The world remembers the legacies of Tenzing Norgay and Edmund Hillary, the pioneers who conquered Mount Everest. This year marks the 70th anniversary of their historic achievement. To honour this milestone, both families, in collaboration with the Rolex Perpetual Planet Initiative, have revitalised two cultural hubs in the Everest region. These are tributes celebrating the rich tapestry of the history, traditions and the Sherpa culture.
Back in 1953, a Nepali-Indian, and Hillary, a New Zealander, scaled the highest peak of Mount Everest. This triumphant ascent, the first in recorded history, turned a lofty dream into a tangible reality. Synonymous with precision and durability, Rolex watches were a go-to for the explorers as they could endure the harshest conditions and unprecedented altitudes.
The climb wasn’t merely a personal triumph; it marked the genesis of a profound mission. Norgay dedicated his life to empowering the Sherpa community. Since young, Norgay trained and fostered safer climbing practices and ignited a spirit of adventure with the students at the Himalayan Mountaineering Institute in Darjeeling. His legacy lives on through the Tenzing Norgay Sherpa Foundation that is supported by Rolex.
Similarly, Hillary, through The Himalayan Trust, transformed the Everest region with hospitals, schools, bridges and even the vital Tenzing-Hillary airport in Lukla bear his signature. His foundation pioneered environmental conservation by sowing seeds of reforestation around Everest’s foothills.
The Perpetual Planet Initiative, launched by Rolex in 2019, amplifies this commitment. From safeguarding oceans with Mission Blue to understanding climate change with the National Geographic Society, Rolex has partnered with visionaries shaping our environmental future. Today, the initiative boasts over 20 partners, from conservation photographers like Cristina Mittermeier to organisations like the Coral Gardeners. Rolex also nurtures future explorers, scientists and conservationists through scholarships and grants.
As we celebrate the indomitable spirit of Everest’s pioneers, Rolex honours a legacy intertwined with courage, innovation and a fervent love for our planet. Rolex’s unwavering commitment ensures that these stories of triumph, not just on the world’s highest peaks but in the realm of conservation, continue to inspire generations to come.
This year's Coachella Valley Music and Arts Festival (or, you know, Coachella 2024) has been exceptionally remarkable, with headliners such as the eclectic Tyler, the Creator as well as powerhouse performers from K-pop group ATEEZ to J Balvin. Iconic ska band No Doubt also made their return to the stage after a decade-long hiatus.
Besides the notable lineup, Coachella is the occasion for festival dressing, and this year's did not disappoint. As arguably the most popular music festival in the world, Coachella drew a huge number of attendees over the past two weekends, with many dressed in their most eye-catching fits. The headliners and performers were put on outfits that matched the intensity of their setlist while celebrity attendees made sure they stood out in the sea of the Coachella-loving crowd.
Suits aren't commonplace at Coachella—this is not an award show red carpet—but folks like Jon Batiste switched it up with show-stopping tailoring. Everyone tend to be a bit more experimental in the way they dress. From midriff-baring top to streetwear-inspired looks, it was quite a spectacle to behold. In the gallery below, we take a closer look at some of the best-dressed men seen during the two weekends.
Your cool dad's shoes will see new colourways to its MADE in USA line. New Balance will drop new hues for the 990v4 and the 990v6 model for its second instalment of its MADE in USA Spring/Summer 2024 collection. Given the world's stage today, if you ever wonder if anything good can come out of America, this release would be one of those.
New Balance revisits the iconic 990v4, painting it in two new colourways: "Arctic Grey" and "Macadamia Nut". These sneakers flaunt a streamlined design that seamlessly merged mesh with pigskin suede overlays. With a touch of elegance, the arctic grey variant features a buffed and sanded down Nubuck leather accents. The "N" logo is stitched across the lateral sidewalls in leather. Unlike the classic flat laces that you'd find on other 990v4s, this version is tied together with two-tone chunky rope ones, which gives off a rugged trail shoe inspired look. Not feeling the rope laces, there's an extra pair of plain black laces when you feel like switching it up. The contrasting black soles and breathable mesh offers a striking blend of tones and textures. Overall, the sleek look is a testament to New Balance's penchant for contemporary aesthetics.
Next, New Balance introduces fresh hues for the legendary 990v6 model. Called 'True Camo', just as its name suggests, the shoe comes in a mix of olive, forest green and brownish shades. The colour palette makes this shoe a versatile companion for various outfit configurations. Light brown suede wraps around the heel, side portions and toe, extending to the shoe’s eyestays. Green mesh panels and leather webbing of the upper complements the subdued grey and off-white midsole, making it perfect for those who seek style and functionality.
The second chapter to New Balance’s MADE in USA Spring/Summer Collection 2024 series is available online and at the following stores from tomorrow:
ION Orchard, Jewel Changi, Suntec City, Paragon
(Made in USA 990v4 in 'Arctic Grey' and 'Macadamia Nut' (SGD339)
Jewel Changi, Suntec City, Paragon
- Made in USA 990v6 in 'True Camo' (SGD359)
As a young stylist, I had always considered flying off to the fashion capitals for fashion weeks to be one of the pinnacles of my career. I had exalted it as a rite of passage—if I were to attend either London, Milan or Paris Fashion Week, it would mean that I’d made it.
