a glimpse into Palazzo San Fedele, that's soon to become Bottega Veneta's headquarters.
Hermès presented a captivating blend of contemporary home collections with iconic heritage designs, showcasing their enduring commitment to craftsmanship and excellence. Inspired by vibrant jockey silk jersey motifs, leather goods and intricately crafted blankets in subtle shades take centrestage alongside luxurious cashmere bedspreads featuring intricate patterns. The new Diapason d’Hermès lounge chair in leather and hammered aluminium, along with ethereal lamps inspired by equestrian vaulting, reflected Hermès' innovative design approach. The showcase epitomises Hermès' spirit of merging artistic excellence with impeccable craftsmanship, creating timeless pieces imbued with sophistication and style.
Giorgio Armani reopened the doors of Palazzo Orsini, the brand's historic headquarters, to present the new Armani/Casa collection entitled "Echi dal mondo" ("Echoes from the World"). Each room in Palazzo Orsini corresponded to a geographical area that inspired Armani throughout his career, identifiable by nods to different aesthetics and fashion cultures. Inspired by atmospheres, colours and shapes encountered during Armani’s travels or research, the collection is presented in settings never been seen before, offering an intimate experience. It was seamlessly integrated with Armani’s personal memories and travel mementos, weaving a narrative that celebrated creativity, craftsmanship and diverse cultural influences.
Loewe engaged 24 different artists to create a new collection of lamps as part of its Milan Design Week effort titled, "Loewe Lamps". Utilising a wide range of mediums, the collection centres around the manipulation of light. The floor, table, and suspended lamps—presented in the Palazzo Citterio—were materialised using bamboo, paper, leather, and glass into innovative forms inspired by natural and man-made objects. Among the featured artists, Genta Ishizuka's suspended lamp stood out, reflecting an organic cell with glossy lacquer layers and gold finishing.
Gucci’s creative director Sabato De Sarno’s gravitation towards Rosso Ancora was further established in Design Ancora. Curated by Michela Pelizzari, Gucci exhibited its new furniture collection at its flagship store at via Monte Napoleone, 7. Five iconic Italian furniture pieces were reimagined and customised in Gucci’s signature Rosso Ancora, featuring works from Italian design masters including Mario Bellini and Tobia Scarpa. “Through Design Ancora, Gucci doesn’t simply celebrate old icons, it creates new ones,” explains Pelizzari. “The aura emanating from the brand spotlights five pieces by Italian masters that are perfect from a design standpoint but less known to the general public.”
Designed under the creative direction of Silvia Venturini Fendi, the new Fendi Casa 2024 collection introduced new products while maintaining iconic elements like the FF logo and Pequin pattern, showcased in luxurious materials and meticulous craftsmanship. Fendi further ventured into tableware and home textiles with its new home accessories collection, featuring elegant designs in French Limoges porcelain, artisanal woven leather, and blown glass. The collection intertwined Fendi's fashion universe with exquisite home decor, offering a luxurious and distinctive aesthetic.
Louis Vuitton unveils a range of exquisite offerings at its Garage Traversi store in Milan. The new Bed Trunk, a modern interpretation of Louis Vuitton's original design from 1865, combines tradition with innovation. The trunk features the iconic Monogram Canvas exterior and an interior crafted from aluminium and beechwood, and transforms effortlessly into a sturdy bedframe. Iconic Objets Nomades designs like the Cocoon and Bell Lamp were also showcased, blending Louis Vuitton's craftsmanship with contemporary design. Additionally, an expanded tableware collection introduced a new beige colourway, showcasing a fusion of classic and modern aesthetics.
For Milan Design Week, Saint Laurent Rive Droite teams with the Gio Ponti Archives, Ginori 1735 and the Fundación Anala y Armando Planchart to showcase a plate collection. But these aren't ordinary plates. These are Villa Planchart Segnaposto Plates and for such an exceptional collection, it is showcased at the Gio Ponti—Villa Planchart exhibition. Saint Laurent's creative director, Anthony Vaccarello, curated the exhibit.
