There are plenty of reasons why this Patek Philippe timepiece is all kinds of handsome. There’s the sunburst blue dial showcasing the baguette-cut diamond hour markers; the navy alligator leather strap; the centrally focused design with the double day/month aperture, date aperture, and subdial with moon phase indicator... When it is this good-looking, there’s no reason why it shouldn’t work with the rest of your ensemble.
When Louis Vuitton launched its first shopper tote (it looks like a padded version of its paper bag but in leather) it clearly had the markings of a cult favourite. Since then Louis Vuitton has rolled out many variations. The Spring/Summer 2025 version though looks less like a paper bag and more like a top-handled briefcase with personality. The exterior is completely decorated with the season’s reworking of the Damier and comes with a leather tag nodding to the theme of the collection.
Loewe updates its Ballet Runner sneaker. While the original has more of a ballet shoe silhouette, Ballet Runner 2.0 has a more pronounced build with an asymmetric toe that gives more room at the front. Its textured rubber outsole also now extends to the toecap, giving a more ’70s running shoe look. All that to say, this version upgrade is a definite winner.
The Il Conte chore jacket is a great for travelling. Thanks to its cashmere, silk and linen composition, the jacket is incredibly lightweight yet still holds its shape well. Its minimalist design instantly elevates a T-shirt or shirt when the need arises. And that leather slip pocket within the right patch pocket is a brilliant detail that speaks to Zegna’s design ingenuity.
In less than two years, Tsu Lange Yor has grown to be quite a presence in the niche fragrance universe. Its latest release follows through with the brand’s unique blend of scents that are intimate and sensual. By Your Side is a balanced eau de parfum with a warm body that strikes first with the subtle sharpness of peppercorns before drying down to a pleasant woody finish. The best thing is, By Your Side doesn’t feel heavy.
In skincare, a product that does more than just one thing is a boon. Drunk Elephant’s latest concoction is a cream cleanser containing one per cent colloidal oatmeal rich in soothing antioxidant compounds to address skin redness. It also contains marula seed oil that helps to moisturise and nourish the skin. Couple all that with the Mello Marula cream cleanser’s low-lather formula, and you have a cleanser that can double up as a shaving cream while also caring for your mien.
While a full-length trench coat is classic, Burberry’s shrunken design gets points for its more modern sensibility. The look stays true to the brand’s signature design, including double-belted cuffs that are functional and add a touch of sartorial flair. The short trench is made for a slim fit, but you can size up and cinch the waist with a belt for styling options.
RIMOWA’s aluminium cardholder has a rather sexy mechanism that swivels to reveal its contents. It’s not exactly the most roomy of cardholders with the capacity to fit six standard-sized credit or business cards, but then again, who needs that many physical cards in this day and age? Consider this as a style flex—sleekly crafted with RIMOWA’s signature grooves and in the same material that’s made the brand a household name.
Since its launch in 2019, the Clash de Cartier has quickly become a recognisable staple for the brand. The unisex, punk-esque designs are now reimagined in yellow gold with the addition of the small model that features finer iterations of its clou carré studs and mobile picot studs. This means there’s now more ways to pair the Clash de Cartier pieces for an even more dynamic stack.
It’s not often that Hermès’ tableware feature illustrations that aren’t in the equestrian realm or realistic flora and fauna. The Kaorumi series of 15 pieces—plates, platters and a bowl—is designed by Japanese artist Ryo Takemasa, featuring a range of fruits in a play of symmetries. The colours are vibrant and the illustrations are so cool, you’d be torn between just displaying them or putting them to good use.
Photography: Jaya Khidir
Styling: Asri Jasman
Conceptualised by Louis Vuitton men's creative director Pharrell Williams, the Speedy P9 is a reimagining of the Maison's icon. While still respecting the lines and silhouette of the timeless original, the Speedy P9 is the more colourful iteration and crafted with supple leather that gives it its already-signature slouchy look. And that only means that the bag is perfect for just about anywhere and everywhere—making versatility speedy and easy.
Photography: Kim Jaehoon
Editor: Kim Yujin
Art Designer: Choi Jihoon
Grooming: Jang Haein
Assistant: Song Jeonghyeon
Model: Kim Hoyong
And the film awards season has officially drawn to a close. The Oscars 2025 edition (or the 97th Academy Awards, if you're formal like that) saw Anora almost clinching all six of its nominated awards with five wins including "Best Picture", while the Adrien Brody-starring The Brutalist won three and earned Brody his second Oscar for "Best Actor in a Leading Role".
The formality of the award show—more so than the others of its ilk—often leave the men relegating their outfit choices to the safest of tuxedos. And while that's not necessarily a bad thing, it leaves for a rather humdrum red carpet for menswear. Thankfully, the dress code has been somewhat loosened over the years, resulting in fits that are worthy of the prestige of the Oscars, all while retaining a sense of elegance.
The Oscars 2025 red carpet saw the men working around these boundaries. Timothée Chalamet debuted Givenchy's newest creative director Sarah Burton's menswear with a pastel yellow tuxedo paired with Cartier jewels, and together with Jeff Goldblum and Colman Domingo (in Prada and Valentino respectively) some opted for colours and prints beyond the conventional. But even in the more subtle and traditional, there were modern nuances. Joe Locke's CELINE outfit featured a gold waistcoat, Rowoon embraced glitter and shine in his Amiri pick, and Reece Feldman exuded elegant flair in Saint Laurent. All in all, quite the red carpet for the men indeed.
View the best menswear looks at the Oscars 2025 red carpet in the gallery below.