I wasn’t naive to think that being invited to fashion shows would be all glamour. Fashion editorial life is (unfortunately) unlike what’s portrayed in the oft-referenced The Devil Wears Prada or even Robert Altman’s Ready to Wear. I was already reporting on the runway collections remotely, basing my reviews off of what I could see from livestreams as well as information from press releases. But I knew that being on the ground meant that my evenings would be spent doing the same with the added pressure of doing so after spending an entire day commuting from one show to the other.
The biggest draw for me was to be able to witness the show firsthand and actually see and feel the collections up close, months before everyone else does. It adds to the reporting and critique of a show. Watching them through a screen has its limits. Sure, one technically gets a much better view of each look as it walks down the runway thanks to steady camerawork, but a fashion show is much more than each individual look. The atmosphere—the music, audience and the scale of a set—completes the narrative that a designer is trying to communicate. And this, as much as technology has changed so much over the years, is a sensorial experience that falls short digitally.
To say that I was excited for my first official fashion week experience would be an understatement. At the same time, I was anxious. I’ve navigated Milan and Paris on my own before, but I’ve never had to rush for back-to-back appointments and shows during one of the cities’ busiest period of the year. Timing is everything and it’s not because I was afraid of getting to a show late (it’s fashion, hardly anything starts on the dot)—I was afraid of missing out a celebrity.
We’re all aware by now that celebrity culture is at an all-time high. Almost no big-named brand event is complete without the appearance of a number of celebrities, some of whom are official brand ambassadors. Brands—be it jewellery, watch or fashion—have been busy racking up top-tier Western, Korean and Thai faces in the past couple of years as brand ambassadors, all to give embodiment to their brand values while simultaneously attract the following that each celebrity commands.
It was a cold January in Milan. The Autumn/Winter 2024 Milan Fashion Week Men’s was the beginning of my two-week-long, non-stop fashion immersion. The Gucci menswear show was my first stop. It was creative director Sabato De Sarno’s first menswear collection for the House and I was in anticipation. I arrived half-an-hour early to the venue to find that I was not early enough. Not only was there already a sizeable crowd formed across the road behind a row of metal barriers, editors of publications based in Thailand, Hong Kong, Korea and my Singaporean counterparts were all flanking an imagined walkway right before the entrance to the main show area.
I managed to squeeze myself in, joining the rather civil queue of Asian press as we all waited for celebrity arrivals. Brands would typically provide a list of confirmed front-row attendees so we could single out those we’d want to approach for doorstop interviews or at the very least, film their arrival for social media. I went in completely blind for Gucci so I was rather awestruck by the sight of Idris Elba, Mark Ronson, Elliot Page and Jay Park. And when people I personally admire and follow such as male model Clément Chabernaud and musician Tamino walked in, the inner fanboy was very much in overdrive. The job comes first, however, and my phone kept trailing each of them from the moment they enter the space.
Yes, I am a glorified paparazzo.
No one stops to give soundbites as they enter a venue. It’s within the show set that the opportunities arise if you’re able to battle your way through the hordes of other press aiming for the very same. The Gucci show was my warmup. I didn’t get any save for a very muffled and quick hello by Elba, which wasn’t usable.
I learnt a thing or two from a very kind fellow celebrity-chaser. He introduced himself as we shared a mutual connection. He told me he is based in Paris but covers celebrity sightings for a publication in Singapore during fashion weeks in Milan and Paris. Having done it for at least six seasons now, the man has become a force to be reckoned with. He knew where to stand and wait for the perfect, clear view and seemingly had zero qualms about intruding the personal space of a celebrity. As an introvert, I was the exact opposite at the start but observed and went on to adopt a similar level of brazenness.
It was the only way that I was able to secure coveted soundbites from Korean actor and brand ambassador Lee Min-ho, Marvel’s Winston Duke, and latest brand ambassador Greg Hsu at Fendi. Prada’s Autumn/Winter 2024 menswear show was full of A-list celebrities—possibly one of the best curations out of the shows in Milan—and I was able to create content featuring Lee Jae-wook, Troye Sivan, Manu Ríos, Luther Ford, and Win Metawin. Lee was even kind enough to rerecord his once I discovered that the audio was off in the original and suffered a fleeting panic attack from it. At Loewe, I even managed to approach Saltburn’s Archie Madekwe for an additional soundbite to tease his then-unreleased February 2024 cover of Esquire Singapore.
“Did you get all the content you need?” a brand communications personnel asked as I was exiting a venue. It was a question I’d hear time and again throughout the two weeks. They were all trying to ensure I had the necessary recordings for Instagram reels that would reach as many people as possible. And if not, they’d assist in securing a celebrity’s time if possible.
I’m not going to lie. There were moments in the evening after a day’s series of shows where I felt semblances of an existential crisis. I would rather speak to creative directors such as Miuccia Prada, Jonathan Anderson, Kim Jones and the like to find out more about their thought processes behind the collections. I had questions after seeing every show but it wasn’t humanly possible to split my time. In the battle for social media views and engagement, creative directors, very unfortunately, don’t garner the same level of attention than even a wink by Korean actor Jung Hae-in.