This collaboration dates back to 1953. That's when Anala and Armando Planchart commissioned renowned Italian architect, Gio Ponti, to construct an avant-garde villa for them on the highest hill overlooking Caracas, Venezuela. While designing the villa, Ponti employed exceptional Italian artisans with traditional expertise for the interior decor of the Villa Planchart. This included the Florentine manufacturer Ginori 1735, for which he had previously worked as artistic director. He designed a set of porcelain tableware decorated with the various symbols of the villa. This pays homage to the village and Anala and Amando.
Saint Laurent will reissue 12 original plates from the Villa Planchart Segnaposto collection designed by Gio Ponti. These traditionally-crafted decorative porcelain plates are painted by hand in Ginori 1735’s Italian Manifattura. Available in vibrant hues, the plates feature the same motifs that appeared in the porcelain tableware designed for the villa. This included the sun, the crescent moon, the polar star and iterations of the letter “A”—referencing the initials of the villa’s owners.
The limited-edition plates will be available online, at SAINT LAURENT RIVE DROITE Los Angeles, SAINT LAURENT BABYLONE in Paris. Also, for a limited time, by appointment at Saint Laurent’s Milan flagship on Via Montenapoleone during Milan Design Week.
Held at the Chiostri di San Simpliciano, the Gio Ponti—Villa Planchart exhibition will be open from April 16th to 21st. To pre-book tickets, register here.
Some people are just born performers.
As a viewer, you can, somewhat, get the sense when the on-stage persona vastly differs from their IRL personality. The unapologetically magnetic stage presence versus a modest, amiable character is often a duality afforded by those who revere their craft. TEN undoubtedly falls under the category.
Naturally introducing himself without pretension, TEN carries himself unlike someone with a celebrity status. The answers issued come across as gentle and sincere, regardless of how accomplished he is in his respective fields and regions.
Even the unprompted birthday surprise when, during the photo shoot, the crew comes out with a cake, the chorus of “Happy Birthday” sounds with equanimity. His birthday, if you must know, is 27 February; a recent entrant into a new turning around the sun.
TEN is talented, clearly. You can’t help but buy into the calling that as he had shared about knowing that this is what he wanted to do since the early age of 14. Since his days as a trainee finding foundations in South Korea, the goal was to release his own solo album. Now, years of practice have culminated into one multi-faceted articulation of who he is as an artist.
But is that an accurate depiction?
This is different from his past solo singles. The elation of presenting a full album is real, but so is the pressure. And that’s the thing about high-contrast performers; you just know the level of perfection they demand of themselves is far from the average. But perhaps attributing it to being in his late 20s, lacking no tenure in the industry, or simply personal ethos, TEN’s perspective on what matters to him now has changed a little.
Somewhere between the hopes of acting in a thriller and winding down with a cold one after a busy schedule that typically ends at midnight... somewhere amid album preparation and promotion, quiet self-reflection, and newfound inspiration... There, at the nexus of passion and creativity, is where you’ll find him, charting along an ongoing passage of growth and expression.
ESQUIRE: You’ve been part of NCT, WayV, and SuperM; how do you navigate your identity among the different groups versus as a soloist?
TEN: When I work in a team, I try to adapt to the style that was given to me. Whereas as a soloist, you get to represent yourself and do what is right for you. You’re behind the wheel now; you’re the one creating the concept with your team, so I try to understand more about myself to better represent myself.
ESQ: Is there any belief that you feel is essential to your success?
TEN: (ponders) I think I have the mindset of “Being Humble”. If you think you know too much, you will stop growing. So knowing how to educate yourself is very important for me. If I feel like I’m not being humble today, I sit down to reset my mind. You have to [tell yourself], “Don’t be arrogant. You’re assuming but there are so many things you don’t know, you have to learn more. You’re not perfect right now.” So I’ve always had this like... good negative thoughts? It helps me feel grounded again.
ESQ: Is it hard to know where you stand in terms of humility with all that surrounds you?
TEN: Since young, my mom told me to be humble. Be kind. If you’re kind and have positive thoughts, good things will come your way. I’d always keep that at the back of my mind all the time. These days, I’m more into a positive working environment. I feel that if you’re in a good environment, the outcome is way better than when you’re not in a good mood.
ESQ: Could you talk us through your creative process?