We've been here before—a Gucci without a creative director. Weeks after letting go of Sabato De Sarno, the Italian fashion house went ahead with its scheduled co-ed Autumn/Winter 2025 runway show, put together by its in-house design team.
It was a stunning venue. Built around the House's interlocking G logo and dressed in its emblematic deep green hue (almost to counter the Ancora red that was part of De Sarno's creative direction), it was a rather stark contrast to the show spaces of the past couple of years. In retrospect, the Autumn/Winter 2025 runway show felt more Gucci—luxurious and glossy, instead of the often industrial-esque spaces chosen. Coupled with the original composition by Oscar-winning composer Justin Hurwitz (performed by a live orchestra), there was a cinematic quality to the whole production. And with that, it was as though the ghostly presence of Tom Ford was summoned.
The collection looked fine. It was a combination of the Ford era with subtle stylings of Alessandro Michele, but almost always leaning towards the former, especially with respect to the menswear portion. There was a slight '70s nuance punctuated by oversized metal frames and fabrics that called to the time period, but also an intentional use of monochromatic styling that while chic, felt a bit out of place.
In short, like what Francesca Bellettini, deputy CEO of Kering, has reportedly said, Gucci needs a creative director "promptly".
The fit: Styled by Suzanne Koller, the collection had a touch of that bourgeois-skewed aesthetic she's known for. For menswear, that translated to offbeat pairings of tailoring with a furry knit as per look 51 or statements glossy coats worn over a muted base. But if anything, the Gucci Autumn/Winter 2025 collection felt foundational—you wouldn't necessarily put these pieces together for yourself like Koller, but there were enough individual staples to craft into your own.
As mentioned, the monochromatic tailoring were probably the more chic proposals from the collection. They were done in full-on suiting as well as the more Ford-esque pairings of double-breasted suit and turtleneck that were executed beautifully.
The details: Much like its previous transitional collection, Gucci took the opportunity to zero in on its heritage icons, with an emphasis on its Horsebit motif. It appeared as a large metal hardware on the collection's latest large shoulder bag crafted to be slouchy and supple, as well as the more women's focused Gucci Siena handbag fitted with a half-Horsebit front closure.
There was an attempt by the design team to be a bit more experimental. A Gucci holdall was seen designed with a handle on its side that allowed it to be carried vertically. It's a bit of an odd choice in terms of practicality or even visually, but perhaps there's something to it that I'm not particularly aware of.
Three exceptional looks: Look 34's speckled coat in quite a perfect cut; look 35's very Ford-Gucci with its cropped leather biker worn with skinny trousers; and the simple elegance of an all-cream look that was look 59.
The takeaway: Gucci really wants to revive its Tom Ford era.
View the full Gucci Autumn/Winter 2025 collection in the gallery below.
Miuccia Prada is one of those rare greats who marches to their own beat. Upon entering the family business—after training and performing as a mime artist for five years, mind you—Mrs Prada upended the industry when she premiered the brand’s now-classic nylon backpack in 1984, introduced womenswear in 1989 and menswear in 1995 to a business that up till then was only manufacturing leather bags, and of course, branched out to create Miu Miu in 1992.
Little need to be said of Prada’s enduring legacy in fashion since. Mrs Prada’s offbeat designs known for challenging one’s perception of what’s beautiful, continue to be referenced by both established and up-and-coming designers alike. It’s often said within the fashion circle that a Prada piece never really goes out of style and that Mrs Prada’s ever-evolving vocabulary of prints can easily be matched with pieces across different seasons to create one’s own unique combination of the brand’s aesthetic.
It came as a surprise then that after almost 40 years of helming sole creative direction of Prada, it was announced that Mrs Prada will have Raf Simons come in as a co-creative director in 2020. There’s a sort of humility in the decision; that after decades and being considered a fashion force, Mrs Prada has no qualms sharing creative custody of a brand she’s effectively built.
While fashion collaborations have become de rigueur in the past decade or so, the existence of co-creative directors isn’t as common.
Since time immemorial, a partnership in fashion has typically been between the “business” and the “creative”—the money and the vision, so to speak. The late Yves Saint Laurent founded his eponymous fashion house with the business mind of Pierre Bergé, entrepreneur Marcel Boussac was the financial backer behind Christian Dior, Marc Jacobs co-founded his own brand with businessman Robert Duffy, Gianni Versace grew and expanded Versace under the guidance of older brother and CEO Santo Versace, and countless others. The separation between the business and the creative side of things makes sense for a more focused organisation, with each side working together to ensure that the vision and the output can be financially successful. Or at the very least, keep a business afloat.
The rigours of an evolved fashion landscape however, can make a one-man (or one-woman) show rather exhausting. The modern fashion calendar unfortunately demands relentless creativity with four, sometimes six collections a year, endless collaborations with other designers as well as brands, various marketing campaigns, and creations beyond fashion alone. Today’s creative directors aren’t solely designing clothes; they’re running empires to feed into the growing fantasy that is fashion. And empires cannot be run alone.
“I’ll only do it with Lucie,” Luke Meier told Jil Sander’s then-CEO Alessandra Bettariher when he was first approached to take over the creative reins of the brand. In a 2023 interview with Business of Fashion, Luke recalled the rationale of that decision. “I’m sure they probably had the idea that if I would do it, then she’s coming along because she had the chops in terms of high level European womenswear. I had no experience whatsoever in that world,” Luke said. The husband-and-wife duo have been co-creative directors of Jil Sander for close to a decade now and each offers different perspectives and expertise to the table. Luke’s largely streetwear-centric background working for Supreme as well as his own OAMC brand (he stepped down as creative director in June 2024) is a juxtaposition to Lucie’s more haute couture experience that was honed at Louis Vuitton, Balenciaga and Christian Dior, where she was the interim creative director after Simons left the post.