“In the past, the editors’ biggest concern was getting captured by street style photographers,” a counterpart proffered as we were waiting for celebrities to slowly stream in at a show. The “past” was only about five years ago. And while I don’t necessarily agree with the sentiment (I’ve worked under editors who consciously dress to impress during fashion week while delivering elaborate collection reviews post-shows), I understand the manic evolution of fashion media. It’s no longer enough to deliver content at dizzying speed; content has to be relevant and with a guise of exclusivity.
Will this bubble ever burst? I don’t have the answer to that. But as along as there is a desire for content featuring celebrities that bring in social media engagements and estimated media values in the millions (at the very least), the fashion industry will be sticking to this formula.
The Spring/Summer 2025 Milan and Paris Fashion Week Men’s shows are coming up in a couple of months. And I’m ready, with my iPhone, my small Bluetooth enabled microphone and Esquire Singapore placard going: “Hi! I’m Asri, style director of Esquire Singapore. May I get you to say hello to our readers?”
The legendary couturier Christian Dior adopted a structured creative process when designing a collection. He would pin fabric swatches onto his design notes. These swatches were often arranged in a row, accompanying an illustration of the ensemble it is intended for. While they were typically cut into rectangles, the size of each swatch varied—the natural result of a human’s touch. Dior Joaillerie’s artistic director Victoire de Castellane interpreted this uneven arrangement as mineral strata, compressing links of multiple facets into a stunning piece of jewellery for Gem Dior.
The original Gem Dior collection was a literal interpretation of both couture and nature as de Castellane opted to inlay different gemstones onto gold links to create colourful combinations reminiscent of the miscellany of fabric swatches used by Monsieur Dior. In 2023, the artistic director took a 180-degree turn and offered a minimalist series with slabs of gold, with and without diamonds, immediately making the Gem Dior collection more gender-neutral than before.
The latest expansion to Gem Dior can then be considered as a combination of the original and the 2023 versions. Retaining the essence of the original, the latest Gem Dior pieces consist of yellow, white and pink gold foundations that are then decorated with either a uniformed string of diamonds or a beautiful gradient of diamonds, tsavorite garnets and sapphires in one single piece. The latter echoes the original’s combination of different gemstones while refining the approach.
The new collection is available as bracelet, ring or earring, all individually sold for contemporary styling. We love that there is no wrong way to wear any of the pieces. You can sport a Gem Dior ring as the sole piece of jewellery for a subtle statement. Or you can add a bracelet or two to your existing wrist stack. You can even pair two different earrings together as an assertion of individual style. The relative refinement in the latest Gem Dior collection calls for a celebration of one’s natural leanings. How you feel like wearing one is exactly how it’s intended to be worn.
Travel is no longer about getting to a destination. It's become an extension of one's personality and lifestyle. For some, it's a hobby; some find it to be an essential part of living—travelling and experiencing different cultures and ways of life only make us more in touch with being human. And with all things personal, there's an increasing inclination to want accompaniments that fit in with that lifestyle.
Let's face it: we all want things that are aesthetically pleasing and work well at the same time. We invest on quality that lasts for as long as possible with the added boon of aesthetics.
The BOSS | Samsonite capsule collection is the latest entry in this no-compromise balance of style and function. Combining the sophisticated style leanings that German fashion brand BOSS is known for with the already trusted combination of form and function by Samsonite, the collection is a sleek offering of luggage meant to make one look, well, boss throughout every journey.
The base of BOSS | Samsonite is the latter's premium aluminium hardcase luggage. Rendered in an all-black exterior, it is then dressed with a subtle, tone-on-tone BOSS monogram that beautifully complements the architectural ridges of each luggage's body. An anodised finish ensures that the look stays locked in for as long as possible, especially through the many different immigration points that a piece will be subjected to throughout its lifespan.
Each piece is made to be tough on the outside, but on the inside, there's a softness brought about by a luxurious quality and feel. A soft-textured lining envelopes the interior of each BOSS | Samsonite piece, done in the former's signature camel colour. The interior is spacious with the addition of zipped compartments (removable if one has no need for them) helping to make organisation a breeze. Adjustable webbing straps help to hold everything in place with the added touch of co-branded leather handles to tie in the sophistication of every element together.
There are four sizes to choose from, each designed for different lengths as well as intensity of travel. The smallest is the cabin-sized Spinner 55 that measures 40 x 55 x 23 cm, two check-in sizes, and the Trunk that's a taller, more oblong-shape and boasts a roomy dimension of 41 x 80 x 37 cm. But whichever one ends up with, there's no denying that they all are extensions of a sophisticated, well-travelled individual.
The BOSS | Samsonite luggage capsule collection is now available in selected Samsonite stores as well as online.
By now, the Loewe Paula's Ibiza collection has become sort of an annual tradition. The collaboration with iconic Ibizan boutique Paula's—known for its vibrant expression of island life in the 1970s—has been a consistent reinvigoration of its archival prints as well as an encapsulation of unbridled joy. For the latest 2024 edition, Loewe takes it up a notch with a collection that takes it away from its island beginnings to a more urban setting while still retaining that carefree spirit.
To help bring the Loewe Paula's Ibiza collection to life, the brand employed the assist of six international creatives. Latin trap star Young Miko, American musicians Kevin Abstract, Yebba Smith and 070 Shake, Irish actress Alison Oliver, as well as Loewe global brand ambassador and NCT member TAEYONG, all embody the youthful energy of the collection that's made for summertime. Whether it's spent in the city, away on vacation or to countless music festivals, the collection has all the makings of the perfect summer wardrobe topped with a healthy dose of craft-centric accessories to boot.