TEN: For this album [TEN - The 1st Mini Album] my team and I sat down to share ideas, photos and listen to multiple tracks of various genres. Then I’ll add my two cents and we’ll put these songs up for a vote. This process is more accurate than me saying, this is a good song. It’s interesting to see how everyone has their take and different talking points on why certain songs should be the title track or part of the tracklist.
For the dance, we received demos internationally but we took the good bits and improved on them. So there was a lot of discussion about this album.
ESQ: You’ve been in the scene for close to 10 years now, how much input do you have in what you wear for performances and appearances?
TEN: I always give my opinion on the outfit because I need to feel comfortable to perform. If I don’t feel relaxed about the things I wear, I’m not representing myself on stage. But I do listen to other people’s [feedback], I think that’s very important.
ESQ: What do you look out for when it comes to fashion?
TEN: Fashion! Nowadays, I want to see something new because when I go shopping online or offline, there’s this standard where everything kinda looks the same. I want something that can be very simple, yet stands out. Saint Laurent for example, any of its suits may have the same look as every suit but there are little details that make it look unique.
ESQ: What’s your earliest memory of the Maison?
TEN: Oh, since my debut in 2016, my stylist always gave me Saint Laurent outfits to wear for performances and music videos. I just want to stress that this isn’t scripted or anything. I’m not paid to say this; this is as real as it gets. It’s fun to see how Saint Laurent’s styling has changed since then.
For Spring/Summer 2024, all the colours and materials are very simple, but how they are used and the way they are worn just make the clothes stand out. I’ve attended two Saint Laurent shows and the collections look totally different.
ESQ: What about your relationship with art? Is there a chance your artwork can be shown to the public one day?
TEN: Art really helped me express the side of me that I couldn’t really show at work or to my peers. Since my trainee days, I would express myself through drawing whenever I felt depressed or stressed out. If someone were to ask me why I haven’t been drawing lately, it’s mainly because I don’t feel any stress currently. But I also draw when something inspires me, like a quote from a movie. I’d start drawing what could represent it. Yes, when the time is right, I want to open my own gallery and welcome all my fans to come see it. I want to be sincere and tell them the true meaning of every piece of my artwork.
ESQ: Aside from being an artist, is there anything that you were always interested in developing but did not have the time to pursue?
TEN: Ah, to go to university (laughs). I want to know how university life feels like because that’s once in a lifetime. Ok, you can enrol into university when you’re 30, but the feeling is different. It’s not regret... just curious as to [what it’s like] going wild in your early 20s in university as opposed to attending university when you’re 30.
ESQ: If you could go to university now, what course would you take up? And do you think it’d be easier or harder to cope when you’ve been in the spotlight?
TEN: Business or art. I think it’s going to be ok. I don’t think I’ll feel the difficulty in enrolling into university because of my fame because I’m always up to meeting new people.
ESQ: Is there anything you’re grateful for in your career?
TEN: When I debuted, I had a leg injury. I went to get my operation after and had to rest for two years, [which is when] I started to focus more on my vocals. The doctor told me I might not be able to dance again, and that picture got me fired up. Like, ok TEN, if you can’t dance, what could you do in this career? Let’s try developing my singing skills. So during the recovery, I went to the practice room every day practising my vocals and the result came out very nicely for me. And those two years just made TEN become who he is right now.
ESQ: Do you ever think about legacy?
TEN: I’m a person who doesn’t think too far into the future. I’ll just focus on the present. Right now, I just want to have fun. The reason I wanted to do a solo album was that I wanted to open up that part of me that I couldn’t show when I was in a group or too afraid to when I was younger. It’s about time that I get up to face my fears on stage, understand the person I am and feel free.
ESQ: Is it easier now or is it always frightening?
TEN: I’m still learning, right? It’s not easy. I had my first solo fan-con [fan concert] and it was very nerve-wracking at first. I may seem fluent but I worry all the time about what I’m going to say or whether my fans would enjoy watching my performance; do the songs sound good?
But... I figured I’d just... go with it (chuckle). Don’t think about it too much. Because the fans love you just as you are. They don’t want to see perfection; they just want to see the artist and his story. I feel like I tried too much to be perfect in the past but [ultimately] you just need to be real with yourself. Just take it slow and people will end up loving you.
ESQ: Do you feel put in a box as an idol, regarding people’s perception of you?