For Luke and Lucie, the partnership is almost mutualistic in nature. “The way we work is we really do everything together—everything is kind of merging. Luke definitely has his eyes on the womenswear and I have my eyes on the men’s and, for sure, we add a different element,” Lucie said in the same interview. And it has clearly worked. Not since Simons’ tenure have we seen such creative and visual stability at Jil Sander. One would be able to tell where exactly Luke’s and Lucie’s individual imprints are on a collection, but even then, they’re cohesive—a delicate dance of the organic and the precise.
The same can be said of the growing success of Lemaire. Founded by Christophe Lemaire in 1990, the brand was on hiatus for nearly a decade as Christophe focused on his role as artistic director of Lacoste in 2001, and then relaunching it in 2010 (while simultaneously working on womenswear for Hermès) together with Sarah-Linh Tran as co-creative director. What was initially an if-you-know-you-know cult fashion label, has now grown both in operations as well as profitability. Lemaire’s sales in 2024 reached over USD100 million, a 10-fold growth as compared to 2019’s figures. There’s no doubt that the growth is a result of a number of factors, including a consumer shift to more affordable luxury fashion as well as a large minority investment by Fast Retailing, Uniqlo’s parent company, of which both Christophe and Tran are co-artistic directors of its Uniqlo U line and R&D centre in Paris. But it’s also Tran’s injection of a softer nuance to Lemaire’s designs that have helped make it more appealing to an audience that clamour for comfortable and timeless day-to-night fashion.
Like in any relationship, a co-creative directorship is only as strong as the communication between the two individuals. The obvious brilliance of having two creative leads is the fact that each brings in a distinct perspective. The beauty lies in a tension between the two ideals—a push and pull that could very well spark innovation. Take for example, former co-creative directors Carol Lim and Humberto Leon, whose combined vision reinvigorated Kenzo in 2011 in ways that were modern and relevant at the time. And who could forget the Pierpaolo Piccioli and Maria Grazia Chiuri era of Valentino where the House’s signature codes were strengthened and recontextualised for both new and existing clientele.
Not all creative partnerships, however, serve to be a united voice—it all boils down to a brand’s vision. Co-creative directorships may be rare occurrences, but installing a creative director for each facet of a fashion business is fairly common. Louis Vuitton’s current creative directors Nicolas Ghesquière and Pharrell Williams work on the womenswear and menswear universes respectively, each distinct in their own ways and hardly ever interweaving ideas and aesthetics. The same goes for brands like Dior, Fendi (before Kim Jones recently exited from its womenswear line), and Hermès. There are certain parameters that each designer would have to work within to stay true to the overarching aesthetic and ethos of a brand, but how they’re interpreted in hopes of relating to either the women’s or the men’s portion of the business is somewhat up to their own creative input.
For decades, the industry mythos thrived on the image of the lone creative genius. Fashion designers such as Yves Saint Laurent, Karl Lagerfeld and Alexander McQueen didn’t just design; they dominated. Their names became synonymous with their brands, their visions untouchable, and their control seemingly absolute. But things are different now, and the fashion system is much harsher than before.
That’s not to say, however, that solo creative directors work alone. There is always a team that works under them, with a leading figure for the different departments under their jurisdiction.
“We believe so much in teamwork. It’s a kind of constant dialect. For us, this is why the ‘designer-as-genius’ mythology is a bit absurd, because if you don’t have a good pattern maker, good assistant, good team and good capacity of communicating, it doesn’t go anywhere. The same idea won’t become the same object at the end, because the root and the process, and the quality of the communication, sometimes the tension of that communication, is part of the creation,” explained Christophe in a 2019 interview with SSENSE.com.
Are two heads better than one? Prada’s new arrangement seems to be proving so. Stalwart followers of the brand may say that Mrs Prada never needed a second hand to begin with. But with Prada being the fashion disruptor that it continues to be, you could say that having someone as equally prolific as Simons—and one who respects and is a fan of the brand and woman behind it—has brought out a sense of newness for Prada. And fashion lovers are all the better for it.
It felt like Daniel Lee's Burberry once again. After a Summer 2025 showing that felt somewhat commercial in execution, the Burberry Winter 2025 runway show presented proposals that felt like Lee's very first collection for the British brand, but with the commercial viability of the former. Of course, we can't be certain of the collection's desirability until it actually hits physical and online boutiques, but it's evident that the chief creative officer has managed to craft out luxurious-looking outerwear of varying degrees that would warrant a luxury investment price tag—a point of contention that continues to plague the brand.
For Winter 2025, Lee looked to lavish country homes of England as reference points. Stating the general sentiment of Londoners' need to escape the city every now and then, fabrics decorating these homes—from wallpaper to upholstery to carpets—inspired the hues as well as materiality of the collection. This was especially evident in the outerwear that were extensions of Burberry house codes, with slight tweaks that breathed new life to familiar designs.
Yes, there were a number of British celebrities who were part of the cast of models walking the runway—from the always suave Jason Isaacs to the regal Richard E. Grant—but don't let that distract you from the design and craft of the Burberry Winter 2025 collection that were arguably, some of Lee's best thus far.
The fit: The collection is outerwear-heavy, which is expected given that it's Burberry and that it is a winter collection. And to be honest, I did find that the colour palette was a tad drab initially, but thankfully, the rich jewel tones started to fill a good half of the collection. We're already seeing a more considered return to some semblance of opulent luxury in fashion in general, so the first few menswear looks did feel a bit underwhelming. But once look 15 hit the runway, things started looking up.