Signature to every Loewe Paula's Ibiza collection is the use of prints. This time, Loewe introduces artist Douglas Abraham whose abstract prints consisting of dice, teddy bear and planet motifs are juxtaposed with the more naturalistic archival prints of flora and fauna. They're all applied onto the collection's ready-to-wear pieces including Loewe Anagram-branded T-shirts, roomy drawstring shorts, sweatshirts, and swimwear. Supplemented by an array of generally loose-fit tops and bottoms, ease and comfort inspired by a decidedly aesthetic are key tenets of the menswear portion of the Loewe Paula's Ibiza collection.
It's in the bags and accessories that Loewe's penchant for craft is highlighted. Woven basketry—a signature of the brand, especially when it comes to the Loewe Paula's Ibiza collection—reimagines the Puzzle bag and Puzzle Fold tote. The latter still retains its iconic flat, foldable characteristic despite being crafted from the stiffer raffia material. The Font tote and Iraca basket bag make their return in a slew of new colours in line with the ready-to-wear portion.
Loewe's leather mastery recontextualises its signature Flamenco design into a bucket bag silhouette that's crafted from nappa lambskin and with a solid base. Playful leather accessories complete the offering with charms and pouches shaped into animals such as a toucan and parrot, as well as tropical fruits.
There's no denying that every edition of the Loewe Paula's Ibiza collection thus far has been a joyous celebration of life and craft. The brand has also made sure that the communities involved in contributing their craft expertise too gain from the experience. As with every Loewe Paula's Ibiza collection, for every basket bag sold, Loewe will make a donation to the local communities who handweave them. These donations will then go towards providing university scholarships in Columbia, building a craft training school in Madagascar, and providing humanitarian relief following the 2023 earthquake in Morocco.
The Loewe Paula's Ibiza collection will be available in Loewe boutiques and online from 18 April 2024. View some of the bags, shoes and accessories of the collection in the gallery below.
You’d hardly forget your first brush with the Cartier Trinity. That initial experience of sliding the Trinity ring onto a finger is a mind-blowing gesture as the three intertwining elements take their turns to glide smoothly over the skin. It’s an unexpected sensation. You wouldn’t think that something as solid as gold would move in such a way; seemingly without friction.
It’s even more impressive to know that the Cartier Trinity was created 100 years ago. The earliest iteration of a three-band ring by Cartier was released in 1924. That included three intertwined bands crafted in platinum, rose gold and yellow gold. A bracelet was also made in the same year. Owing to the ring’s minimalist design—many variations of colours and materials were developed over the years. However, it went on to be seen on several men in the art world from the 1930s onwards. French poet Jean Cocteau was famous for stacking two rings on his little finger, while actors Gary Cooper and Alain Delon opted for one on the same digit.
It wasn’t until 1997 that Cartier officially adopted the now-iconic “Trinity” moniker for all of its three-band, three-gold jewellery. Although the first “Trinity” was seen earlier, in Vogue in 1925.
Since then, the creativity surrounding the Trinity has been limitless. Proportions of the Trinity have been rendered in a few different ways over the years, and the materials have only got more precious. In 2004, a Trinity bracelet was introduced as an XL version and paved completely with pink, yellow, and white diamonds. A 2011 version saw the use of black ceramic and white gold for a stunning monochromatic piece. And who could forget 2022’s collaboration with Chitose Abe of sacai where the Trinity was spliced into six modular creations, including one that could be worn as an earring or a ring?
There’s no reason to doubt that Cartier would up the ante for its icon’s 100th anniversary. Deviating from the roundness of its original—a shape that has stayed relatively consistent throughout the decades—the latest Trinity has been transformed into a cushion-shaped masterpiece. This rendition, while more geometric in expression, stays true to the original’s mechanics, sliding with the same naturalness. The cushion-shaped version comes in the classic and large model rings all in gold or paved with diamonds, a bracelet as well as a pendant.
Pushing the limits of its creativity further is a modular Trinity ring. This creation allows the wearer to turn the three intertwining bands into a single wide, large band. In the latter state, the ring can unfold to reveal its diamond interior and function as seamlessly as the Trinity ring we’re all familiar with. “Like a Kumiki puzzle, we envisioned the Trinity bands interlocked as one structure, and then designed in reverse to deconstruct them into three. This naturally creates multiple ways to wear the same ring, which makes this Trinity so contemporary and adds to its universality,” says Cartier’s director of watchmaking and jewellery design Marie-Laure Cérède.
But of course, celebrating an icon also means paying homage to the past. Cartier has also brought back the Trinity bracelet but this time, supersized it in an XL version with an equally maximalist ring to match. Now, how's that for a three-pronged approach to celebrating a three-band icon?
A tray to put random knickknacks on doubles up as a piece of art with this version by Hermès. The printed design—a chromolitograph applied by hand to the porcelain—is referred to as “La Maison des Carrés” and depicts the process of creating a silk scarf. From design to its final destination in the boutique, every room in the maison is beautifully illustrated with clear visibility and intricate details.