TEN: For now, I won’t say everybody knows who TEN is. As a soloist, this is the year when I’m representing myself as TEN. There will be more things to reveal in the future. I must keep a little suspense, otherwise, it won’t be fun to watch, right? I’m going to slowly reveal myself [bit by bit]. It’s like reading a novel or playing a video game; if you complete the game in an hour, it’s boring; you don’t want to know the climax. You have to walk one step at a time; you’d want to be on the journey of that character.
Photography: Jungwook Mok
Fashion Direction: Asri Jasman
Art Direction: Joan Tai
Styling: Sihyuk Ryu
Hair: Daeun Nam
Makeup: Hyebeen Kim
Producer: Daniel Teo
For international orders of the Esquire Singapore April 2024 issue with TEN, email ordersg@heart-media.com.
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.
You’re dressed to the nines: a carefully crafted outfit complete with shoes that function as splendidly as they look, and punctuated with the right amount of accessories that say you’re all about the fine details. From the first glance of the ensemble, it’s obvious that you know who you are and what you like. The aesthetic is set. What more can elevate it? The right scent.
That’s the idea behind fragrances guided by luxury fashion houses. Yes, they’re often thought of as entry-level introductions to a fashion house—an affordable way of immersing oneself into its tenets—but conceptually, they act more like final touches to a look. The final accessory, if you will.
It is counterintuitive, however, to complete a head-to-toe Dior Men fit with a Dior fragrance—it says little about you as a person than you’d think. As is the case with style and fashion, it’s not so much about what you wear as it is about how you wear something.
Master perfumers may sometimes take inspiration from the fashion house but more often than not, the fragrances tend to stand on their own. They remain true to the spirit of the house they’re crafted for, yet hardly are they literal manifestations of a certain collection or fashion creation of the house. And that means that these fragrances are as malleable as fashion, capable of being paired and layered to suit a mood or occasion.
Subtle nuances rank high in fashion. The simplest and most minimal of fashion creations should never be taken as the easiest to execute—the more seemingly minimal a piece is, the more technical the craftsmanship needed.
The latest expression of the Hermès H24 eau de parfum is a strong representation of the notion. Formulated by the director of creation and olfactory heritage for Hermès Parfums Christine Nagel, the H24 Herbes Vives revisits the original with a more vegetal vision. The result is a greener fragrance brought about by a combination of fresh herbs the likes of parsley, hemp, and sorrel while still retaining that slightly metallic signature allure of H24. The latter is reimagined with Physcool® that adds a hint of mint to the mix.
Francis Kurkdjian interprets Dior’s iconic New Look spirit as a fragrance, reimagining it as an encapsulation of the term for today. The top note consisting of a soaring aldehyde strikes with a clean, almost sterile, hit that is then grounded with the earthy characteristics of frankincense. What gives the La Collection Privée Christian Dior New Look even more body is the base amber accord for a completely balanced fragrance that hardly overpowers.
Maison Margiela’s Replica From The Garden is essentially a bottled memory of harvesting tomatoes in a rich and healthy garden. Hence, the freshness of tomato leaves is matched with bright green mandarin, patchouli, and geranium essences for a truly green concoction. It’s fresh but not cutting, so much so that you’d smell like a bush; rather, a spritz of the very best of nature.
For more intense flavours, these latest selections offer more body and depth that are best suited to be worn on their own. Take the BOSS Bottled Elixir for example. The eau de parfum is a more elevated take on the popular eau de toilette original that’s become part of a starter pack for men venturing into fragrances. Just like the original, the overall fragrance is warm and heavy. Incense and cardamom top notes combine with earthy vetiver and patchouli before being rounded with cedarwood essence and labdanum absolute. It’s typically what one would think of as a masculine fragrance but amped up in intensity.
YSL Beauty’s new MYSLF eau de parfum is its take on “new masculinity”. While it is as bold and heavy as other masculine fragrances, there are hints of vibrant freshness. A bergamot accord serves as its top note, giving off that freshness while a middle orange blossom heart dials down the citrus with sweetness. And for that depth typical of masculine fragrances, a woody accord of Indonesian patchouli and Ambrofix.