Lee's greatest skill is his brilliant use of materiality which often takes the form of a textural tension, even in the most monochromatic of looks. The inspiration itself was pure Lee, allowing him to manipulate and interpret Burberry classics with fabrics that both felt very British and relatable at the same time. The colours used were also very smart, lending an aura of sophistication and luxe that had been missing from previous collections.
The details: Shearling trims were de rigeuer—a design element that Lee has carried through season after season—and oddly enough, the Burberry Check was kept to a minimum this time around. Let's face it, the motif isn't necessary when there are other house codes in play and when icons such as the trench coat are signature to the brand. We reckon too that the Burberry Check will appear in the more commercial incarnations of the collection.
What's interesting were the bags. An obvious new offering was the long top-handle leather bag that looked incredibly supple (a key, slouchy leather trend that's been pervading almost every luxury fashion house) and rendered in a range of treatments. It looked to be a very roomy size with an elongated shape—kind of like a smaller and more portable weekender.
Three exceptional looks: Look 15's textural wonder with a statement burgundy leather parka; the wonderful shade of green in look 39; and look 50's Burberry Knight intarsia knit.
The takeaway: Don't count Lee out yet.
View the full Burberry Winter 2025 collection in the gallery below.
One thing that we'll continue to see year after year, is the increasing number of celebrities attaining the coveted status of "brand ambassador". Not only are these famous faces chosen to represent a brand—be it fashion, fragrance, cosmetics, watches and the like—due to their individual popularity, they're also chosen because of connecting threads linking their identity and beliefs to that of a brand. A brand ambassador isn't merely a face; they're a physical embodiment of the brand's values and aesthetics.
Because keeping track of which male celebrity is tied to which brand is nigh impossible, we're compiling it all for you. Scroll through for a continuously updated list of the latest male brand ambassadors of 2025.
Brand: Fendi
After making his first appearance at the Fendi Spring/Summer 2025 menswear runway show in June 2024, the leader of K-pop group Stray Kids, Bang Chan was officially announced as Fendi's brand ambassador on 16 January 2025. Since the runway appearance, he's been spotted dressed in the brand's ready-to-wear pieces for multiple public appearances as well as while performing on the group's latest tour.
Brand: Bottega Veneta
Shortly after Bang Chan's appointment at Fendi, the youngest member of Stray Kids, I.N, was announced as Bottega Veneta's brand ambassador. I.N made his first appearance at a Bottega Veneta runway show during its Summer 2025 collection, rubbing shoulders with A$AP Rocky and Kendall Jenner. Of the appointment, I.N said: "I am honoured to join Bottega Veneta as brand ambassador. As someone who loves fashion and knows the commitment it takes to master a craft, I am excited and inspired by Bottega Veneta’s incredible artisanship and its spirit of self-expression. The opportunity to represent the house and share its vision really means a lot to me."
Brand: Bvlgari
"Jewellery is a magnificent and genderless accessory that I have always loved to wear. The history of Bvlgari is a tale of beauty and Italian excellence, and like all the excellences of our country, it fills me with pride. It is an honour for me to join the Bvlgari family," said Damiano David. The multitalented frontman of Italian rock band Måneskin, equally known for his stage presence as well as his unapologetic sense of style, officially became Bvlgari's global pr ambassador on 4 February.
Brand: Versace
Representing the fragrance arm of Versace, Thai actor and model Pond Naravit has been appointed Versace Fragrances' ambassador for Southeast Asia. Having captivated audiences with his portrayal of dynamic characters, Naravit extends his charm and personality to a suite of Versace's male fragrances such as Versace Eros Energy, Versace Eros Flame, Versace Eros, and Versace Dylan Blue.
Brand: Porsche Design
Orlando Bloom's partnership with Porsche Design as its brand ambassador for both its timepieces and eyewear divisions seem like a match made in heaven. "It's a great honour to represent Porsche Design as brand ambassador," Bloom expressed. "From our first conversation, I was excited about the idea of a partnership. I immediately sensed that the Porsche Design team and I share a mutual passion for great design and a similar mindset. The brand has a unique way of translating the unmistakable design and timeless elegance of icons like the Porsche 911 into lifestyle products. This blend of sports car-inspired aesthetics, unique heritage, and exclusive lifestyle truly fascinates me. It’s exciting to now be part of this success story."
Brand: Longines
The former Witcher and Superman has another line to add to his impressive resumé: Longines brand ambassador. In true Cavill form (we're certain the man is a riot in real life), he took to Instagram to announce the partnership and how his more than 27 million-strong audience will be seeing more of him sporting a range of Longines timepieces, asking them to point out some of their favourites along the way.
Brand: Givenchy Beauty
The third member of Stray Kids on this list—the group is certainly having quite a year—Hyunjin has already amassed a pretty impressive roster of brand ambassadorships under his belt. The dancer and visual of the group is already a brand ambassador for Versace and Cartier (announced just last year) and as off 2025, adds Givenchy Beauty to the line-up. Impressive.
Brand: Lululemon
Lewis Hamilton is no stranger to brand ambassadorships, earning partnerships with multitude of brands ranging from luxury fashion to sportswear to lifestyle brands. As of 25 February, Hamilton is now the brand ambassador for Lululemon, promising a close working relationship with the brand's Research & Innovation, Design and Development teams "to collaborate on future products, providing insight and feedback on athletic and lifestyle collections".
Given how TUMI is internationally known for creating travel and lifestyle accessories that not only function as intended, but also look good, it's rather surprising to know that the brand has only been around for 50 years. Sure, it may seem like quite a long time, but compared to other brands in the same space, it's still considered a young, growing brand. Yet, TUMI has managed to find its niche and developed a strong identity.