Here’s the thing: no additional styling was involved in making the Rodeo bag camera-ready. The Balenciaga creation comes with two sets of magpie-esque charms to immediately add character to an otherwise plain black bag. Why? Well, it’s a prevailing Gen Z trend where bags get decorated with a multitude of charms as a way of showcasing one’s individuality. It’s rather cheekily playful, no?
Because talking about emotions (or sometimes just talking) can be a struggle, We’re Not Really Strangers serves to ease into conversations through three levels of questions and wildcards. The aim of the card game is to empower meaningful connections with existing relationships or create new ones with someone you’re just getting to know. And at the end of it, who knows, you may actually discover things about yourself or others you never would’ve thought of to ask.
Silk carrés are one of many things that are synonymous with Hermès, so it makes perfect sense for the Maison to create a bag out of one. The Banasilk—named after the Eperon d’Or Bandana design that it bears—is the first silk bag for the men’s universe and employs leather as its adjustable belt. Wear this as a fanny pack or a crossbody—either way, your items will remain secure as it’s cleverly designed with a zipped compartment that faces the interior.
The Chypre sandals is undoubtedly an Hermès classic. While it has been through many different variations over the years—shearling-lined, studded, and even crafted out of Himalayan crocodile—nothing beats the timelessness of Epsom calfskin. This particular two-tone iteration plays up the summer feels for a pair you’d want to take to every resort you’ll be hitting over the summer holidays.
You know a timepiece is significant when it’s pictured months before release on a man as iconic as Daniel Craig, and sent the interwebs in a flurry. For the first time, a steel Omega Speedmaster Moonwatch Professional is rendered with a glossy white lacquer dial and with black hands and markers for ultimate legibility. In short, a handsome timepiece to covet.
If you’ve ever felt that your backpack could do with a protective boost, look no further than TUMI’s 19 Degree Aluminum backpack. It’s crafted from super solid aircraft-grade aluminium, which means that it’s rather hefty at slightly over 4.5kg but you can’t deny that it’s a pretty good-looking design. We highly doubt anyone in public would dare attempt to stealthily steal something from you—it’s that secure.
Do you need an Hermès yoyo? Not really. Should you care for one? Perhaps. Instead of a traditional yoyo, Hermès reappropriated the wheels of its R.M.S luggage, transmuting them into a functional yoyo. Sure, it’s frivolous in nature yet at the same time, an excellent example of the Maison’s artisanship aside from its beloved leather goods and ready-to-wear.
“Meisterstück” means “masterpiece” in German and that’s what one gets with the Montblanc fountain pen. The Meisterstück celebrates its 100th anniversary this year with a range of new designs. This particular edition consists of a gold-coated cap with a lacquered archive pattern in green. The pen’s nib is also crafted from solid gold for a truly rich overall contrast that’ll make writing a luxurious experience.
The existence of the Force 10 bracelet is in itself a measure of FRED’s playful ideology—a combination of a braided steel sailing cable with a buckle. This large version takes cues from its nautical roots with a blue cord that’s further emphasised with 64 brilliant topaz set on a white gold buckle.
Photography: Jaya Khidir
Styling: Asri Jasman
The Gobi. It’s a vast expanse of emptiness and sand—so much sand—that spreads out into forever where the sky meets the endless horizon in a union of dust and sunlight. From the pictures, you’d imagine it to be tomb-quiet but the howl from the whipping wind says otherwise.
It’s hard to imagine such a landscape to be replete of life but travellers walked these sandy plains once and still. Except, in this day and age, SUVs and motorbikes leave their treads in the sand—signs of existence. These lay there as testament before, hours later, the wind would return the desert to its unblemished state.
For now, a Mongol herder—a sullen man, adorned in weathered leather boots and a dusty blue down coat bisected by a brown belt—leads his camels; trailing foot/hoofprints. They see a figure perched on a dune ahead. As the figure approaches, the herder brim his eyes with his free hand, while the other hand tightens around the reins.
The stranger, a tall foreigner of the Western persuasion, is attired in a white coat and slacks the colour of chocolate. He may look like a fish out of water but, here in this parched land, he feels perfectly at ease. Were this any other encounter, the herder would baulk at the stranger but this is a meeting that had occurred minutes ago. This is the second take before documentary photographer Chris Rainier, satisfied with the shot, directs them to another spot, angled in a way that the near-afternoon sun would flatter them.
It started at Luxor.
Two years ago, to commemorate its semicentennial anniversary, the Italian luxury lifestyle brand Stefano Ricci decided to host the celebration at the Hatshepsut Temple. As part of the Theban Necropolis, the temple is carved into the sheer cliffs of the Deir el-Bahari complex. The monumental architecture characterised by three terraces proved to be a fitting space for Stefano Ricci.
The two-day event culminated in a fashion show for 400 guests. Dr Zahi Hawass, archaeologist and former Minister of Antiquities and Culture, described the show thusly: “I have seen this temple more than a thousand times in my life, but Stefano [the namesake founder and brand chairman] made me see it in a new and different way. The fashion models began to come down the temple stairs, escorted by Egyptian warriors. We saw a great new fashion that the world had never seen before.”
The event created a lot of buzz but it also sparked an idea for a series; one that would take the Ricci family to far-flung corners of the world.