If rich, leather-inspired scents are what you feel, add that luxurious complement to your fit, the Noir Kogane eau de parfum by Armani/ Privé deserves a spot in your fragrance rotation. The leather base is topped with sharp elemi and pink pepper, with saffron and frankincense adding on to the intensity. But if the first spritz is intense, the fragrance dries down into a sweet balance of leather and tobacco in a rather satisfying way.
Photography: Jaya Khidir
Styling: Asri Jasman
Styling Assistant: Chua Xin Xuan
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.
A new trio of actors have ascended as the face of Prada's latest menswear campaign. The Spring/Summer 2024 menswear campaign features—for the very first time—Harris Dickinson, Troye Sivan, and Kelvin Harrison Jr. and lensed by Willy Vanderperre. All brilliant actors in their own right, just like how they each embody different characters from role to role, they portray the transformative nature of fashion coupled with Prada's penchant for stylistic juxtaposition.
We finally have a firm date for Dior Men's upcoming Fall 2024 runway show in Hong Kong. The show is set to take place on 23 March 2024—a break from its usual tradition of a December showing. While there isn't a show venue announced yet, it's safe to say that the fashion house will definitely not be taking over the city's Avenue of Stars that was the site for Louis Vuitton's show in November last year.
Pharrell Williams' first collection for Louis Vuitton has officially hit boutiques this week. And the collection's latest face—the first was a pregnant Rihanna debuted as a lead-up to the runway show last year—is none other than LeBron James. The professional athlete was already pictured with Williams' reworked Louis Vuitton Speedy back in October and made the announcement on social media almost immediately, but we now have the full slate of the campaign going live. And let's just say that it's about time that James is given the LV spotlight.
Saint Laurent's latest at Singapore's Paragon is a two-floor boutique that's unlike the others. The brand new design concept by Anthony Vaccarello is both raw and refined—quite like his creations for the House of late. Industrial grey concrete flooring is juxtaposed with grigio alpi marble walls and blue lumen marble as well as golden spider marble furnishings. The new boutique houses Saint Laurent's collection across all its categories and features a VIP room located on the second floor.
He's a musician, an all-round performer, and a member of K-pop group GOT7—Mark Tuan is an entertainment force in his own right. But aside from his musicianship, the man has got style in spades, especially when paired with Saint Laurent. The two have developed a close relationship over the years with Tuan becoming a fixture on the front row of the Saint Laurent runway shows.
So who better to bring us to the most recent Saint Laurent Summer 2024 womenswear show by Anthony Vaccarello than Tuan himself? Follow along his journey to the show as he recalls his fondest moment with the fashion house as well as the thought process behind his choice of outfit for the show.
What goes through your mind when you’re getting ready for an average day in your life?
I approach each day with an open mindset, ready to adapt to whatever challenges or opportunities may arise. I don't stick rigidly to a fixed routine because I believe in spontaneity. So while I do have a general plan for the day, I'm always open to adjusting it if something unexpected and exciting comes my way. This approach allows me to stay flexible, embrace change, and make the most of every moment.
Why did you decide to go with this outfit for the Summer 2024 women’s show?
I decided to go with this outfit for the Summer 2024 women's show because it was an elegant look, and I simply connected with it. The design and style of the outfit resonated with my personal taste and aesthetic preferences. Fashion is not just about wearing clothes; it's also about expressing oneself and feeling a connection with what you wear. This particular ensemble not only exuded elegance but also made me feel confident and in tune with the theme of the show. It was a choice driven by both aesthetics and a personal sense of harmony with the attire.
You’re no stranger to being on the front row of fashion shows. What do you look out for when viewing a collection?
When I'm on the front row of fashion shows, there are two key elements I particularly look out for when viewing a collection: colour palettes and silhouettes. These two aspects play a crucial role in shaping the overall aesthetic and mood of a fashion collection.
You’ve also been to a number of Saint Laurent runway shows now. Is there a particular show or moment that still sticks to this day?
The Saint Laurent runway shows have consistently delivered memorable moments, but if I were to choose one that still sticks with me to this day, it would undoubtedly be the first show I attended. What made the experience truly unforgettable was the unexpected and breathtaking setting. I didn't expect to be sitting with the Eiffel Tower as the backdrop, so when the walls came down to reveal that iconic Parisian landmark, it was absolutely stunning.
If you could choose a song from your discography to be the track for a runway show, which would it be?