You would be able to immediately tell a TUMI bag or luggage apart. The 19 Degree series with its distinct sinewy contours decorating every facet, and the Alpha collection crafted from tough FXT Ballistic Nylon, are just some of the designs that have made significant impact in the luxury travel and lifestyle space. Together with the more female-driven Voyageur series, they're TUMI icons that are synonymous with the brand and are marks of its ingenuity to suit the needs of its ever-growing clientele.
It's no surprise then that to celebrate 50 years, TUMI has decided to highlight its icons in its latest "Made for You Since 1975" campaign.
"For our golden anniversary, we wanted to honour the core collections that have been the cornerstone of the TUMI brand—crafted with the intent of perfecting our customers’ journey,” says creative director Victor Sanz. “This milestone celebrates the future while embracing what our customers have loved most about the brand for over 50 years: longevity, effortlessness, functionality and timeless beauty. Throughout the year, we will continue to evolve and innovate, shaping the future of travel and lifestyle design.”
And we're already seeing what the next step is shaping out to be.
The brand has already released an expansion of its beloved 19 Degree line with the 19 Degree Lite. Like its name suggests, the 19 Degree Lite is the lightest version of the series, making use of the lightweight and hardy quality of Tegris—a material that TUMI is already familiar—as well as functional elements with a considerably lighter make. At its biggest, the 19 Degree Lite Extending Trip Packing Case, weighs 4.87kg as compared to the 19 Degree Extended Trip Expandable 4 Wheeled Packing Case in recycled polycarbonate that comes in at 5.56kg.
While we wait for more innovative launches to come from the brand, swipe for a look at some of the existing icons that serve as teasers to what you can expect from TUMI.
It’s the stuff of a TV thriller. Yet it’s also a lesson in how quickly a new industry can grow, eat itself and now potentially collapse. But, first, a recipe. Take a seed, the tiniest slither of carbon material and put it into a chamber. Add varying amounts of gases, including a carbon source. Heat to a very high temperature to produce a plasma, in which the gases break down and carbon molecules attach themselves to the seed, causing it to grow. Let your CVD, or Chemical Vapour Deposition, simmer for anywhere between a few days and a few weeks. Remove gases. Remove the now larger seed from the chamber and crack it open. Congratulations, you have now done what it takes nature billions of years to do: you have made a diamond.
That process is not a new idea. The theory has been understood for over a century: one Henri Moissan attempted to make diamonds back in the 1890s. To revive the idea took a retired American army officer visiting Moscow to buy a new electronic security device, and, while there, being taken aside by a Dr Boris Feigelson to be shown the blueprints for something developed for the Soviet space programme: a tumble-dryer-sized device that, yes, made diamonds. General Carter Clarke could not believe his eyes, immediately bought three, shipped them back to America and founded Gemesis Cultured Diamonds, a market pioneer.
And a market disruptor. Maybe even, eventually, a destroyer. Such has long been the cachet derived from the rarity of diamonds—the product of long searches for sites of potential, followed by intensive mining to find maybe very little—not to mention its mystique—being the hardest substance known to man—that inevitably the ability to make diamonds would bring seismic change to an industry which has historically very tightly controlled their availability. It did not like lab-grown diamonds at all, deliberately if inaccurately referring to them as “synthetic” diamonds, despite the fact that they are not cubic zirconia or glass, but chemically identical to diamonds out of the ground, as court cases have had to underline. The only difference, in fact, is that they don’t come out of the ground.
Over the last decade the production of flawless, white stones of anywhere between one and several carats—the difference between a lovely engagement ring and the kind of gem Elizabeth Taylor favoured—has become routine. Four years ago they accounted for just 11 per cent of the entire diamond market. According to one analysis now they account for over half. And therein lies the problem.
“They have become mainstream now, and at a remarkable rate, with demand only increasing,” explains Lisa Rosen, head of the International Gem Society, an organisation that promotes education in gemology. “The natural diamond folks— maybe better called the mined diamond folks—have done a good job at placing doubt in the mind of the consumer as to whether lab-grown diamonds are real. But obviously, the problem for them has been that they’re significantly cheaper and becoming less and less expensive”.
And in a big way. If just a decade ago a lab-grown diamond might have been priced at a 10 per cent discount on the mined equivalent, now it’s more like 90 per cent. Small wonder that LGDs—as they’re referred to—have no resale value. That’s all been the result of “the cat being let out of the bag [as to how to make them],” as Tom Chatham, of US lab-grown gem company Chatham, puts it. “The tech has been worked on for more than 50 years and really a lot of kitchen secrets go into making quality lab-made diamonds. It’s not just about buying a diamond-making machine and switching it on. There’s a lot of physics, chemistry and special touches that make it work. [And yet] now, over just the last few years, [there are so many] producers all making and selling low-cost diamonds”.
Mass producers in China and India have come online to dominate the market, many backed by state subsidies, further driving down LGD prices—which fell by some 20 per cent over 2023 alone, with some predicting a further 50 per cent fall—and forcing many of the pioneering companies, mostly in the US, to close, consolidate or pivot dramatically. That’s a process that Chatham argues will be on-going until just a few mega-producers remain. In other words, much as the market for natural diamonds has long been dominated by a powerful oligopoly, so too the same fate might befall the market for LGDs.