It's called the EXPLORER Project and it’s spearheaded by the sons of Stefano, Niccolò and Filippo—the CEO and creative director, respectively. Filippo said that the Luxor event alerted them to a new outlook in appealing to men’s innate wanderlust. Their clients are “dynamic, independent, powerful men” and the real luxury is to “have remarkable [travel] experiences”.
They started with Iceland. A land of contrasts, where glaciers meet black volcanic sands. The Vatnajökull Glacier—Europe’s largest ice cap—is an indomitable presence on the south-eastern horizon. For their AW24 collection, Filippo came with an intrepid crew consisting of hair-and-make-up artists, stylists, videographers, drone operators and models. They also roped in the expertise of Terry Garcia, CEO of Exploration Ventures, and the aforementioned Chris Rainier.
Terry leapt at the chance to work on the project. He cited the importance of exploration, especially in this day and age. They shot against the Skógafoss waterfall; along the black sand beaches of Reykjanesbær and Reynisfjara; the Diamond Beach, a sand beach next to Jökulsárlón Glacier Lagoon and the cavernous ice caves of the Vatnajökull Region.
The Galápagos Islands were the next chapter of the Explorer project but that wasn’t Stefano Ricci’s first choice. They were supposed to shoot elsewhere but unforeseen circumstances forced the crew to scramble for another location. They eventually ended at the Galápagos Islands.
We suppose there is some poetry to this. The volcanic archipelago was where naturalist, Charles Darwin, was inspired to develop his theory of evolution. In this place, where Darwin witnessed the adaptations of finches’ beaks, Stefano Ricci will adapt to shoot their SS24 campaign.
Terry Garcia is still on board but this time, Mattias Klum, photographer, and National Geographic fellow, helmed the photoshoot. Niccolò has decided to come along as well; no sense in letting the younger brother have all the fun. With the supervision of the Galápagos National Park Directorate, extreme care was taken in shooting in the archipelago’s fragile and unique ecosystems.
They shot at Santa Fé Island, a small gem in the Galápagos crown. There, the the sea lions and marine iguanas were nonchalant accessories to the photoshoot. The unique fauna (giant turtles) and flora (cactus and Scalesia forest) complemented the “nature tones” of the collection. This was also their first underwater shoot. On a boat ride out to Isla Guy Fawkes, Matthias said that the underwater perspective added another dimension to the story that they were telling.
That story is part of a bigger one. It’s post-Covid and the borders are slowly opening up. The pent-up agoraphilia that those mindful of quarantine have broken loose. It seemed serendipitous that Stefano Ricci managed to be in the thick of this sudden worldwide yen for travel.
For the AW24 collection, Stefano Ricci’s took to the birthplace of Chinggis Khaan—Mongolia. Aside the return of Chris Rainier as the principal photographer, for this expedition, they included the locals in their campaign, opened the expedition up to valued customers willing to join them and introduced exclusive material for their winter outfits.
First, the material. It’s made from the undercoat of the Hircus goats from Alashan. The fibre is collected through gentle hand combing on goats no older than 10 months of age in the spring. Then, it’s processed into a superlight and resistant cashmere: the Stefano Ricci Alpha Yarn.
Second, the inclusion of Stefano Ricci’s clientele in the project added another facet to the brand’s growing portfolio—that of a semi-bespoke travel agent. Stefano Ricci’s exclusive patronage is a by-invitation-only club. These valued patrons will have the opportunity to embark on this once-in-a- lifetime chance to evoke their inner Magellan (or insert your own ethical explorer alternative). Lorenzo Quinn, an artist known for his large-scale sculptures (one of his works, “The Force of Nature”, is found at Marina Barrage) is an inaugural invitee. In a reportage video, Lorenzo paraphrased the essence of exploration from the project’s motto, “[to] explore the world is to explore ourselves”. For an artist like him, this was a much-needed respite to stir the creative juices.
During the time in Mongolia, the group slept in gers (a Mongolian yurt); traversed the Flaming Cliffs; posed at the Chinggis Khaan Statue Complex; climb the many and winding steps of Aryabal Temple and communed with the Kazakh burkitshi (eagle hunters) in Altai. It is the latter that held great significance with Stefano Ricci; the family’s emblem is the eagle. It is this commonality that the Riccis donated to Kazakh Falconry Association for the preservation of the raptors. (Stefano Ricci also donated to the Charles Darwin Foundation at their last Galápagos project).
For a luxury brand, there is nothing luxurious in how the campaigns were shot. In fact, productions were closer to the point of discomfort. There have been a lot of unearthly hours to aspire to, just to catch the first light of the sun. They also had to contend with the local amenities in these far-flung corners. In their journey from Three Camel Lodge at which they resided, to the shooting location in the Gobi, the early morning darkness caused even the guide to lose his bearings.
But Niccolò had nothing but praise for the professionalism of his team. Everybody knows what they need to do. It’s a well-oiled machine, one that was honed during previous excursions. In classic Italian fashion, the smiles break through the sweat; the camaraderie flows easily.
A fashion house and the theme of travel... this isn’t a novel idea. Luggage brands like RIMOWA extolled the virtue of a well-travelled suitcase and Samsonite highlighted the “man on the go”. Coach had an air travel boutique inside an aeroplane. Japanese label, TEÄTORA, specialises in outfits to ease the rigours of travel—ie, packable T-shirts, jackets to fit carry-ons like a passport and/or an electronic tablet.