As of right now, I don't feel like any of my songs are suitable for a runway show, but perhaps in the future, I'll create music that perfectly complements the runway experience. Music plays a vital role in setting the mood and enhancing the overall atmosphere of a fashion show, and I would want to ensure that the song chosen aligns seamlessly with the designer's vision and the collection's theme. While my current discography may not have the right fit, I'm open to exploring and collaborating to create music that adds a distinctive and captivating element to future runway shows.
That concludes fashion month, I suppose. Buyers, stylists, models, and celebrities have been traveling between fashion capitals over the past few weeks to learn how the world's best-dressed men will be dressing for next summer.
So, what's the verdict? Are we all going to be dressed like highlighter pens, or will neutral shades reign supreme once again? Will the silhouettes be baggy or Meet Me in the Bathroom-level skinny? Will our wardrobes be even more gorpcore-y or Y2K or... neither? Without further ado, here's our trend breakdown.
Showing at Fendi’s leather goods factory, Silvia Venturini Fendi presented a collection that played tribute to the callous-thumbed artisans that fill her team. Suits came with stitches for fitting alterations and shirts were printed with toolkits, but it was in the accessories where you could see a direct connection to workers’ uniforms. Models walked with F-monogrammed coffee cups (some in holders, some in hand), documents, measuring tape and name tags as if they were just clocking in for another day.
This trend for accessorising everyday items and elevating the supposedly mundane continued into Paris Fashion Week. Louis Vuitton also had a fellow caffeine addict walk their runway, this time with a straw poking out of the coffee cup lid, as well a model who sported a leather version of the LV shopping bag.
It’s natural for summer collections to be a bit on the brighter side, but no one was expecting the sheer amount of clothes that were imbued with a satsuma-esque shade of orange. While the colour can be intimidating for even the most extroverted dresser, designers made it look as effortless as an Easy Peeler: Dries Van Noten paired pumpkin shorts with a tucked-in double-breasted blazer, while Etro’s more brazen take—a tinsel tank and hoody combo—is for the risk takers. For a contemporary take on suiting, Zegna’s pastel pieces shouldn’t be ignored, and should prove to be a go-to for wedding attire next year, but for casual, everyday-wear, Bianca Saunders’ graphic tees are a must.
Recently, the baseball cap has had a comeback, and it appears that the sporting fervor will continue into next summer as well. Fendi, Martine Rose and Saul Nash all had their own takes, varying from Italian leather to acid-wash denim. But there was more outré headwear, too. Kim Jones had his models wear colourful beanies (at an askew angle) while at Kenzo, Nigo showed wide-brim sun hats and printed berets.
The rules of smart-casual dressing have always included a time-tested formula: pair a nice shirt with some more relaxed bottoms and... there you have it. Foolproof, which is why it featured heavily across the spring/summer ’24 shows. But for this season, you should expect shirt designs that are brasher and a lot more eye-catching. Dior, for example, bejewelled a work shirt with a load of blue crystals, while Ami and Dries Van Noten both had heavily sequinned button-downs within their collections. Prada even stuck on 3D florals and some fringing onto theirs. The message is clear: the bolder the better.
This season also saw brands embrace a concept that has been embraced in womenswear for decades: the going out top. Fendi had a halterneck shirt where the arms drape behind, and Loewe presented a metallic blouse that sparkled like a disco ball. And for more retro takes, Saint Laurent had sleeveless pussybows and sheer blouses aplenty.
It’s lucky that the Y2K low-rise trend has barely entered the menswear-sphere, despite having dominated womenswear for seasons now. In fact, brands are rebelling against it. Waistlines were well above the belly button at Loewe and Prada in both trousers and shorts form respectively, while the use of cummerbunds at D&G and Wales Bonner gave the visual illusion of longer legs and shorter torsos.
Hemlines have also started retreating north, despite seasons of the long and slouchy silhouette. All of the longer-length bottoms at Dior were cropped just above the ankle, and at Hermès the hems were turned up to give full view of the models' fisherman sandals. Waistbands and hemlines are moving on up.