“It has been like the Wild West. There have been no rules or standards and the market has effectively imploded,” says Brittany Lewis, commercial director for lab-grown diamonds company WD Advanced Materials, who notes that even the mined diamond players felt compelled to get in on the act: DeBeers, likely the most famous name in mined diamonds, A laser removes the last bit of poly before planning begins at a lab diamond facility. launched Lightbox, its own lab-grown diamond business, and more recently decided to get out of LGDs altogether. “If you’d have asked me just two years ago if the industry would be in the place it is in now, I couldn’t have predicted it,” adds Lewis.
Meanwhile, jewellery retailers have even been accused of keeping LGD prices artificially higher because they’re worried a downward spiral will have a devastating impact on their revenues. “A race to the bottom event is very scary if you’re a jewellery retailer,” Rosen notes.
Much less so, of course, if you’re a potential diamond consumer. Suddenly a good quality and size diamond has been affordable like never before, and the retailers offering them a whole lot more approachable. There’s been talk of the “democratisation of the diamond”. If proposing with a big fat rock was once what only the rich could do, now that is open to the many. That sounds great but, as Chatham says, leaves the whole mythos surrounding diamonds in flux. Aren’t they meant to be special, rare and so extremely expensive? And isn’t that critical to their allure? Can some of the fragile magic that society has imbued diamonds with—from Marilyn Monroe singing about a “girl’s best friend”, to Superman forging them with his bare hands, to rap culture and bling—be saved? Should it be?
Indeed, Chatham—who is trying to establish a council of lab-grown diamond producers to bring some order to the industry—notes how mined diamonds are, actually, not that rare. “For sheer rarity factor, we’ve put the wrong gem on the pedestal,” he says: coloured gems the likes of emeralds and rubies are far rarer. As he might know: it was his father, Carroll, who in 1934 developed one of the first processes for creating lab-made emeralds, some decades before making diamonds became feasible. Diamond’s association with romantic love—and the tradition of using them in engagement rings—is little more than the product of a decades-long and an admittedly hugely successful marketing campaign. “A diamond is forever”? That’s a DeBeers advertising slogan dating to 1948. Yet half of all engagement rings now have an LGD in them.
“Clearly that people are now able to buy a lab-grown diamond of a size you’d almost never find in a mine is going to change things,” says Chatham. “There will always be a natural demand for the billions of carats that have been mined to date. But I think we’re now talking about a clash of mindsets: those who think a diamond is so special it should cost an arm and a leg, and a public more interested in the process of buying a diamond, the setting, the meaning in giving one. For the more practical masses, the future is going to be in lab-grown diamonds”.
Nor will their motivation be just monetary. For some, it’s also about wanting diamonds that are cleaner and greener. While the energy used in the production of lab-grown diamonds isn’t exactly environmentally sound, they are at least free of the human cost of some diamond mines—low pay for dangerous work, child labour, and so on—and of their use to finance terrorism or war, notably across Africa (so-called conflict or blood diamonds).
Provenance and traceability were, for a while, a key selling point for early lab-grown diamonds. The problem now is that they are so cheap to produce, and competition so intense, that even willing manufacturers can’t afford to get recognised third-party accreditation for their ethical or sustainability standards. Still, as Lewis notes, the public perception of LGDs as socially better remains, especially among younger consumers out to buy their first diamonds.
It would seem that LGDs have managed to pull off what the Japanese company Mikimoto did at the turn of the 20th century when, faced with the extreme and genuine rarity of natural, deep-dive pearls, it devised a way of making what would come to be called “cultured” ones—it saw consumers express gratitude at the availability and accessibility of any pearls rather than throw doubt on their authenticity. That cat long ago escaped from the bag too.
Not that there isn’t still some heat between the natural and lab-grown diamond worlds—this remains an uncomfortable topic for them—for all that the last few years have seen them intersect and blur. On the one hand, there are the likes of the US’s Federal Trade Commission ruling in 2018 that a diamond is a diamond, regardless of whether it’s lab-grown or taken from the Earth’s crust; on the other hand, there are mined diamond dealers who argue it is possible to tell the two kinds of diamond apart—at least with the right laboratory equipment. That’s the kind of equipment Neil Duttson, of London-based mined diamond dealer Duttson Rocks, says he and other dealers are having to invest in now: cases of fraud, in which the unscrupulous try to pass off LGDs as mined ones, are on the up.
That suggests the exoticism and mystery around mined diamonds may still be intact. “I understand why people want synthetic diamonds”—as Duttson calls them—“because they get more bang for [their] buck. And there will probably always be some market for them now. But with China and India knocking them out and prices falling, I don’t see that being huge money spinners for the jewellery business within five years”.
The question for the arguably complacent mined diamond industry now is whether can return to its pre-LGD state. Can the mined diamond industry rebrand itself to highlight all of the qualities that might well make its product more desirable to some—co-opting the positivity many consumers feel about naturalness, even though most luxury products are man-made, or perhaps underscoring the cosmic romance inherent in being billions of years old. Maybe it’s just all too late.
Duttson says that the appeal of mined diamonds has, ultimately, always been down to salesmanship and the ability to “convey their mystique, the sense of marvel and adventure that surrounds them. They just have such a great story”. It’s why, anecdotally at least, customers of LGDs often see one as an entry-level product, with the intention of trading up to a mined diamond someday.
“Diamonds in general are definitely a luxury product and thus the idea of selling a dream is always going to be a big factor around them. People don’t need diamonds, but most people like the idea of owning something rare, valuable and special - which is the case for all luxury,” argues Paul Zimnisky, an independent New York-based diamond industry analyst. “Diamonds are not typically a practical purchase but an emotional one, so people still want natural diamonds even though manufactured versions are available. [We’re at a place now where] in order to capture higher price points, the lab-diamond industry is going to have to do something unique and different like offer proprietary colours and shapes”.