We leave off with a quote from Terry: “Exploration, yes, it’s about adventure, it’s about the unknown. But sometimes, exploration is about seeing an old place through new eyes.” And what better way than to view it through the lens of fashion?
Sai Fengjia (FJ, as she’s commonly known) and Isaac Ang were born in the '90s. Too young to experience the grunge era nor relish in the heyday of X-Men: The Animated Series. But it didn't stop them from indulging in their love for the era or earlier.
They met at polytechnic, studying to be graphic designers. They bonded over their shared love of the past. "We got into streetwear," FJ says. "There were a lot of Supreme, HBA, people were dressing like ASAP Rocky, that sort of thing." Like many people in those days, YouTube was a treasure trove of content and FJ and Isaac were willing patrons of short clips and unboxing videos. "We watched people collecting vintage snapbacks," FJ adds. "Not only were they restoring them, they were also talking about the history behind the caps."
That was the trip over the edge of the rabbit hole and they fell into the world of vintage clothing. They chanced upon videos by Round Two, a secondhand clothing business, and had insights into a behind-the-scenes look into its operation. But what cemented the duo’s aspiration to open up their own vintage clothing shop was from a trip to Shimokitazawa, Tokyo. They enjoyed the hospitality and the local owners’ willingness to share their expertise, regardless of the language barrier. "We saw KINJI (used clothing store) and other secondhand stores," FJ says. "It was everything that you see them sell online but in a physical store. I remember Isaac saying to me, Haha, when we return to Singapore, let’s do something like this."
It may be an off-the-cuff statement but it planted a seed. The plan to open up a physical space was postponed until Isaac finished his National Service and in 2018, they set up Loop Garms in Little India. What started as a passion project, has now grown into something else. It's a living. It's still a familiar terrain but now new landmarks have taken root—there’s a business component attached to it; they have a staff who depend on them for their livelihood. While the local vintage market has grown, Loop Garms manages to remain relevant with a vintage selection that caters to almost every demographic and its marketing outreach.
For the latter, FJ and Isaac upload educational videos on how to spot an authentic vintage piece or bite-sized clips on their social media platforms on what they are wearing. It’s this sort of outreach that puts them in the foreground of public perception.
"We bought items with no intention of flipping it," FJ says. "They were just things that we got from eBay that appealed to us." Comic paraphernalia is more of FJ’s wheelhouse, while anime and manga were Isaac’s. But for the rest, they are usually chosen, more often in unanimity.
It borders on hoarding. Over the years, people were dropping off things at the shop. Things that they were too lazy to sell themselves or just want other people to bask in the items’ nostalgic value. FJ and Isaac try will make space for the goods but it starts to turn into a game of "where-else-can-I-clear-to-display-them"? The Loop Garms shop is a scene of organised chaos. Chocked with ’80s-’90s pop culture items in seeming disarray, items were grouped by some unspoken logic. FJ points to the display case at the front counter, a small anthill of old electronic equipment—mobile phones, pagers, handheld game consoles — many were donated by her family. T-shirts of the moment hang from invisible threads from the ceiling. Action figures loosed from the confines of their boxes, stand posed on a shelf to the side.
FJ reveals that she doesn't have the heart to toss out anything. "If I don’t have the space for it, I'd put them in a box and I'll think about what to do with them the next time."
Loop Garms has a healthy international customer base. It is where a lot of their big-ticket items go to. "Mind you, many of our customers are young and they think that vintage must be old-looking or secondhand; something you must thrift. We try to educate them about this. Having a physical space allows for conversations like this to happen."
So, what do customers usually look for? According to Isaac, the local clientele is more trend-driven. "There was a series of T-shirts called 'American Thunder'. Basically, it had lightning streaks on the front and features some sort of Native American-related print. We carried them and they were sold out in 2018. The following year, we had people DMing us saying that they recall us stocking a couple of American Thunder tees in our store. We were wondering why there was a sudden interest and then realised that Travis Scott wore a couple of them on his tour. People are looking at these again because someone famous wore them."
When Netflix’s The Last Dance aired, interest in Chicago Bulls memorabilia surged. Basketballs with the Chicago Bulls logo or posters of Dennis Rodman would double in price. One would point to the nature of supply and demand but it’s more accurate to point to the cyclical nature of fashion—a fad never falls out of season; it hibernates.
Isaac argues that it doesn’t matter what age you are, who can fault you for having an appreciation of the period? I mean, are we going to go after historians next?
"It's really just nostalgia,” Isaac justifies. “But it's not because it’s cool to like pieces from the '80s and '90s. There was a quality to them."
And there's a bigger reason for this: the stories. FJ and Isaac love the histories that come with the T-shirts. "Like us, there’s a personal connection between the customer and the shirt. There was one guy whom we were chatting with and he noticed a Speed T-shirt we had displayed. He pointed at it and said that his dad and he used to watch Speed.
It does reframe your perception of what FJ and Isaac do. Maybe they are more than collectors or packrats. Rather they are archivists of a past for the next generation.