Perennial plants have been blooming in menswear for the last few years, and seeing them blooming in this season’s collections isn’t all that unusual. However, they were blown up to larger and slightly darker sizes as opposed to the more twee prints we had previously seen. As mentioned earlier, Prada had 3D lilies stitched onto shirts, but also positioned them alongside prints of slightly gloomier (potentially underwatered) styles. Emporio Armani centred their black-heavy collection around a ginkgo leaf, where it featured as cut-outs on peak lapel blazers and woven onto lattice-like tops. Valentino had singular roses, an enlarged poppy motif and peonies as part of its sartorial garden, and Kenzo had rose heads printed and stitched onto its denim pieces.
While pairing a linen suit with sandals isn’t exactly a revolutionary move, the catwalks this year were particularly... toe-heavy. Expect wedding wardrobes to follow suit, for better or worse. Dries Van Noten paired a waist-hugging black suit with leather flip flops, and the toe-dividing footwear was also seen at Wales Bonner, where it was styled with a structured linen two-piece. If you have an aversion to seeing your tootsies outside of beach locations, follow Hermès’ lead by sticking to a fisherman sandal. Suited and booted? No, it’s about being suited and sandaled.
The sheer volume of suits and tailoring on the spring/summer '24 runways proved that, despite the pandemic's best efforts to the contrary, they are still in demand. Still, it was clear that there was one cut that reigned supreme for the season: the double breasted suit. They opened the show at Givenchy, worn with hands in pockets at Loewe, paired with contrasting trousers at Ami, as part of a three-piece suit at Paul Smith and in a horse-bit check print at Gucci.
Originally published on Esquire UK
The menswear evolution at Saint Laurent under the creative direction of Anthony Vaccarello has been a gradual one. The beginning of his tenure saw Vaccarello sticking to predecessor Hedi Slimane's penchant for rock-and-roll skinnies, while at the same time adding his own inflections of chic. Since then—he's recently passed the seventh-year mark—Vaccarello has increasingly referenced Saint Laurent's archives, especially the work of its founder.
The Saint Laurent summer 2024 runway show was held in Berlin, Germany. While it may be more famously known for its vibrant rave and party culture, the city's art and design scenes too require little introduction. The glass-and-steel Neue Nationalgalerie—a modern art museum designed by Ludwig Mies van der Rohe—provided the perfect setting for the summer 2024 collection that further emphasised on Vaccarello's stamp for Saint Laurent: modern, elegant, and indisputably chic.
The fit: Just like the brand's previous presentation (the winter 2023 womenswear runway show), the focus for the summer 2024 menswear collection was the shoulder. Strong and structured, the general look consisted of an oversized blazer paired with high-waisted flute trousers, achieving a top-heavy silhouette that tapered down. The opening looks were classic pairings of tuxedos interpreted in the collection's silhouette but as the show progressed, button-downs were substituted in favour of neck-plunging tank tops crafted from silk.
When shoulders weren't accentuated and exaggerated by deftly tailored blazers and shirting, they were left bare. The aforementioned tank tops were joined by sheer blouses decorated with polka dots and extended scarf collars, halter-neck tops, toga blouses, and off-shoulder tops that all featured some manner of elegant draping.
The overall sense of flou was evident in the silk fabrications, but also in the continuation of winter 2023 menswear's use of oversized pussy bows tied around the neck.
The details: It does seem that when Vaccarello does a fashion show, the focus is almost strictly on the clothes and not much else. The Saint Laurent summer 2024 menswear collection was no different—there were no bags to speak of. The accessory du jour however, were aviator sunglasses. And true to form, the devil was in the details. What may have seemed like regular aviators, were given a modern twist with temples connected to the bottom of lenses instead of the top.
If you're looking for an update to wearing a shirt, refer to look 23's styling tip of treating one like how you would a bathrobe—simply disregard the buttons, wrap the shirt around the waist and tuck it into trousers. It's not a new hack by any means but a nifty one to experiment with oversized shirts.
Three exceptional looks: Look 5 is quintessential to the Saint Laurent summer 2024 menswear collection that's further elevated with the hint of a red pocket square; look 29 for a dramatic elegance befitting any occasion; and look 37 that's proof of the timeless simplicity of an all-black fit.
The takeaway: If this summer season is all about baring abs with cropped tops, summer 2024 may perhaps be the time to work on the pecs and guns.
View the full Saint Laurent summer 2024 menswear collection in the gallery below.