That doesn’t mean the mined diamond industry won’t have to up its game too. It has also gone into decline over recent years, both in terms of carats dug up—supply peaked in 2017—and in value too, especially post-pandemic, with the price of a mined one-carat diamond down 12 per cent on a year ago. That has encouraged the major suppliers to reduce supply to stabilise prices. Some in the industry claim that, unless some new technology is devised to allow access to the most remote underground pipes, the mining of natural diamonds will cease to be profitable within 40 years. That might suggest that natural diamonds will, at last, become genuinely rare and so more valuable. But it’s likely that by then the whole idea of the diamond will have changed thanks to lab-grown variety.
But maybe we’re looking in the wrong direction. According to Brittany Lewis at WD Advanced Materials, the important future of lab-grown diamonds isn’t about jewellery at all, but in what they can do for the technology of tomorrow. Diamond is already used in cutting tools, in medical applications, in water purification, lasers, optics and GPS systems. But now it’s being posited as a superior replacement for the silicon commonly now used as a semiconductor in computer chips—able to withstand higher voltages and higher temperatures, able to transfer heat more effectively, lower power consumption, and so on.
Such chips —if the lab-grown industry can scale up production because demand could potentially be enormous—will be required for the rise of AI and other 21st century tech, not least proving critical to the development of quantum computing. Indeed, WD Advanced Materials started out as Washington Diamonds, a manufacturer of lab-grown diamonds for the jewellery industry, but pivoted—acquiring specialists, building research labs and winning US Department of Defense grants—as competition and rock-bottom prices crashed the market.
“After so many years thinking about jewellery and the consumer psychology behind it, talking with the head of merchandising at Tiffany’s, now I have to think about substrates and talk with the head of physics at Harvard,” Lewis laughs. “I love a beautiful piece of jewellery but this [new way of considering lab-grown diamond] is extremely exciting in just how revolutionary it could be. Ten years ago it was just another holy grail. Now it’s seen as having real potential”.
That, at least, feels one way in which diamonds will be set to find their sparkle again.
Nicholas Hoult is no stranger to falling in love onscreen. His impressive filmography is a stacked example of his range as an actor—seamlessly flitting in and out of characters as varied as they come. We've seen him with superhuman powers (and blue fur) as Beast in the X-Men series, portray an overzealous foodie in The Menu, struggle with morals in Juror #2, and more. But perhaps, one of his more memorable roles was in Skins, the teen comedy drama that dabbled with all things coming-of-age, including romance.
In a fitting return to the sort of too-good-to-be-true romance the Brits do so well, Hoult is part of a starry cast of Burberry's latest campaign. "It's Always Burberry Weather: London In Love" is a series of vignettes inspired by late '90s/early 2000s British rom coms that focus on the idyllic, everyday romances of Londoners. Hoult is joined by an A-list cast that includes Academy Award-winning actor Kate Winslet, Aimee Lou Wood, Chen Kun, Jodie Turner-Smith, Micheal Ward, Richard E. Grant, Son Sukku and models David Gandy, Liu Wen and Naomi Campbell. There's even a special guest appearance by a chivalrous Burberry Knight in shining armour—you know, rom com things.
And in the spirit of all things love, Hoult indulges us with Burberry first-loves as well as some of his most cherished moments in life and career.
ESQUIRE: What thoughts immediately come to mind when you think of Burberry?
NICHOLAS HOULT: When I think of Burberry, I think of an elegance, cool and—a classic style with a bit of attitude to it. I think of the check pattern. I think of trench coats. And I think of Terminal 5 at Heathrow because whenever I land back in London, there are always big Burberry campaigns and posters, so it makes me think of home, which is a nice feeling.
ESQ: What is your earliest memory of Burberry?
NH: My earliest memory of Burberry is when I went to the market when I was a kid in Liverpool. I remember seeing a lot of imitation Burberry—hats and scarves and things. That was the first time I was aware of imitation being flattery and thought that Burberry must be really good if it’s being copied like this. Did I buy any? I don’t know, maybe.
ESQ: Which piece do you treasure most in your Burberry collection?
NH: I have a black Burberry trench coat. The Burberry trench coat is so iconic and the perfect piece to have in your wardrobe. You can wear it anywhere, at any time. It feels classy and you can dress it up or dress it down. That’s what I go to a lot when getting dressed in the mornings.
ESQ: What drew you to the campaign?
NH: I loved this idea of British rom com and films, and their sensibilities are some of the greatest ever made. I loved the idea of playing tribute to those. And also, there were so many talented people involved so to make something with all of them felt special.
ESQ: What was your favourite moment from the campaign shoot, and do you have any on-set anecdotes?
NH: My favourite moment of the campaign shoot was that I got to drink tea and have biscuits while doing some of the behind-the-scenes. It was also very nice to get dressed up in some Burberry clothes—that felt fun. Also, we got to film on the South Bank with Jodie Turner-Smith, who is someone I’ve wanted to work with for a long time, so that was incredible. I wouldn’t say I loved the rain cannons—it was a bit cold—but I like to feel in the element, so I appreciated the fake rain and the feeling it gave to the scene.
ESQ: What are your favourite things to do in summer?
NH: Go to the park. Get a disposable barbecue and go to the park and enjoy the sunshine with friends and family.
ESQ: What is your most cherished summertime memory?
NH: Probably when I was a kid—being in the garden, riding your bike, making a slip and slide. Things like that are cherished summertime memories for me.
ESQ: What is the best or most memorable advice you have received during your career?