1. INDUSTRIAL SYMPHONY NO. 1 TEE
Isaac: “In the late ’80s, early ’90s, David Lynch created a concert performance called Industrial Symphony No. 1. They created a promo T-shirt that you can only get at the show. We saw a vintage store owner talk about how significant the Industrial Symphony No. 1 T-shirt was to him and we thought about doing a video as well because we have the same shirt. After we posted it, a guy from the States DMed us and offered USD1,000. We declined. We weren’t trying to sell the T-shirt, we just wanted to talk about it and see people’s reactions. Then, we had offers from other people as well and the guy who offered USD1,000 came back with another number: USD2,000. At this point, we’ve no idea if he was joking or not. Obviously, we declined. A couple of months later, he contacted us again. He said that he may not have the most money but no one wants this shirt more than him. And he offered USD3,000. But we refused again. We didn’t want to sell the shirt because the fit is great. We have an XXXL, which would be a modern-day XL; it’s a size that’s very popular because a lot of people can wear it.”
2. NATURAL BORN KILLERS TEE
Isaac: “I remember growing up in Australia and my mom allowing me to watch this. I love Natural Born Killers; love Woody Harrelson... Robert Downey Jr’s character was pretty hilarious. I dig the whole vibe of the film. Pity I don’t wear this any more.”
3. LOLLAPALOOZA ’92 TEE
Isaac: “I’ve never been to Lollapalooza but it doesn’t stop me from wearing this. That year, they had a sick line-up of bands that I’m into: Soundgarden, Red Hot Chili Peppers, Pearl Jam, but more importantly, we tend to collect things that occur in our birth year—1992. The design of this appeals to us.”
FJ: “Fun fact, the Lollapalooza ’93 tee featured fractal art in its design. It was based on the Windows Media Player visualiser. We have a ‘Fractal Generation’ tee by Roberto Azank, a fractal artist, who made visuals for Macworld and Apple conferences.”
4. THE 1992 AND 1996 LITHUANIA TIE-DYE KITS
Isaac: “The national Lithuanian basketball team wanted to go to the 1992 Barcelona Olympics but they didn’t have the funds. The Grateful Dead saw their plight and wanted to sponsor them. They even got their designer, Greg Speirs, to create their kit, which is why their 1992 basketball team’s uniforms were all tie-dyed in the colours of the Lithuanian flag. This uniform is special because the country just achieved independence from the Soviet Union and now they are at the Olympics. And this is their first-ever uniform featuring Skullman... and they came in third!
FJ: “They’d win another bronze medal in the next Olympics and another bronze in 2000. We only have the ’92 and ’96 shirts. Again, prices for these skyrocketed after Jonah Hill was spotted in the ’92 tee. I like these tees because of the underdog story.”
Photography: Jaya Khidir
Who can say they’ve had a reign that lasted over seventy years? The late Queen Elizabeth II comes to mind, and then there’s the King of Rock and Roll, who has not only influenced the pop culture landscape for decades but also the accent of a So-Cal actor to a surprisingly lasting extent.
But within fashion, the Gucci Horsebit loafer has managed to maintain the same level of influence since it was introduced in 1953. With a design so recognisably "Gucci", the appeal stretches far and wide, from A-listers to your most fashionable friends. Seventy years on, that equestrian tool on the tongue will still place you in the upper echelons of style royalty.
The story as to why a snaffle became a signifier for the luxury fashion house starts with its founder. Guccio Gucci worked as a luggage porter at The Savoy, London, when his fascination with the equestrian world started, seeing it as the sport of the rich and famous people who took up residence at the hotel.
But it didn’t come into form as a loafer until his son Aldo Gucci took over the business (along with his brothers Rodolfo and Vasco). So it goes, Aldo designed a pair of dressy loafers as a response to the moccasins that Bass Weejuns were producing, having noticed that the sleek designs were popular with American prepsters. Gucci stamped it with the horsebit detail in honour of his father, and in doing so created a staple shoe that is both discreet and distinguishable.
The shoe quickly became a hit on home soil, but it didn’t take long for its influence to reach Stateside and beyond. Despite its dressier history—with thanks to Cary Grant—Gucci loafers, in particular, became a popular casual shoe among the younger generation. By the Seventies, plenty of women had a pair—perhaps most famously Jodie Foster, who was pictured aged 15 sporting the style while skateboarding—as well as dapper male stars like Kirk Douglas, Francis Ford Coppola and Roger Moore.
The style is just as popular on screen as it is on the streets, too. In 1979, Dustin Hoffman wore a pair in Kramer vs. Kramer, then there was Matt Dillon in Drugstore Cowboy ten years later. Matt Damon wore them in The Talented Mr. Ripley (1999), a film that’s repeatedly called upon for its perennial influence on men’s summer wardrobes in Europe and beyond.
Different creative directors of the luxury fashion house have all had their own take on the design. Tom Ford famously revitalised Gucci in 1994, and did so with classic signifiers of the brand like the horsebit. Alessandro Michele continued to use the motif throughout his tenure, incorporating his maximalist and print-heavy aesthetic, while Gucci’s latest recruit, Sabato De Sarno, has (literally) elevated it even more with a platform sole.
In today’s age, you can see the likes of Paul Mescal, Mark Ronson and Kingsley Ben-Adir (who also stars in the new campaign for the shoe) all donning a pair while on and off the red carpet, further cementing their smart-casual appeal. Rest assured, their reign is set to continue for the foreseeable future.