NH: That’s tricky. This isn’t really advise, but in a roundabout way, it is. I read Michael Caine’s book years ago and he talks about how when he was in LA, the bus driver that would drive on the studio lot ended up being the studio president, so he talks about being nice to everyone. Fortunately, I got the chance to work with Michael when I was 14. I was very nervous, and we only did one scene together with a large group. After the scene I went up to him and said, “I know we didn’t really get to act together, but I’m very happy to say I have been in a film with Michael Caine.” He responded and said, “Well I’m happy I can be in a film with Nicholas Hoult.” And that was such a lovely thing for him to say. It meant a lot to me. It’s something I try to pass on—that kindness he showed to me.
ESQ: What attributes attract you to a character when reading a script?
NH: It depends. I try to find varied characters and do something different to what I’ve recently done. Also, an honesty in the writing. It’s something that’s a gut feeling if you connect to the writing and feel like you can add something to creating that character that’s on the page.
ESQ: If you had to live as any of your past characters, who would it be and why?
NH: There could be so many answers to this, but I got to play Tolkien in a movie which is a pretty magical place to pretend to be to try to understand his creativity and imagination. That would be a wonderful place to be. I’m a big Lord of The Rings fan so I could then maybe write more Lord of The Rings stories for myself and everyone else and just enjoy that world a little bit more.
ESQ: Is there a role you would like to play but haven’t had the chance yet?
NH: I don’t know the answer to that, I won’t know probably until I read it and then will hopefully get the feeling I was just describing.
This interview has been edited for length and clarity.
You stand in front of a mirror reflecting a carefully chosen outfit—the suit fits right. Lookin’ good, you tell yourself, as you adjust your collar one last time.
It’s date night and a fancy dinner is imminent. Through the open bathroom door, you glimpse your partner at her vanity, absorbed in her makeup ritual. You’re done getting ready but you don’t rush her—you know better. So, you wait. And when she finally turns to you—makeup perfect, hair swept just so—your eyes meet in a moment that makes the wait feel insignificant. Then comes the familiar request: “Help me with this necklace?”
It's a scene that plays out in the lives of many couples—the quiet, intimate ritual of helping your SO adorn that anniversary gift from a few years back. Sure, they could manage it themselves but there’s a beautiful tenderness in these small acts. What a shame it would be to let that intimacy slip.
Cartier certainly thinks so. Their Love Bracelet is built on this very idea: a band of gold designed to be secured by two with a special screwdriver to lock its screws. As a piece born out of partnership, it’s made to symbolise love in a way that is both visible and enduring.
This tactile experience—two hands coming together to secure two gold arcs into a single piece—was first introduced by Cartier designer, Aldo Cipullo in the 1960s. More than 50 years later, the core design philosophy remains. Its iconic screws, spaced evenly around the oval shape, are a hallmark of its construction, echoing the pioneering style of the Santos de Cartier watch which popularised men's wristwatches in 1904. Available in white, rose, and yellow gold, the juxtaposition between precious metals and mechanical aesthetics lends an androgynous quality to the piece that suits all genders.
Now, alongside the Classic 6.1mm and Small 3.7mm versions, Cartier introduces the Love Medium at 4.8mm. The new sizing offers a balanced width while retaining the bracelet’s distinctive oval shape, engineered to embrace the wrist with the same comfortable precision that has defined the collection for decades.
There is, however, a new evolution elsewhere. In today’s fast-paced world, where our partners might not always be physically present, screwing on your Love bracelet can be tenfold more difficult. Therefore, the latest versions of the bracelet now come with a hinge and a functional screw for solo wear, making it easier to put on and remove independently. For those who prefer the traditional approach, the original locking system is still available on the Classic variety.
At first glance, this new feature seems like a departure from the bracelet’s essence but, we think, it speaks to a deeper truth. Undeniably, romance is one of the most precious things in the world, although the self-love we have with ourselves is equally vital. The ability to secure the bracelet independently doesn't diminish its romantic significance; rather, it adds another layer of meaning: that the bracelet remains what it has always been—a beautiful embodiment of connection. Only now, it also celebrates the strength found in self-love, making it perhaps an even more powerful symbol of modern love.
You can still partake in the intimate ritual of securing the bracelet for your partner, just as you would her necklaces. Ultimately, it is the choice to engage in these small acts that carry true significance—not the obligation. Wouldn’t you agree?
When we caught up with our former cover star and Saint Laurent brand ambassador TEN—naturally at the Saint Laurent by Anthony Vaccarello Autumn/Winter 2025 menswear show in Paris last week—it was as though no time had passed since our last interaction. Ever so cheerful, the K-pop idol opted for a shaggy, tousled hairstyle (a look we've rarely seen from TEN) paired with the chic stylings of the House's Spring/Summer 2025 menswear collection.
It's winter in Paris, and the light drizzle that greeted guests did little to warm things up. But in the light of the glow of chandeliers that were the centrepiece of the show's circular runway space, things were heating up in anticipation of the show. TEN, however, showed no signs of sweating as he glided around to take photos against the set, mingled with fellow guests, and filmed video greetings for fans.
TEN's fit to the show was what you'd expect of a celebrity of his stature and multifaceted nature. It's proven that he's a style chameleon, able to weave in and out of different aesthetics rather effortlessly and knocking them out of the park each and every time. But of course, away from the glaring lights and camera flashes, his fashion sense is more relaxed yet still effortlessly chic.
Before he readied himself for the show, TEN invited us to his hotel room to show a more day-to-day version of himself. What's in his Saint Laurent bag, you ask? A multitude of things to get him through every day—at least while in wintry Paris. View the full video below and you may discover how he maintains his camera-ready appearance.
Videography: Pun Pun
